The script is like music to me. I approach it like it's a musical piece and I hear how it's supposed to sound when people say the words. There's rhythms and there's intonations and things, and so, when somebody comes in and hits the notes that I hear, I go okay. Or, they come close enough, and then I'll say "Well how about you try it like this?" and if they have a good ear and they can pick it up, then I think okay, they've got it.

I'm always running around trying to raise money to make the films. Fortunately, I've been able to do that, but if I can't, at this point, it's not like I wanted to spend a lot of time putting together, you know, you spend a year of your life on something, you go, "What the hell am I doing that for?"

You work with every actor differently. It's like if you're a mother, if you have children, some children need more discipline. Other children you back off of a little bit and let them be. It's the same way with actors. Some actors need a lot of hand holding. Other actors like to be let be and you let them go. Some actors like to be nudged just a little bit. Some actors don't mind line readings.

As you get older, all those dumb clichés, they're all true. You only have a certain amount of time left, and you should only spend it doing the things that you want to do. It's all true.

I'm a huge fan of Jonathan Winters. He's influenced everyone who's ever done improvisational comedy. You look to Jonathan Winters for inspiration. He paved the way.

You never know if anything is going to stand the test of time or going to be successful.

I think for every parent, they know their kids better than anybody else, and they have to just trust their own instincts.