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 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 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.

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.

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

When Iron Man's flying, we'd send real planes up to do the choreography so that we'd get the camerawork to really look like a cameraman was following from another plane. It gives it that 'Top Gun' look.

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.

I just adored 'Shaun Of The Dead.' That's a true mashup. That's a real Romero-era zombie movie and a real Gen X indie comedy. That was before zombie movies were cool, before 'Zombieland' and 'I Am Legend,' and now it has become a whole sub-genre.

Of course I danced a lot when I was making 'Swingers.' The swing music scene was big in Hollywood, and I went to places like The Derby. And, after I wrote it and was trying to get it made, I would go every week so I'd be good at dancing.

You have an hour and a half or two hours - maybe two and a half hours - in a movie, and it has to be a self-contained three-act structure. It's like a rock and roll song. Certain things have to happen for it to be a toe-tapper and get people excited, leaving the theater.

There is no free lunch, so if you're playing with the big train set - on big movies - it's a lot of money they're entrusting you with, and you have to get that money back for them. I don't take that responsibility lightly.

When Ron Howard does 'Rush,' he has to learn and steep himself in F1 culture and European racing culture, and that's part of the fun of the gig. You learn to learn. Your real skill as a director is being a learner and an observer. You're constantly learning another thing in context.

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 don't know that a movie like 'Daredevil' did better for having Ben Affleck then 'Spider-Man' did having Tobey Maguire, who was a relative unknown at the time.