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.

I've never taken a script to the stage or to principal photography and said, "This is perfect. This is as good as it can possibly be." It's not Shakespeare, you know; you know it can probably be better.

I never read Playboy before I started working there and stopped reading it the day I quit.

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.

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

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