I'm not sure I agree with the thesis, because I think that even though something grotesque or gross has been part of film since way back, what we accept or what we can get away with on the screen is broader now.

The home viewing experience is slightly different and there's room for these kinds of extra excursions.

I've always believed in populating my films with characters who we like, who we have some warmth for, who have warmth for each other, who we would like to hang out with, who we emulate in one way or another.

My first student film was Orientation, which was basically the set-up for Animal House. There are a couple of scenes that we later borrowed in some form.

I always thought that Bill Murray was one of the great actors that I've worked with. And I've worked with all kinds of people who are known primarily for their dramatic work.

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.

Well, actually, I did start out in comedies. Very, very early.