You can work on a movie for years, and you won't know until you show it to an audience for the first time if it makes any sense to them at all, if they're touched, if they find it funny, so it's endlessly exciting, because failure is just right there all the time, and your chances of success don't rise that much based on the fact that you succeeded last time.

I don't think there's really observational magic.

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.

And I like the passion that people have when they're trying to prove they can make a movie or be a movie star.

If you develop 10 things, and you can get two or three made, that's a very high ration.

It's a pretty humiliating thing when you get picked last every day in gym class and then at lunchtime all the kids play sports and you get picked last. At the time I just thought, "This is awful," because it defines you as a weak person. It defines you with girls and if you're bad at sports, you get into this funny cycle where the ball never gets to you because now you're in the worst position, you're in deep right field, so you can never prove that you got better, so the cycle lasts forever.

If the movie's not communicating, it's not working.