I've been directing for 25 years almost, and I've only directed nine films in that time because I like to be careful.
Multiplicity was a movie that tested really well. People seeing the movie really liked it, but then the studio couldn't market it. We opened on a weekend with nine other films.
My first few films were institutional comedies, and you're on pretty safe ground when you're dealing with an institution that vast numbers of people have experienced: college, summer camp, the military, the country club.
There's a personal story of my own that I will write at some point, and it's a film that I will happily make. It could very well be the next thing I do, unless someone shows me something great.
If people offer me decent roles in good films, of course I'll take it. But I just didn't like the actor lifestyle. You end up focusing all your energy on trying to get parts you don't even want.
Films are big hits when they touch a lot of people. Things are not funny in a vacuum, they're funny because we respond to some personal dislocation, some embarrassment, some humiliation, some pain we've suffered, or some desire we have.
It's a great luxury for me to be able to write on the films that I direct, and kind of a nice thing to be able to write enough to get credit, which is difficult for a director.
When you're a big enough part of the process that the Writers Guild gives you a lot of credit, that's a good thing. It tells me that I've had a significant impact on the film as a writer.
When I've written for Bill Murray - I've written six films for him - people would read it and say, "Oh, that's so perfectly Bill." He'd read it and say, "Are you kidding? I can't say these words." So it's all about perception.
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