There is no way I could have ever dared to make a documentary, much less have the money to make a documentary, if it was on 16mm. But, with the magic of digital.

Comedy is not commercial; it is risky, because what is funny in one place isn't always funny somewhere else.

There is no way I could have ever dared to make a documentary, much less have the money to make a documentary, if it was on 16mm. But, with the magic of digital.

I didn't even know what a film director was. To me, Charlie Chaplin was a goofy clown, and John Ford - what? Never heard of him.

I'm from the '60s, but no one has ever accused me of being a hippie. I never had much interest in the Woodstock crowd, which partied to change the world, while real people were starving to death in Africa.

My roommate at Yale University introduced me to the auteur theory of filmmaking. I soon became a big fan of the works of John Ford, Kenji Mizoguchi, Ernst Lubitsch, and Stan Brakhage. I then decided to make my own films!

It's a lonely world, being independent, and they can come away with the idea that if Lloyd Kaufman can make movies with people getting their heads squashed, with hard-bodied lesbians, women masturbating with pickles, graphic diarrhea, and singing and dancing chicken zombies - if he can do that for 40 years and put his kids through Yale, Columbia, and Duke - if that idiot can do it, anybody can do it.