I've had movies bomb with terrible reviews, I've had movies make a lot of money with terrible reviews, I've had movies get good reviews and make money. And I like it best when the movies do well and the reviewers like them.

I always felt as a kid that I was underappreciated, invisible or weird, but I've always secretly thought people would one day appreciate what is different about me. I'm always putting that message out there.

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.

As a Jewish man who has no interest in Judaism whatsoever, there's something in me that says when bad things have happened in the past, people were supposed to get more active and speak up and prevent them. That's what's important to me is that everybody - and I don't care what side you're on. You can disagree with me, but everyone better get active. Everybody better vote and be thoughtful.

I was very combative as a creative person at that time [while The Ben Stiller Show]. I didn't understand how to play politics with the studios. I didn't know how to creatively collaborate with the people who were paying the bills, and that came up all the time on every project I was doing, and it took me a really long time to figure out how to collaborate in a healthy way.

If you work on network TV, they want to pick your casts, dictate your story and how your show works. It just becomes creativity by committee, which is never good.

We are at this weird moment where there's an economic model that supports creativity. People are demanding something new and fresh.