I always claim that the writer has done 90 percent of the director's work.

My job is to come up with something that you like and you agree with that you would play wholeheartedly. If we disagree, I may not be doing my job correctly.

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.

I have a great respect for the moviegoing experience. It's such a unique thing. You're not getting up and walking around the house or flipping channels during the dull parts. You're in a dark space, and the movie fills most of your field of vision. You're surrounded by sound, and the colors are deeply saturated, and faces are fifteen feet high. If it's done well, you're really going to feel some big emotions or have some big belly laughs.

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.

That's one of the great things about DVD: In addition to reaching people who didn't catch the movie in theaters, you get to have this interaction of sorts.

We tell our kids that policemen are good and God protects us and our country is noble, and at a certain point - and for some it comes quite early, five or six years old - we start to realize that it's all a facade.