When I worked in those offices, it was just irritating to me that somebody sat there and designed this place, never thinking that you would walk from here to there, and they didn't care. The one guy designs it, gives it to the other guy, he looks at it; no one thinks about all the people that gotta walk through it. So I think the best way to show those banal moments is to be just flat and wide.

When I worked in those offices, it was just irritating to me that somebody sat there and designed this place, never thinking that you would walk from here to there, and they didn't care. The one guy designs it, gives it to the other guy, he looks at it; no one thinks about all the people that gotta walk through it. So I think the best way to show those banal moments is to be just flat and wide.

I don't return anybody's calls unless it's going to mean extra money for me. And I've completely cut off all relationships with any friends that I had before the show. And I've copped an attitude.

I went to a Catholic high school and it seemed like every time I drew something for a class project, it either got thrown away by the teacher or something.

You look at material a different way when your ass is on the line financially for it. You want to know where the big laughs are, and how we're going to sell this.

It kind of hit me at some point during the process that most people in the film business - not just the executives, the people who make them, too - tend to come from pretty upper-class backgrounds. If they go work a job, it's to have that experience, that sort of thing. After they graduate college, they have time to go visit Europe and take some time off and get their heads together. That kind of thing, I sure didn't have.

When you work for other people you'll find ... that they do know what's best for them, and for the company. And you should listen to them and be respectful, but they don't know what's best for you.