A lot of filmmakers from my generation were lucky enough to have their work more or less perpetuated by people who saw them originally on TV and on HBO and certainly on home video.

Movies cost so much that studios really try to impose their personality over yours. A lot of times, you can get swallowed up in that and end up making movies that are indistinguishable from anybody else's. One of the things I've always tried to do is to inject myself as much as possible into the movie, so I feel like it's mine. But that also comes from what you choose to do and what you choose not to do. There are certain projects I could have said yes to, and I know exactly how they would have turned out: exactly the way they turned out when someone else did them.

Daffy, of course, wants to go on the journey with him but the studio decides they want Daffy back, so Bugs and a young studio executive heroine have to go out and try to bring him back.

I go to a lot of independents and foreign films. I really try to keep up and see what there is to see. If you really love movies, it's the act of watching them that you really love. You can sit and watch a B-Western and have just as much fun watching that as you can a classic. That minute when the lights go down is the part where the magic happens, because you know this could be great. You're always kind of excited, like, "Here I am again in the church of movies, and Mass is starting.".

When the first movie to show the anger people have about the war is a grade Z zombie movie, that tells you all you need to know about how afraid of ruffling anyone's feathers people in the movie business are today.

I grew up in New Jersey and my father was a golf pro, so I was groomed for sports, but I wasn't very good, so my interests lay elsewhere.

When you make a 3-D movie you actually have to plan the way the visuals look because there's a parallax issue, and there's an issue of editing, you can't edit very quickly in 3-D because the eye won't adjust fast enough for it.