As an actor and a director, I always let my actors go... assuming they have good ideas.

I'll never forget John Heard doing Shakespeare In The Park with Raul Julia and Richard Dreyfuss. It was 30 years ago, I guess. It was Othello, and John Heard played Cassio, and while everyone else was "Acting!" Heard came on talking normal, and everyone in the audience was leaning in to follow him. I wasn't doing that in Bus Stop. I think in that performance, I was putting it out a little too much.

Meeting Jerry Mathers I remember thinking, "This is it, man. This is the Hollywood life! I'm an actor and I'm going to Jerry's party. This is how it begins!" I was 13 or 14, and I thought this was the beginning of something.

Tucker's Witch was the first television I'd done in a while. It was just before Moonlighting, and just before you could get a little more outrageous on TV. We had a great premise.

To me, as a director and an actor, that's the main thing. "What's the heart of this story? What's the humanity of this story? And if the movie doesn't have it, then why am I watching it?" Even if it's a silly comedy, like Superbad or Knocked Up - Judd Apatow, I love, because he's all about heart. The humor comes out of the humanity.

John Belushi infused Animal House with this spirit of guerilla filmmaking. John Landis came from that world too, and all the National Lampoon writers were from that world. It was just chaos on film. Controlled chaos, though. We stayed very close to the script. It was a very formal kind of movie, if you look at it. Formally photographed and structured, with certain elements of improv.

I love JFK. My mother had been a worker on his campaign and adored him.