I like doing the mainstream, right-down-the-pike broad comedies as much as I like doing the kind of unorthodox different stuff.

Michael Keaton had a great, great career. I do remember when I was a young guy thinking about him, about how he'd had the chance to do it all, so yeah. But, there's nobody where I've said, "Man, I really want that guy's career."

There's an old saying that you don't ever finish a movie, you abandon it, and I really believe that. I never walk away from a take and pat myself on the back.

I noticed while working on Green Lantern that the actor - albeit forefront in the film, obviously, and the key focus for the audience - is kind of the smallest cog in the machine when you're shooting.

It's just a moment that doesn't feel 100-percent truthful, a kind of a square peg/round hole situation. Which is why the preproduction on a movie is so important, because you can't just push those through.

Laughing can serve you in dark moments and even help you crawl your way back out.

The woman is skin covered prozac I like to call her. Half the trick to a film like this is keeping a sort of emotional level going and keeping an attitude that induces creativity on the set. You have to be in a good mood for that. You have to be happy to make a comedy I think and Anne sort of ensured that every time by expressing most of her feelings through the exciting medium of dance.