The hardest thing about movies is doing take 12, 13, and 14, and finding new ways to do the same lines. So the early takes are actually easier and I think there's more surprises in them.

I've always got five or six things that would either make a good feature or TV show. And you just never know. You go and you pitch and it may be exactly what they're looking for, or they may stop you after two sentences and say, "Oh, we've already done something just like that."

We just said, 'Okay, you're in the movie. Bring what you would bring for a three-day weekend and I hope you like the way you look in it because once you're on camera, that's your wardrobe.' But it worked; it worked and we were very surprised.

I certainly grew up seeing more movies and television than I read books, but when it came time to do the thing itself you don't have to hire a lot of people to sit down and write a book, so that was the story-telling medium that was available to me.

There were not fifteen people in the story department and twenty-five producers and stuff. And Roger had produced 1,000 movies and directed a couple of hundred, and their comments were always very, very specific.

Well, acting is cheap; I knew all these actors who weren't in the Screen Actors Guild yet, and it happened that they were all just about thirty years old.

Fahrenheit 9/11 took public domain information that should have been on the news every night and put it in a film that a lot of people went to see. But still Bush has never had to answer those charges.