It's been about 15 years, and I've never really worked seriously in CGI and I thought that here was an opportunity to do the kinds of things that I was not able to do on Ghostbusters.
I always see things that I can improve. But frankly with Stripes, I'm surprised at how effective it is, even today, and how vibrant that movie is and how juicy the performances all are.
I don't think there will be another Ghostbusters. I think we're all too old to do it. I think we've done it a couple times and there is not that much to get out of it, to do that would be fresh in it.
I call it like the domino theory of reality. If you can go one step at a time and it seems to make sense, you can then take your audience into an area that is relatively outlandish.
Then my first film was something called Cannibal Girls, which sounds like a horror movie but was actually kind of a goofy comedy with horror elements. Like a horror spoof.
I don't think my sense of humor has changed at all; I was born with this, for better or for worse.
A good actor is someone who knows how to take the part and make it real and make it honest and be effective in it. If it's in a funny movie and, as long as they are cast in an appropriate way, humor will come from it.
Also watching a movie on DVD is different than watching it in the theater.
I always thought that Bill Murray was one of the great actors that I've worked with. And I've worked with all kinds of people who are known primarily for their dramatic work.
I love horror and sci-fi.
I never like to do parodies. I never do. It's just not my style of comedy.
I remember when first, Stripes, and then Animal House came out - which I was really proud of, even though it was kind of loose and quite raucous - there were imitative movies that were not quite as good.
I think Junior is certainly a science fiction premise as is Twins, as is Dave, beyond Ghostbusters.
I'd always been a science fiction enthusiast.
I'm not sure I agree with the thesis, because I think that even though something grotesque or gross has been part of film since way back, what we accept or what we can get away with on the screen is broader now.
In many ways, I think that, while we've been remarkably violent in our media, there's been a real schizophrenia. In private, on the Internet, and on public-affairs shows or talk radio, we're way more explicit than we've ever been.
Movies either work or they don't work and they're either funny or they're not and we work very hard. To achieve that kind of work is really kind of delicate stitching.
My first student film was Orientation, which was basically the set-up for Animal House. There are a couple of scenes that we later borrowed in some form.
The home viewing experience is slightly different and there's room for these kinds of extra excursions.
We got some devastating reviews on Animal House at the start.
When you have a performer as talented as Bill Murray or as Harold, that can write as well as they can perform, you can do a final draft on the set if you think of it that way.
Time sometimes flies like a bird, sometimes crawls like a snail; but a man is happiest when he does not even notice whether it passes swiftly or slowly.
Women... can't live with 'em... can't shoot 'em.
We sit in the mud... and reach for the stars.
To desire and expect nothing for oneself and to have profound sympathy for others is genuine holiness.
