I like the way corduroys feel. I like the sort of jean aspect of corduroys, but also the texture of them. They probably remind me of my childhood, too, I think. I wore cords, and my dad had a corduroy jacket.

I feel a real connection to Brooklyn, certainly, because I spent 20 years of my life there, but I don't think of myself as a Brooklyn artist any more than I think of myself as a male artist.

It's kind of a crazy art form, movies, in that you have to get it right the day you do it, generally.

When you're around your family, and you have that history and that shared language, you say things you'd be embarrassed to hear quoted back to you later.

I suppose some studio executive would say it's death for a comedy if people aren't all laughing in the same places, but I find with my movies that people laugh in very different places. I can't control it.

I thought at the time of my parents' divorce that I was upset by deeper, more profound things and I was just taking it out on the joint custody agreement. But that disruption was bad enough. That was a huge deal for a teenager.

A film set becomes its own family anyway, and all family dynamics come out during a shoot. The trick is hiring people who know how to handle that.