The irony is that the more unapologetically sexist men are in movies, the more women tend to be attracted to them in person.

The irony is that the more unapologetically sexist men are in movies, the more women tend to be attracted to them in person.

I don't think I'm egotistical as much as I'm taking responsibility for what I'm putting out there.

I've cut myself out... I've cut scenes out that I was in and that's when you realize that you've got to make the best movie you can.

I find that people... very few people think that what they're doing is bad, and usually the people who think what they're doing is bad it has more to do with guilt.

I was the worst extra, I was 'that' guy. I was the guy on the phone trying to get the Oscar for best extra - for best background performance.

Acting is the most fun. I like to do it and it's great that I can still do that, but you know, you don't really have a lot of control over things, so it's real hit or miss.

'King Kong,' especially the first two acts of it, is a really good example of the use of miniatures mixed with digital characters and how convincing it was.

'Made' is about opening your heart to people who deserve your love and not trying to turn other people into something that they're not: not trying to save people who don't want to be saved. If you go down that dark path, you're not going to end up doing any good.

A thoughtful piece of criticism by somebody who understands the context of what you are doing is a tremendous gift and honor to read, even if they don't completely embrace your work.

At the end of the day, it seems like there's a critic archetype for food movies, like with 'Ratatouille' or anything. You know, if you were doing a puppet show about chefs, one puppet would be the chef, one would be the critic.

Back to the painting of the Sistine Chapel, there's always been run-ins between benefactors and artists.

Between the theme parks and the movies, the Disney iconography was probably the first set of archetypes that I was exposed to. Walt was able to expose me as a child to the full array of emotions, including fear and sorrow. Those movies and attractions haunted my dreams and made a deep impression on me as a child.

Christopher Nolan's 'Batman Begins' set the bar very high for the superhero movie, as it showed that you could get a great cast for these movies and take a real filmmaker's perspective.

Comic Con has become a very relevant venue for all films.

David Anspaugh, who was my first director, on 'Rudy,' was all about empowering the actor, making you feel comfortable and appreciated, allowing you to keep your dignity, and treating you like a man. Being treated like a grown-up makes you proud to be involved in a film.

Especially in the food business, critics take very seriously how much power they have. They can shut a restaurant down.

Ever since I read 'Kitchen Confidential,' I saw a little light bulb go off. Being a chef is like being on a pirate ship; it's not like 'Who Is Killing the Great Chefs of Europe?' or whatever my impression was as I was growing up.

Everybody loves a hit. There is nothing as fun as making a cultural splash with a movie.

For a movie - any movie - to work, all the bread has to fall jelly side up; everything has to go right. You have to hit the zeitgeist.

For me, I love food. It's my greatest pleasure and also the thing that could ruin you as well. It's one of those things where, if you're not thoughtful about it, it could be unhealthy. But if there's a mindfulness about it; it actually is a wonderful tool of emotional expression.

For something to be profitable doesn't necessarily mean it's the best thing in the world for the director. You judge a movie by different standards - I've worked on comedies, and now I've worked on superhero movies, and the reviews are almost parenthetical in both of those genres.

For years, I was watching other people have so much fun playing out their version of authorship, like Louis C.K. and Larry David. As I watched them do their thing, I began to pine for the days when I had a lot less expected of me and, often, a lot more creative freedom. The courage that those guys have is always captivating to me.

Get the shading right, the lighting right, and there are things you can do to make the CGI look more real. People end up going crazy and give themselves a little too much freedom in how they use CGI, and if you overuse it, it draws attention to itself.

Half the people think I write Obama's speeches; the other half think I'm on 'Entourage.' So I'm at the level of fame where people kind of know who I am, but they confuse me with other people.

Hopefully we'll figure out how to get 'Iron Man 2' going, and I'll be involved with that. You have got to outdo what you did before. So, if the last one took two years, we would need at least that to do what we are talking about or, at least, thinking about.

I can't begin to tell you how fulfilling the perennial nature of 'Elf' on television has been for me. It's great to be able to connect parents with children both emotionally and through humor.

I cooked a little bit in my first movie; I did a movie called 'Made.' For the little kid in the movie, I do a scene where I'm preparing a pasta puttanesca. I always loved watching that scene.

I did a guest thing on 'My Name Is Earl,' and there is something about being involved in a TV show that's in the midst of its popularity that frees up the creative process.

I don't 'handle' people. It's so much easier to manipulate actors than to really have an earnest discussion with them. It's very easy to say whatever's going to appease them and then turn around and do whatever you want to do. It's difficult to be forthright with people, because the job does not lend itself to that.

I don't have a lot of patience for movies that aren't cleanly told.

I don't want to be an art-house movie guy, where people who go to film school can discuss your work, but people who haven't studied cinema can't appreciate it. By the same token, I don't want to be the guy who's making this commercial pap that people lap up but that disappears the minute you leave the theater.

I like a naturalism to my dialogue and my comedy. I would rather have a few jokes sail by that might be more subtle than have every single joke hit hard. I would rather the comedy come out of character as opposed to feeling forced. Even if you're giving some laughs up for it.

I like happy endings in movies. I think life has a happy ending. When it's all said and done, it's all something worthwhile, and I want my movies to reflect that. There are enough things to be sad about. When you pop in a movie, let the message be one that's one of hope.

I like reading reviews. If they're clearly hating on you, I try not to read that deeply. But if they really are trying to understand, it's interesting.

I love 'Star Wars,' you know, and I can't remember the last story meeting I've been in where 'Star Wars' wasn't referenced. It's so perfect in so many ways.

I think 'Chef' is about somebody who's in the middle of his life, and he's kind of lost his passion and his voice, so he seeks out some refinement and redemption.

I think that anything that leads to creativity and good work is good.

I think that part of the reason that 'Iron Man' was so successful was that we really chose to break new ground in a new area tonally, cast wise, the way we depict the hero, what his abilities are. It felt fresh in a genre that is beginning to feel stale if it's not done with the proper amount of inspiration and a strong voice or tone.

I think the bigger the movie is, the harder it is to maintain the idea of an auteur. You're servicing something beyond just your own vision. Whenever there's a lot of money on the line, it is your responsibility to make sure that you're doing your best to have people not lose their money and to actually win by betting on it.

I think what is nice about 'Elf,' and why it doesn't play as one long sketch, is that the character actually grows up during the course of the film. It's not just a character that you can keep checking in on and keep doing sketches about. It's a story. I'm pretty proud of how we told it.

I think what's fun about the Western genre is the character arcs are very strong and, arguably, more interesting and exciting than the action that is metaphorically representational of those arcs.

I want to make sure everyone's having a good time because when I ask you to come to my movie, I'm throwing a party for you. I want you to enjoy it.

I wanted to be a New York City firefighter. I didn't make it in, though.

I was 22 and had worked on Wall Street for a year, and quit my job. I bought a motorcycle and sort of had this fantasy that I'd go cross-country like 'Easy Rider.' I went from New York to L.A., and on the way back, I stopped in Chicago and saw a friend of mine who was into improv. And I figured it might be fun to give it a shot.

I'll basically eat anything that a chef puts in front of me. One of the reasons is respect for the chef. I watch chefs eat at other chefs' restaurants, and they're very aware not to leave anything over because the chef is watching very closely. It's a very sincere interaction when two chefs are cooking for one another.

I'm a pretty early adopter of social media. There's a whole subculture to it. I'm smart enough not to tweet things out of emotion.

I'm a very lazy person by nature. I have to be really engaged, and then I go straight from lazy to obsessive. I couldn't study chemistry, but I could memorize all the books for Dungeons and Dragons. It was ridiculous. The trick is to find what I like to do.

I'm not on chef level, but I'd make a good line cook. That's not too shabby.