In fact, I had the idea because of Peter Falk. I saw my dad watching a Peter Falk movie and something clicked in my head. I gotta go make a movie for Peter Falk and me.

Having a baby dragged me, kicking and screaming, from the world of self-absorption.

But at the same time that the experience is pulling you apart, it's also bonding you. You have this joint venture! You both made this baby. And that's the thing I still can't get over.

But I really felt that, something about the lights going down, and the sense of community. I saw this movie at one festival, and there were 1700 people.

We had the boy's name picked out, but we didn't have a girl's. When he turned out to be a boy, we were so relieved. Literally, in the middle of contracting and pushing, and with my wife being drugged - out and half - lucid, we were still coming up with names.

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.

But the two of them together, broke my heart. Olympia and Peter, those scenes... When they're kissing in their 20s and then kissing in their 70s, that's what it is. And they had never met five minutes before they shot those scenes.

Field of Dreams is the only movie - and I saw it in the theater - on an afternoon when I was on location somewhere, and there were like 12 people in the theater. I was just so devastated; I couldn't get out of my seat. And I sat and watched it a second time.

He was born early. But he was born within a safe range of premature.

The biggest thing I remember is that there was just no transition. You hit the ground diapering.

There's something that happens in that delivery room, when a woman becomes ten times more a woman, and a guy becomes six times less a man. You feel really dopey and useless and like a spectator. I did, anyway.

She kind of reminds one of Helen. There's something very similar about Elizabeth Perkins.

I'd distract myself until finally it was a combination of things. The show was over and I had time on my hands. I had taken time and played and just relaxed.

Nothing would make me happier if Peter Falk would finally win his Oscar for this. Not just as the writer but as a fan and a friend. It would be so great.

And after you've done the acting, there's a lot of places you can put your input - in the editing, in the production of it, in the rewriting of it and so on.

Not only do I sing to him, I sing entire conversations. You become Jerry Lewis.

They're not the sharpest people - babies. So, you must be everything to them.

We have such a long, familiar history with Peter Falk. The minute his mug is on that screen people smile.

We made this movie for $17, and nobody got anything. So it never dawned on me that we would get real people.

It's not like some movies where you're following a bunch of different stories you can cut around. There was nowhere to cut to. It's these guys. We're not cutting back to anybody else.

In fact, I had the idea because of Peter Falk. I saw my dad watching a Peter Falk movie and something clicked in my head. I gotta go make a movie for Peter Falk and me.

Every time I see Peter Falk in the movie I think that would be great. We'd be fun together.

This is not the most right I've ever been.

I'd never directed before and this movie's too important to me to put in the hands of some guy who has never directed. Even if it's me.

I remember my wife and I used to get on plane and see everybody else with their babies. They'd be putting strollers and car seats up above, and we'd think: Oh, please Lord, don't make us go through that.

And in that time, I lost my dad and had kids of my own. It was like, OK, I get it now. I know what fatherhood is all about. And you look at your parents differently.

Upstate New York in the middle of October. You can't get more beautiful than that.

But you get past that and realize you have to let go of what you think you want. There'll be plenty of time for that later. Right now, go and be with that baby. Just play with this beautiful little boy.

Theyre not the sharpest people babies. So you must be everything to them.

Once in a while you get a moment of clarity an inspiration and they dont come that frequently.

He was born early. But he was born within a safe range of premature

When we started making electronic music I imagined that the reaction we got from the rock musicians must have been similar to the one the beat groups got from people like my dad.

It was tough at the time but when I was younger, my Dad. I would say my Dad, because without him I wouldn't have been here. I mean it was tough for me because he was really demanding. With him, it was never enough, you know, anything I did was never enough.

David and Dad didn't get along too well growing up. I mean we all got along, but it was harder on David, because David wasn't going to be the son that Dad wanted. But now they're like best friends.

Where I come from, you don't really talk about how much you're earning. Those things are private. My dad never told my mum how much he was earning. I'm certainly not going to tell the world. I'm doing well.

I feel lazy when I'm not working. I learned all my business sense from my dad. He always believed in me, and I think the last thing he said to me before he passed away was, 'I know you're gonna be OK. I'm not worried about you'.

And I love Mel Brooks. My Dad loved his movies, too, they're awesome, the kind of thing that if you're in for ten minutes, you're in for two hours.

My mom and dad met at UCLA when he as a captain in the Air Force and she was in her junior year.

My dad was born in Chicago in 1908... his parents came from Russia. They settled in Chicago, where they lived in a little tiny grocery store with eight or nine children - in the backroom all together - and my grandmother got the idea to go into the movie business.

Mom and Dad would stay in bed on Sunday morning, but the kids would have to go to church.

My dad was dean of fine arts at the university. I was casting bronzes in the school foundry. I was using the university as a playground.

I have to remind my dad, 'Journalists - no matter how many cigars they smoke with you - are not your friends, so don't talk to them.'

We came from a family where we ran our own small business. Our dad made his own products. We made our own sausages, our own meatloafs, our own pickles. Dad had to do everything himself. He had to figure out how to finance his business.

My dad was a carpenter and I would work with him during the summer and umpire on the nights I wasn't playing.

It was sort of just a family sport. My mom and dad were pretty keen golfers when I was young and so were my grandparents, and I just sort of tagged along with them.

My dad takes care of me as a manager and as a dad. That's his job, you know, to take care of me. He has my best interests at heart.

My mom and dad are both in stand-up comedy, so that's where I started, that's where I got everything. My roots are holding the mic.

Joanna points her camera at a section of society unused to having cameras pointed at it. But I don't know about categorizing them in terms of class; I'm a bit wary of that. My dad is the son of a shipbuilder.

Now my dad is with me, traveling with me and a big part of this whole thing is I like to mix it up a little bit, you know. Who gets to take their father on a private jet across the country and stay in first class hotels? So we're enjoying it, but I'd stop if it's not possible.