When you have a performer as talented as Bill Murray or as Harold, that can write as well as they can perform, you can do a final draft on the set if you think of it that way.

A good actor is someone who knows how to take the part and make it real and make it honest and be effective in it. If it's in a funny movie and, as long as they are cast in an appropriate way, humor will come from it.

The home viewing experience is slightly different and there's room for these kinds of extra excursions.

I think Junior is certainly a science fiction premise as is Twins, as is Dave, beyond Ghostbusters.

It's sort of the most important thing for acting, is to listen to the person you're dealing with.

Movies either work or they don't work and they're either funny or they're not and we work very hard. To achieve that kind of work is really kind of delicate stitching.

It's been about 15 years, and I've never really worked seriously in CGI and I thought that here was an opportunity to do the kinds of things that I was not able to do on Ghostbusters.

In many ways, I think that, while we've been remarkably violent in our media, there's been a real schizophrenia. In private, on the Internet, and on public-affairs shows or talk radio, we're way more explicit than we've ever been.

I always thought that Bill Murray was one of the great actors that I've worked with. And I've worked with all kinds of people who are known primarily for their dramatic work.

Then my first film was something called Cannibal Girls, which sounds like a horror movie but was actually kind of a goofy comedy with horror elements. Like a horror spoof.

Well, actually, I did start out in comedies. Very, very early.

Everybody says how hard comedy is, but, when it comes time to honor things, whether it's on a weekly critical basis or whether it's award time, at that time of the year, comedy is the poor, dumb child of dramatic work.

My sense is, I think it's okay for directors to do movies that speak to other work in their career.

I call it like the domino theory of reality. If you can go one step at a time and it seems to make sense, you can then take your audience into an area that is relatively outlandish.

I'm not sure I agree with the thesis, because I think that even though something grotesque or gross has been part of film since way back, what we accept or what we can get away with on the screen is broader now.

I've always believed in populating my films with characters who we like, who we have some warmth for, who have warmth for each other, who we would like to hang out with, who we emulate in one way or another.

When you have a performer as talented as Bill Murray or as Harold, that can write as well as they can perform, you can do a final draft on the set if you think of it that way.

My first student film was Orientation, which was basically the set-up for Animal House. There are a couple of scenes that we later borrowed in some form.

Also watching a movie on DVD is different than watching it in the theater.

I've always been a fan of science fiction films, and I've never been able to put my particular spin on it.

I don't think my sense of humor has changed at all; I was born with this, for better or for worse.

I love horror and sci-fi.

We got some devastating reviews on Animal House at the start.

In a comedy it helps enhance things that were already there.

I never like to do parodies. I never do. It's just not my style of comedy.

I don't think there will be another Ghostbusters. I think we're all too old to do it. I think we've done it a couple times and there is not that much to get out of it, to do that would be fresh in it.

I remember when first, Stripes, and then Animal House came out - which I was really proud of, even though it was kind of loose and quite raucous - there were imitative movies that were not quite as good.

I always see things that I can improve. But frankly with Stripes, I'm surprised at how effective it is, even today, and how vibrant that movie is and how juicy the performances all are.

I'd always been a science fiction enthusiast.

It is crystal clear to me that if Arabs put down a draft resolution blaming Israel for the recent earthquake in Iran it would probably have a majority, the U.S. would veto it and Britain and France would abstain.

Maybe the answer to Selective Service is to start everyone off in the army and draft them for civilian life as needed.

The following year, after I had prepared my draft, the Conference of the Interparliamentary Union at The Hague decided to set up a special commission to study the problem seriously.

This does make me very very careful, particularly in the second draft, to get it right, because you do feel that somebody in the future who may be extremely important for everybody, is going to have me behind them, and this is a responsibility, a huge one.

Rather than waiting to restore fiscal responsibility after we pass legislation, we must work to ensure we remain committed to it as we draft legislation.

Back then I said to myself 'screw football.' Actually I just took part in this camp as there was nothing better for me to do. They also didn't draft me because they thought I was too wild and undisciplined.

I don't fiddle or edit or change while I'm going through that first draft.

I've never shown anybody a draft of anything.

After I've sent my revised draft to my agent and editor, they suggest more improvement sand again, this revision phase can take anywhere from a few hours to a few months.

Generally I finish a first draft in 2-6 months, then I set it aside for a while so that when I come back to it I can read it with fresh eyes and figure out how to improve it.

The Iraq war was fought by one-half of one percent of us. And unless we were part of that small group or had a relative who was, we went about our lives as usual most of the time: no draft, no new taxes, no changes. Not so for the small group who fought the war and their families.

I was a pitcher, shortstop and outfielder, and the Yankees tried to sign me out of high school as a first-round draft pick in 1981. I turned them down to go to college.

I don't have any respect at all for the scum-bags who went to Canada to avoid the draft or to avoid doing their fair share.

In the original draft I was 27 and Peter was 55 in the script. That's not the same as a guy in his 40s and a dad in the end of his 70s. It's a different point in both our lives.

Not until the final draft do I force myself to remember that I'm going to have to think about how it will affect other people.

Conservatives truly love America and support the armed forces, while liberals are unpatriotic draft dodgers.

I remember the day I found out my draft status. I was really floored and kind of staggered around in a daze. It just hadn't occurred to me that I could end up in Vietnam.

The Indians could not undertake any widespread cultivation of the plains not only because they lacked iron tools but also because they had no draft animals.

For me the writing, when I'm going to direct it myself, is really just the first draft, and I don't change it very much; I only change it on average about two lines per movie.

Once I've got the first draft down on paper then I do five or six more drafts, the last two of which will be polishing drafts. The ones in between will flesh out the characters and maybe I'll check my research.