I always prefer the big laugh. That is always the objective, especially with a film like Scary Movie 2.

You just can't make any movie and it will be good now. This is a really a difficult time to be in films.

I think a lot comes from having the experience of doing stand-up comedy. It allows you to figure out the psychology of an audience; what things are funny and not.

In rare instances you have to give up what you thought was a great scene.

We've seen so many films now, that you have to be on par with the best films that have preceded you. You just can't make any movie and it will be good.

My brothers can be a little out of control sometimes and so somebody has to be able to keep them focused.

I go through a whole process with the actors first, building and creating characters, then I encourage them to sort of live in that character when they're in the screen.

I enjoy the character interplay. Sometimes the audience is not laughing, but smiling, and that is almost just as good because it keeps them ready to laugh.

It's the teenage and university crowd, so we give them lots of sex jokes and gross humour.

Creativity is the answer. I always prefer the creative solution to an expensive solution.

You can kind of feel when things are going to work out.

We felt like we had done as much as you can do with the slasher genre. We were trying to find the next group of scary movies that were ripe for parody.

I have been a director who has starred, participated on both sides of the filmmaking process.

There are two phases to a movie. First you shoot the movie, and then you make the movie. Generally, post-production is longer than filming.

I'm not on all the time. I like to have fun and be funny, but I'm much more of a thinker.

You do what it takes. It was on me to deliver.

Just making a good movie is hard to do.

This is really a difficult time to be in films.

I'm just calm under fire. I'm not intimidating at all.

It's rare that you cut out something that is really good. You screen all of it, and when the audience doesn't respond, you cut out whatever is holding the story down.

The pressures having grown up in this business can be really rough. And it is a testament to you that you have remained focused and NOT lost your mind.

I prefer the smaller budget versus the bigger budget because the mentality that goes along with big budget filmmaking doesn't really suit me; the mind-set that money is the answer.

I put the cameras on her and told her to be obnoxious as she could possibly could be. She was.

Slot machines are like crack for old people.

I like to have fun and be funny, but I'm much more of a thinker.

You never really know until you put the movie in front of an audience. I am a big advocate of screenings, which are getting harder and harder to do nowadays.

I always prefer the big laugh. That is always the objective, especially with a film like Scary Movie 2.

All I need is a camera and I'll make things happen.

We do nods to Charlie's Angels and Mission Impossible because they are popular with our fan base.

I throw it all in there, Kung Fu, blaxploitation, horror.

I put heavy emphasis on the characters.

My best film composing experience was with Elia Kazan.

I was lucky enough to occasionally break out of that racist situation that prevails in the Hollywood film production community. But it was racist then and it will always be that way. It will never be otherwise.

'Batman' took 10 months to film, and by the time I stopped working on it, it took a long time before my English accent came out again. I was actually having to try for it.

Luck is everything... My good luck in life was to be a really frightened person. I'm fortunate to be a coward, to have a low threshold of fear, because a hero couldn't make a good suspense film.

I still feel that a movie has to attempt to say something - even if it fails miserably. But I've sort of given up on believing that I'm going to change the world with every film I choose to act in.

It's the difficulty we had with Mr. Bean, actually, when it went from TV to film. You certainly discover that you need to explain more about a character.

To make a documentary is one thing, to make a feature film is quite another.

I mean when the play was on in New York I was starting to get film offers coming through, and since the film's come out I get offered more than I used to, but it happens incrementally.

I think it would be very boring dramatically to have a film where everybody was a lawyer or doctor and had no faults. To me, the most important thing is to be truthful.

I like doing them and they're ridiculous and the actors can improvise a lot, and they don't have to be really realistic characters that hit a very specific tone as in a feature film. They're really fun, I want to make more of them definitely.

One of the most interesting aspects of the film project was collaborating with so many people - directors, filmmakers, and writers - over a five-year period. I learned that there are two components to this.

The best thing I can think of would be to create a union between something as beautiful and powerful and wonderful as Hollywood films and a criticism of the status quo. That's my dream, to make such a German film.

If he didn't fall in love he would have never come back near the end of the film. Because, what man is going to dishonor himself so that he comes back in front of the man that took a woman away from him... and warns her to save her life?

Robert Altman's Nashville is my all-time favorite film because it covers all the bases - it's original, moving, and has something to say, but also funny and incredibly entertaining.

I never see a novel as a film while I'm writing it. Mostly because novels and films are so different, and I'm such an internal novelist.

I have a movie coming out called Spun, which will be at the Toronto Film Fest.

Well ironically my last three roles have all been a mother. One was a Canadian film where the baby was taken away because she is a drug addict, in Irish Jam I play a mother to a four year old. I think in the future I'll be able to handle the role with a lot more depth.

And when you see it the first time you put the film together, the roughest cut, is when you want to go home and open up your veins and get in a warm tub and just go away. And then it gradually, maybe, works its way back, somewhere toward that spot you were at before.