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.

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.

Why is it that if you hit a shot to within a tenth of an inch of the hole, it's a great shot, but if it goes in, it's luck?

I am extremely excited to develop and design a brand representative of my life, experiences and style. Working closely with Cherokee will help establish a worldwide presence with best-in-class retailers and category leaders.

I said to myself a long time ago that I didn't want to be that hanging-on-for-too-long, aging-rock-musician guy, and that's why I sort of got away from music.

True delicacy is not a fragile thing.

When something an affliction happens to you, you either let it defeat you, or you defeat it.

Once I know people know who I am, it gives me a lot of licence and freedom to behave in ways I wouldn't normally.

I had first heard about Alan Turing when I was a teenager. I've known about him since I was a kid, and I always wanted to write about him.

No man ever prayed heartily without learning something.

I've never presented. The logistics of that is a challenge.

A great goal in life is the only fortune worth finding.

Bond was escapism, but not meant to be imitated in real life.

The best teachers are those that show you where to look but don't tell you what to see.

I'm from Malibu, California. Once I tell people, they're like, 'Oh, of course you're from Malibu; that makes sense.' I guess I am your typical just-graduated-high-school-in-Malibu type of girl. Our school was just across from Zuma beach, and we all wore Lululemons and bathing suit tops to go to the grocery store - no makeup, no shoes.

I am a mechanical techie. I can build things with my hands.

We don't believe there is a functional conservative party in this country, and we certainly don't think the Republican Party is that.

I hate fame.

Civilization is the distance man has placed between himself and his excreta.

Nobody should force you to do a bad piece of work in your whole life - no client, no creative director, nobody. The job isn't to please the client; the job is to produce something for the client that makes them incredibly successful.

I'm not very good at writing songs when I have a lot of clutter in my mind.

Comedy is just to me, maybe it's a natural knack, if I can see where the joke is in the writing and I can see where the setup is and I can tell this is the way to make it.