I've always thought that comedy was just another dramatic expression. 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 a lot of bullshit drama that leaves you totally cold. And there's a lot of wasted comedy time too. But when you get something honest, it doesn't matter what label you give it.

My first few films were institutional comedies, and you're on pretty safe ground when you're dealing with an institution that vast numbers of people have experienced: college, summer camp, the military, the country club.

Once you're alienated, you're on your own. That takes you to the world of the existential, where things just kind of float.

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.

I can't imagine a successful comedy movie without a successful comedy performance at the heart of it.

I made a handshake agreement with my best friend in college, Michael Shamberg, who is now a movie producer. We used to write shows together, and we said, "Let's only do what's fun. Let's never take a job where we have to dress up in a suit."

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.