It's a great luxury for me to be able to write on the films that I direct, and kind of a nice thing to be able to write enough to get credit, which is difficult for a director.

I've tried to stay away from mild satire. I want an audience to feel something more powerful for their ten bucks. If they're going to spend two hours with me, and trust me to lead them around, I'd like to take them someplace special.

The comic edge of Ghostbusters will always be the same. It's still treating the supernatural with a totally mundane sensibility. In the world of ghostbusting, there are certain givens. You're always going to have some new invented technology, some pseudo-science that sounds right because we drop enough familiar terms from physics and engineering, and pseudo-methodology, something that people will think they may have read something about before.

As much as I liked acting for its playfulness and the reward of hearing big laughs wash over you on a stage, I always felt I should do something that I could control.

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

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