What's interesting as a director, and even studio executives don't understand this, is that if you're directing a $200 million movie with six million people, it's the same as directing a $25,000 movie with three people. The director's job is, "You stand there and do that," or "This is the shot I want." The logistics change, but the job remains the same. And I enjoy the job.

Directors, like actors, get typecast. And because I've had great success with comedy and horror and TV shows, that's basically what I'm kind of offered.

I've been all over the world, and to be in Milan and see guys dressed as Jake and Elwood is amazing. They really have become a part of the culture.

After 'The Blues Brothers,' I wanted to do a good musical number with real dancers and shoot it correctly.

The field (of filmmaking) is suddenly sexy, ... so it's deluged with these wannabes who say 'I don't want to be a secret agent, I'll be a filmmaker.' I think a lot of people are really kind of naive.

I'm very lucky to have worked in the '70s. It's a different industry and distribution is in a state of flux. It's all different platforms, they're doing this video-on-demand thing and also playing the film theatrically. It's funny to me: In the States it's an arthouse movie.

I grew up thinking of snow as a luxury you visit.