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 was a guest on Comedians in Cars Getting Coffee with Jerry Seinfeld, and I interviewed him when I was 15 years old-those moments really blow your mind.

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.

Some people are probably saner. They're good performers, and they go about their day. I just get obsessive about it.

When Jim Carrey signed on to star in [The Cable Guy], and then they asked me to produce it, I made a very brief plea to direct - which was rejected really as quickly as anything can be.

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.

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.