I would say on the other side of the equation that there were really some massive sales and massive enthusiasm for some films that were given big releases. And I'm not really sure that happens in quite the same way, small films getting big releases. Maybe it still does, I don't know.

There's a big difference between having relatives who have money and actually having it yourself. Just because you have a cousin who has a lot of money doesn't mean he shares it with you. Or that you'd ask him for a loan.

I call the '70s the "golden age of television"; in the early '70s there were sensationally good shows.

I explained to Amazon that I don't like outlining or projecting what something's going to be. I like to allow a story to arise as I'm writing scripts. I find it horrible when I try to think of something for the plot without really being on the ground and seeing where it goes. I was really resistant to do the mini-bible. So I gave them something, but I really didn't want to do it that way.

So something I've felt I've learned with The Cosmopolitans shoot is using some agility and changing things quickly. That's something I found really useful on this shoot too. The gestation of The Cosmopolitans and this are slightly different from my other films. The script would be done and I'd be cutting it, but I wasn't always writing new material.

Find someone hypersocial and crazy and try not to follow them to their doom, but to make friends with their nicer friends.

I love watching the romantic comedies of the late '50s and early '60s. I used to have a rule that if Tony Randall's in it, it can't be bad.