I always think that the writer is doing the vast majority of the director's work, in a sense. If you're a writer who is also going to direct, you're doing all your preparation: You're already visualizing everything, you're imagining how the lines are going to be read, you see the blocking in your head, and you know the rhythm and the pacing.

I've got to find a compromise where I don't feel compromised. I've got to find something equally good that they don't feel uncomfortable with. At a certain point, it's no longer about what I thought was right, but it's about this new discovery that happens with the actors. It's nice when the actor is also a writer.

When I've written for Bill Murray - I've written six films for him - people would read it and say, "Oh, that's so perfectly Bill." He'd read it and say, "Are you kidding? I can't say these words." So it's all about perception.

Nothing reinforces a professional relationship more than enjoying success with someone.

I met someone who said they'd figured out my genre: "madcap redemption comedy." I'll buy that.

Most comedy is not very ambitious. You probably can't name more than a handful of comedies that would qualify for Best Picture.

I've been directing for 25 years almost, and I've only directed nine films in that time because I like to be careful.