What it boils down to is that when you say the word Las Vegas it means something. You could say New York City and it doesn't really mean anything. When you say a word like Bangkok, in my mind it means something. There's not a lot of cities where the world literally brings a picture to your mind.
My movies before tend to be just funny. But it wasn't a conscious thing I was looking for at all.
I think comedy directors tend to feel a need to justify the bad behavior, and I just never think that. I like bad behavior, I've always liked bad behavior, I'm a fan of bad behavior, and I don't think you have to justify bad behavior.
It becomes pretty crystal clear once you watch that first assembly [movie cut] the things that are just grinding it to a halt, so to speak, or slowing it down, or getting in the way, yeah.
I just love the look of film. But I have nothing against HD.
I think that 'Hangover II' is as funny as 'The Hangover I,' honest to God, but I think that it's a little bit darker, and the stakes are a little bit higher.
I don't have a horror film in me just because I don't like to be scared. But I definitely have a documentary in me, and I certainly have dramas.
Music is just one of the tools a director has with which to paint and I think it's one of the most effective.
My dog's a gentleman.
Bangkok, like Las Vegas, sounds like a place where you make bad decisions.
When I was younger I was obsessed with 'Star 80,' and it's just a great movie - I think I saw it three times in the theater.
Reality television hasn't killed documentaries, because there are so many great documentaries still being made, but it certainly has changed the landscape.
I got nominated for an Academy Award(R) for writing 'Borat.'
John Goodman's pretty dark - I love John Goodman.
I never had a ton of male friends and it's always been something that's really interesting to me, what brings guys together? The bonding. 'Old School' is a good example of that. And even 'Starsky' and even 'Road Trip.'
I grew up raised by my mom and my two sisters, so I never had a real male influence in my life. I never really understood heterosexual male relationships.
Well, it's so cheesy to say but you can't find a comedy director who makes movies for critics. When a movie does $580 million worldwide, I'm not saying that proves anything except people were enjoying the experience.
You're only as good as your body of work, and everybody has issues, whether it's Steven Spielberg or Martin Scorsese. I'm not comparing myself to those guys, but you learn more from the misses than the hits.
I like - there's a better word for it, but I like the danger that a comic brings to a role. It has a feeling, even though everything's scripted and everything's planned what you're going to do. When I see Will Ferrell or Sacha Baron Cohen, there's a feeling that anything could happen.
When I was in NYU Film School I drove a taxi in New York for two years, I felt like I owned my own business with that little taxi.
I think reviewers have become particularly venomous because, in a way, the power has been sucked from them. A 15-year-old can write a review on the Internet and it means as much as Roger Ebert's review, and that just makes Roger Ebert mad, so he comes out harder and stronger.
I remember that when I got to NYU, everyone was writing scripts. But I was 18 at the time, and when you write a script, so much of it is about what you pull from life, and this sounds sort of cheesy, but I felt like I didn't have enough life experience at that point to write a movie.
I'm not worried about young people seeing an opportunity and taking advantage of it.
Every weekend in history has worked for movies if the movie connects.
I make decisions to do movies based on the cast. I'd just been working with Zach Galifianakis on 'The Hangover', and I was thinking, I've got to find something to do with this guy immediately.
