Then there was a kid in the neighborhood about three blocks away, his name was Bobby Beavis.

When you make movies, you've picked the most expensive art form, and somebody has to pay for it. You kind of owe it to them to at least let them know how you expect to make it as accessible to as many people as you can, given the story you're telling.

I'm sorry I can't get into Scooby Doo on any level.

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.

Susie Lynn, the producer of those segments, goes in and lays all the voices over the video.

Stealing, you'll go far in life. Actually, there is something funny about getting away with it.

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.