The audience doesn't care that most of happened. They just want a good movie.

At network television you could make a show like Freaks and Geeks, and even though 7 million people watch is every week, you were considered a terrible failure, and they got rid of you and staff. Now ... It's like a world where the replacements are the biggest fans in the world. It's, the Elvis Costellos of television are the winners. Creativity is king and it's very very exciting.

My first writing jobs were writing Tom Arnold specials for HBO, so I love working there.

I think people like Lena Dunham really opened up the door to what was possible, and they've inspired young women to go into filmmaking and writing and directing and acting in a way that maybe they didn't before, because now there is a path and there are jobs.

I've made movies on every part of the spectrum, and you do understand when you go into certain movies that you're trying to elicit a certain kind of response from the audience, and people get a real sense of satisfaction when they're rooting for a character and the character pulls it off.

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.

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.