You see so many movies... the younger people who are coming from MTV or who are coming from commercials and there's no sense of film grammar. There's no real sense of how to tell a story visually. It's just cut, cut, cut, cut, cut, you know, which is pretty easy.

I started acting in 'The Sopranos' around 1999 and 2000. I did that for six years. That was quite a job, and I loved it.

I direct as an actor. Many times, I will say, 'Let me try this.' And I'll walk the scene through and see what I can tell the actor about it. I don't know what to tell him until I've actually tried it and seen what the problem is.

Mask' wasn't the version that I wanted when it was originally released. It made money, but it would have made a lot more money. My version was a lot less depressing - tragic, but a lot less depressing.

Uncle Fester always intrigued me. I certainly always enjoyed his kind of humor. He's just full of mischief in a kind of macabre way. I don't see anything twisted about it. It's sort of ridiculous and wacky. It's sort of fun.

With reporting, if you work hard, you can usually pull something out. But writing humor doesn't respond to working hard, necessarily. I mean, you could just sit there and look at the page all day and maybe something will come.

Everything we say has metamessages indicating how our words are to be interpreted: Is this a serious statement or a joke? Does it show annoyance or goodwill? Most of the time, metamessages are communicated and interpreted without notice because, as far as anyone can tell, the speaker and the hearer agree on their meaning.

If you became a comedian in the '80s, you had to work the circuit and make people laugh. Canned laughter is cheating.