It was an interesting process trying to get Bob to talk about the film because he's such a shy person. He generally likes to talk when he really knows he has something to say.

But I always reassure them that as far as my contractual rights can go, I will protect them and make sure that they have approval over every bit of it so that they know I won't show something that's embarrassing.

[Lyndon Baines ] Johnson is a big and larger-than-life guy, we just tried to give him the dynamic range that he actually had.

There were two writer's unions in those days[ during World War II ] , the studio-friendly guild called the Screen Playwrights, and the more activist Writer's Guild. The studios were fairly upset that their group wasn't effective, and they sought to punish the other union by labeling them as Communists.

Bryan [Cranston] created something completely unique, that was earned by its authenticity. That's what gave us the license to push it a bit.

My favorite laser disk ever was the laser disk for The Graduate, which had a commentary track that wasn't even the filmmakers, it was a professor, some film criticism guy who just happen to be this amazing commentator who went off into the whole theory of comedy.

The success of the second 'Austin Powers' caught us by surprise a little bit. We had decided not to do even a second one, unless the audience wanted it and we could do something better.