I have no trouble selling out—I’m a benevolent hack, in a certain way—but I want to pander for something I believe in.

I'd rather do comedies that strike at some bigger ideas.

I've always thought that comedy was just another dramatic expression.

We were tremendously encouraged by the testing of Analyze That. Audiences loved it. They were telling us that they liked it as much as the original. We recorded the laughs in the theater.

I was the little guy who knew how to tie a necktie. It came from having absentee parents. They were tremendously loving and caring people who, by circumstance, had to go to work.

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."

At a certain point, you have to convince the actors that you've done the right thing. The way I work, if I can't convince them, I've got to move on. I can't coerce them or browbeat them.