To me, the script is a living, breathing organism. Comedy is something that is ever-changing and ever-flowing with the vibe and the mood of the movie.
I was raised by my mom. She taught me how to be a gentleman; nobody in the movies taught me. I think people are raised by their parents. If you're raised by movies, it's a whole other set of problems. I don't think it's as simple as me saying movies are meant to entertain, but I certainly don't feel moral responsibility in putting this out in the world and being like, "OK, this is going to affect how guys make decisions because they see some of my films or whatever." I just don't.
When you work on a movie or a TV show, you're a family, so if something that's a two-minute thing in the movie is causing a rift in the family, you also have to think about at what point do you fight this, and at what point is this rift worth having in this very small, very tight group of people who are just there to make something great and funny.
You're never nice to your friends. You're nice to people you don't like!
I feel like movies when they work they'll find an audience.
Every weekend in history has worked for movies if the movie connects.
My movies before tend to be just funny. But it wasn't a conscious thing I was looking for at all.
I'm not worried about young people seeing an opportunity and taking advantage of it.
How many days do you have that are just purely dramatic? How many days do you have that are just purely comedic? It's usually a combination and I think that's what real life feels like.
I just thinks it's interesting what it takes an actor to find their characters through the wardrobe, or the hair, or the way a character walks.
When I was in NYU Film School I drove a taxi in New York for two years, I felt like I owned my own business with that little taxi.
I love confidence in a guy. I don't have it, but there's nothing sexier.
Reality television hasn't killed documentaries, because there are so many great documentaries still being made, but it certainly has changed the landscape.
I make decisions to do movies based on the cast. I'd just been working with Zach Galifianakis on 'The Hangover', and I was thinking, I've got to find something to do with this guy immediately.
I grew up raised by my mom and my two sisters, so I never had a real male influence in my life. I never really understood heterosexual male relationships.
There's such an awkwardness to most heterosexual male relationships. You see women who are friends, and they kiss each other good-bye, and they're just so much warmer with each other. But there's this thing with guys where, even between best friends, there's a standoffishness.
You know, because you outline a movie, it kinda comes at the same time. I mean, there are days when you are just concentrating on 'ok, let's worry about just comedy today,' and there are days when you're like 'you know what, we gotta just beef up the story.'. But, it's not like process wise it's that technically separate. One informs the other, so they kinda all happen together ideally.
It becomes pretty crystal clear once you watch that first assembly [movie cut] the things that are just grinding it to a halt, so to speak, or slowing it down, or getting in the way, yeah.
Music is just one of the tools a director has with which to paint and I think it's one of the most effective.
I think a lot of American comedies tend to apologize for their bad behavior in the last 10 minutes of the movie.
To make a movie about mayhem, sometimes you have to go to mayhem.
What it boils down to is that when you say the word Las Vegas it means something. You could say New York City and it doesn't really mean anything. When you say a word like Bangkok, in my mind it means something. There's not a lot of cities where the world literally brings a picture to your mind.
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