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.

I start thinking about the next movie before it's a success, so I can never have one moment of happiness or peace. I'm instantly thinking about the next one.

I think the story should always determine the visual approach. There are situations where you want things to feel alive and like life, and there are situations that should have some magic and the separation with the grain.

I wanted to see how funny I could be without making the choice that every 10 minutes something big and visual had to happen.

The only way you survive on all these services is if you're groundbreaking. There's pressure to be groundbreaking, which is the greatest thing that's ever happened. It's a bizarre aspect of what's happened with all of these subscription services is everyone is trying to outdo each other by doing great things.

I don't think it matters what the frequency is of me writing or directing a movie. It doesn't really matter to anybody else. I'm just trying to put good things out there.

Nobody's going to like my next movie because they liked Trainwreck [2015]. It has to work on its own, and that keeps it really scary.