I'm thinking of doing a marital comedy for one of the studios, but I want it to be so painful that it'll have a profound effect on married couples who see it together.

Chicago still remains a Mecca of the Midwest - people from both coasts are kind of amazed how good life is in Chicago, and what a good culture we've got. You can have a pretty wonderful artistic life and never leave Chicago.

Multiplicity was a movie that tested really well. People seeing the movie really liked it, but then the studio couldn't market it. We opened on a weekend with nine other films.

When someone's an actor and you're an actor, you meet them and you feel like you know them. We're in the same business, and we all speak the same comedy language.

The comic edge of Ghostbusters will always be the same. It's still treating the supernatural with a totally mundane sensibility. In the world of ghostbusting, there are certain givens. You're always going to have some new invented technology, some pseudo-science that sounds right because we drop enough familiar terms from physics and engineering, and pseudo-methodology, something that people will think they may have read something about before.

I try to measure the amount of truth in a work rather than just looking at the generic distinction between comedy and drama.

I've tried to stay away from mild satire. I want an audience to feel something more powerful for their ten bucks. If they're going to spend two hours with me, and trust me to lead them around, I'd like to take them someplace special.