“I thought a great line in the What Just Happened movie said, “We’re just the mayonnaise.””

We’re never going to be the ultimate-insider look. You can do 50 insider looks at this Hollywood business, and the satire didn’t intrigue me. I think others can do that.

I always think that there is the good and the bad of it all.

I worked at a local television station and I got a chance to direct and do all those things – worked kiddie shows, Ranger House show with the hand puppets and things like that.

I think it’s a promising time which will show a lot of diversification that we’ve seen in the past.

When I began to think about the head of the family, the storyteller, the rise of television which became the new storyteller, the break-up of the American family as an idea and then Avalon came.

Studios just sometimes make decisions on their own that you’re always flabbergasted by. It just happens that way for whatever reason – not even pointing fingers, it just is.

Craig Nelson who is an actor and is in a show called Coach in the United States. We began to do some improvisational stuff and we used to get laughs and things.

I think certain movies work and that is part of the magic of it all. We can’t truly define why something succeeds.

All I try to do is create an atmosphere that seems comfortable enough, that it removes tension and everyone feels free. If they feel free then behaviour happens, small moments happen and that’s what ultimately works the best for me.

It’s always hard to explain why an audience ultimately responds to a movie.

You have a movie and it proves itself and then certain things happen.

First of all, just to get Diner made would have been an achievement in that I got a chance to direct.

There was a time when I said, “I’m going to go do a television thing,” after doing all these theatrical films, and heard, “Television? Why are you going to go back to television?” It’s an interesting place.

I don’t know that you can do an absurdist film and just have everybody embrace it in terms of filling out cards. I just don’t think it happens. So you have to prepare an audience.

I don’t know that you can do it as a satire. I mean, the business is crazy enough as it is. It’s like doing Wag The Dog – we took a thing that was almost completely absurd on one level, and then ultimately those things came about.

You do understand that you can’t force the situation, but in terms of how you edit, you can define that to take the audience along, whether it be a storyline or a character moment that we can play out. The more experience you’ve had, the more beneficial it is, period.

Rather than engage in the sort of selective retention that so many investors tend to do and pretend mistakes never happened, I prefer to own them. This allows me to learn from them and, with any luck, avoid making the same errors again.

Nothing really happened – I was elected in ’86 – until 1992, and that’s when the Anita Hill debacle happened.

Life was life. It happened. You never knew what was going to come at you. Or how you could defend yourself.

My worst expectations never happened.

Success happened little by little for me. I tasted the flavor of fame in small doses: I started at 10 years old when I won a music contest; I was performing at birthday parties, company meetings.

Perhaps one cannot, what is more one must not, understand what happened, because to understand [the Holocaust] is almost to justify.

I don’t care too much what happened in the past.

You say, “Something important really happened here. I really had hold of something I was visited by the muse.” And that’s enough to make you continue the months and years to finish the whole book.