If you look at the mythology of aliens, there's a lot about gold. It's about them coming for gold; whether that's a simplification or not. If you think of 'Chariot of the Gods,' there's this reoccurring theme of gold.

Ever since I read 'Kitchen Confidential,' I saw a little light bulb go off. Being a chef is like being on a pirate ship; it's not like 'Who Is Killing the Great Chefs of Europe?' or whatever my impression was as I was growing up.

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'm of a generation of director that came up understanding special effects.

Almost every comedy you see is about people making all wrong choices and making all the errors of judgement possible. Good comedy is when it works on this scale. Because it is psychologically very real.

I wanted a half-hour, single-camera comedy with a great lead where I could be No. 2 or 3 on the call sheet, and it was going to get on the air. Those were my criteria, and they sent me 'Cougar Town.' I read it and loved it.

As with anything that involves emotional pain, comedy isn't too far behind. There's that element of no matter how painful something is - as long as it is not you that is going through it - it can be funny.

The comic is the perception of the opposite; humor is the feeling of it.