If we really talked about what's wrong with you, you'd need a 7-1/2-hour movie and nobody would know what category to put it in!

I think Jim [Carrey], in the best possible way, thought, "I need to do different things to establish to the audience that I'm not going to do the same thing every time."

In the writing, I'm just trying to go deeper, emotionally, and learn more about myself and reveal more and find a way to connect with people in new ways.

That's very important to me as well: presentation and how people perceive you, the visual of how things look, your posture. I learned that from [Bob] Fosse and Jerome Robbins, from all the great theater directors and the Busby Berkeleys. You overdeliver: visually, emotionally.

I always feel like I'm very far from my potential.

I like to shoot scenes where I can see the beginning, middle and end of the entire scene. But, when you edit a movie together, you can just cut right into the middle. You don't need to see them walk into the room and put their jacket on the chair. There's always a lot of shoe leather that you can remove.

I test the movies a lot, and if the audience says they love the movie, we know we're on the right track. And if they tell me they hate it, I try to figure out what I've done wrong. But every time out, the audience wants me to go deeper, they want to know more about the characters, and they don't want these movies to be shallow. So they really urge me to tell them a complicated story, and then when I do so, they're thrilled