Some people make movies and think, "Well, I'll just keep asking for more money if this isn't enough." And then there are other people, like Clint Eastwood, who always come in under budget.

I had a very specific type of terrible network experience where I was told that people like Seth Rogen and Jason Segel weren't leads, so it truly drove me mad. So to be trusted is all I value.

Sometimes, something seems dead, and then out of the blue, someone just figures out the way to fix a script and it goes.

The little details really connect for people in ways I never realized before.I think that's why some of the movies have done well, because people are relating to things that I'm willing to expose.

I was bad at sports and picked last every day. I couldn't quite figure out what my role was in the social order, so I decided I was interested in comedy. And what was then interesting was, nobody else was interested in it at all. I didn't find one friend who was interested in comedy until I moved to California and met other comedians. And suddenly I knew hundreds of people who knew as much about SCTV as I did. But it took me 20 years to find those people.

The Cable Guy was underbudgeted, so it was always a debate about whether we could have more days or certain things that we needed, because the budget was determined before the script was written. So that made it a hard production on everybody. But it's also a funny thing, because it's one of those movies that cost $40 million to make and made $100 million around the world, but at the time, it seemed like a disaster that it didn't make hundreds of millions of dollars, because Jim was on such a tear. But it was actually a successful movie.

In my beginnings, those nos were ever-present-even today, those nos are ever-present-and it's the workaround. I always found a workaround for people who turned their back to me. It's a way of being persistent that makes them take notice.