The trick with sequels is, you have to give people what they liked before, yet be innovative enough so they don't feel like they're seeing the same movie.

When you're a big enough part of the process that the Writers Guild gives you a lot of credit, that's a good thing. It tells me that I've had a significant impact on the film as a writer.

If you're doing six takes, instead of doing six variations on the same words, why not just throw out the words and make them up as you go along, if you're comfortable with it? It gives the movies a slightly rangier feeling, and more of an accidental feel, but it also makes them edgier.

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

There's something very edgy about Bill Murray out there improvising.

I'm a writer-director-actor, which I've always kind of enjoyed. I compared it to the Olympic biathlon. "Not only can he cross-country ski, but he's a terrific marksman as well." I want people to say, "You mean that writer performed a tracheotomy?" That's right, I do everything.

With both Caddyshack and Vacation, it's not like the subjects were serious enough that they engaged my interest for another round. I love the characters, and the actors were great, but I didn't see the need to make another Vacation movie.