I think we'll all keep pushing each other, which is a great thing.

I love making people laugh. It's an addiction and it's probably dysfunctional, but I am addicted to it and there's no greater pleasure for me than sitting in a theater and feeling a lot of people losing control of themselves.

But I always reassure them that as far as my contractual rights can go, I will protect them and make sure that they have approval over every bit of it so that they know I won't show something that's embarrassing.

We collaborate on everything. I'm involved in the writing and pre-production. There's a whole bunch of people who keep in touch at every step about everything.

My biggest role as director on the film is keeping a sense of the overview - how to cast the movie and shoot it in such a way that it will cut together. And how to design the style and tone.

Sometimes I would like the opportunity to do character-driven comedy and that's really what I was trying to do in Meet The Parents. I think in a way this is a more old fashioned type of comedy.

The success of the second 'Austin Powers' caught us by surprise a little bit. We had decided not to do even a second one, unless the audience wanted it and we could do something better.

When I'm shooting, really the audience I'm thinking the hardest about is that first test screening audience who I want to like the film and that first opening weekend audience.

I figure if it's turns out well the film will have its own momentum and will carry into the video release. So it's hard to really picture the DVD version when I'm in production.

But I couldn't cut that whole septic tank scene out because the audience liked it so much. So I sort of fell right back into getting a cheap laugh, but I still loved it.

I think sequels should be earned and we won't do it unless the script is better than the first one.

I hope we're all kind of influencing each other now to keep the quality up on those things. They seem to be getting better and better and better as there's not only sort of a film geek audience, there's also a general interest in the overall film consuming population.

The commentary track became a lot like the movie and there are some funny, long, awkward pauses that you can tell we're just trying to find stuff to say. None of us had gotten to really talk about the movie until that moment and they were in New York and we were in L.A.

I'm not one of these directors, so far, that wants to have a whole separate director's cut of these things. So far they've turned out to be kind of the length that they wanted to be.

It was an interesting process trying to get Bob to talk about the film because he's such a shy person. He generally likes to talk when he really knows he has something to say.

On the other track I got to talk with Jon Poll, my editor, and we go into more detail about the decisions we made in both the production and the post-production. So I hope the combination becomes something worth collecting.

I've recently enjoyed the Paul Thomas Anderson commentaries and the David Fincher commentaries.

I really enjoy the consolation when I'm having to cut loose stuff I love, of saying 'Well, at least it will make it onto DVD.' There's a couple of scenes which I liked very much, but couldn't fit them into the film that are on there.

As long as we, again, kind of keep earning the sequels with material and I'm confident Mike can, I'm in. You know I always want to do those. But I also want to keep going in some of the direction as Meet the Parents has.

We had to do the same thing here. To top that sequel was quite a task. Mike had a couple of good conceptual humour and character ideas, which got me back into it.

I think we'll all keep pushing each other, which is a great thing.

I'm developing some other things in other genres, including one dramatic piece. So, anything's possible.

I learn so much from watching films like that with commentary and then when you get to hear another filmmaker talk about their films it's a really great experience.

Because I actually find the next take after they've controlled it a little bit and repressed the laughter is actually a really interesting take, because that's still going on underneath the surface. That struggle to maintain composure becomes part of the joy of the scene.

You could get in rehearsals, pre-production, anything that would actually contribute to the understanding of how a film gets made. I actually find those things increase people's interest in a movie and like that better than worrying about showing the tricks behind the curtain.

The DVD does make it a little easier for myself to trim things that are otherwise very difficult to let loose of - knowing that they'll make it on the DVD.

My favorite laser disk ever was the laser disk for The Graduate, which had a commentary track that wasn't even the filmmakers, it was a professor, some film criticism guy who just happen to be this amazing commentator who went off into the whole theory of comedy.

I do love DVD and I've always taken them seriously. You know, on the Austin things, we really put a ton of work into them because there's so much design involved. And in this one, we thought a lot about it and what could go in.

You can make an idea spread for good but you can also make an idea spread for bad and the power to make an idea spread, memetics, you know which now people talk about memes.

My biggest fight has been between those who wanted to do something incremental and those who wanted to do something comprehensive. We won that fight, and once we kick through this door, there'll be more legislation to follow.

I'll let you be in my dreams if I can be in yours.

I'll sit on the floor and cry if I'm having a meltdown. I don't care.

I believe that God breathed life into every person and that every person is made in the image of God and you have accept them as they are, on their journey. I'm not here to preach hate or push people down.

The release date is just one day, but the record is forever.

Even now it comes as a shock if by chance I notice in the street a face resembling someone I know however slightly, and I am at once seized by a shivering violent enough to make me dizzy.

I actually have blissfully romantic views of marriage, because that has been my experience of it.

I have to go out for lunch and dinner because I can't cook. I need a woman to come and save me from my cooking.

I went to school for engineering, I studied jazz. So I always had this kind of creative side and technical side, and I thought architecture might be the way to combine them, so I went to architecture school in New York.

We grow small trying to be great.

I decided to move out of the apartment I was sharing with my best friend before graduation and move back home. My parents had recently separated, and I wanted to move back home with my mom and my siblings.

Ireland was, of old, called the Isle of Saints because of the great number of holy ones of both sexes who flourished there in former ages or who, coming thence, propagated the faith amongst other nations.

Only a man's character is the real criterion of worth.

I took several trips to New Orleans and met with people who had intimate knowledge of the underbelly of the city in the 1950s. The meetings were both fascinating and terrifying.

The president is just the coach of a football team. You need the right support, the right stadium, the right players, the right staff. An excellent coach is not going to win games.

We should never forget that no fundraising effort ever succeeds unless one person asks another person for money.

With a strong heart and a good mind, you can do it.

Like what you do, if you don't like it, do something else.

Our son is in school now. You know, he's six-and-a-half and so a big chunk of the day is taken up by school. So I'm hoping that I'll be able to certainly take him to school in the morning, maybe pick him up in the afternoon and come back to work.

Sometimes you're trying your best and you still can't find a solution, but I try not to waste my life living in a dark place.