At the end of the day, I just want a movie that's great, that people are going to love and laugh at and be affected by, and also have an emotional journey.

I've never been to a class reunion or anything because I'm always afraid of that one - there's going to be some 'Carrie'-like incident.

If you're not connected emotionally to a story, then you're dead. You're as a filmmaker really just opening the door for people to lose interest and their minds to wander, for them to start picking it apart. That's what people will do, people will naturally tear stuff apart because they're trapped with it, they paid money for it. And they came into it wanting to love it. So all you can really do is piss off the audience. Unless you do things right.

Forty is the line of demarcation that says you're an adult now. You're an adult, so don't pretend you're a kid anymore.

Women's humor seems to be a little more supportive. It's just kind of trying to make the other one laugh through funny voices and kind of talking about other people. I respond to that. I feel less like I'm going to get beat up in a room full of women than I do in a room full of guys.

That's what I love about the mockumentary style, is the added thing of people knowing they are on-camera, which changes your behavior. That's why we sometimes do what we call spy shots.

The British model, which I've always thought was great, is that you do a TV show and then they sell it. Then you can buy it at the video stores forever, so it never went away. But American TV used to be if you had a show and it got cancelled, then it never existed. It was just this thing you heard about and you couldn't see it again. There is something so great about shows getting released and people getting to watch them over and over again. It definitely takes the sting out of it.