When you're working with movie stars, part of the deal is that, if they have something to say, you'd better listen. You don't have to absolutely listen and not talk, but there is another creative force at work, and to be successful working with movie stars, you have to bring that force to work for you. You have to find something that's comfortable for them, and at the same time, that's in the parameters of what you're trying to do yourself.

I believe that improvisation is really just a directorial tool. It's a writing tool. It's not so much that the actors get to say whatever they want, whatever pops into their head. It's an opportunity to write the last draft of the screenplay as you're working on it.

I remember when first, Stripes, and then Animal House came out - which I was really proud of, even though it was kind of loose and quite raucous - there were imitative movies that were not quite as good.

I call it like the domino theory of reality. If you can go one step at a time and it seems to make sense, you can then take your audience into an area that is relatively outlandish.

I don't think there will be another Ghostbusters. I think we're all too old to do it. I think we've done it a couple times and there is not that much to get out of it, to do that would be fresh in it.

I don't think my sense of humor has changed at all; I was born with this, for better or for worse.

When you're working with movie stars, part of the deal is that, if they have something to say, you'd better listen. You don't have to absolutely listen and not talk, but there is another creative force at work, and to be successful working with movie stars, you have to bring that force to work for you. You have to find something that's comfortable for them, and at the same time, that's in the parameters of what you're trying to do yourself.