I would say, A, you can't really teach anyone how to write good characters, because it's something you have to teach yourself or already have innately in you as a storyteller, and, B, coming up with a good screenplay is a very, very small fraction of what it takes to be a good screenwriter.

What happens is, you write a spec, people get it, they see your writing, they see you're good, they bring you into their office, and they say, 'Boy, that spec was really good - we'll never make that in a million years. We have rights to the board game of Monopoly. What do you think about a Monopoly movie?'

It's much easier to get your material out to the public now than it was in 1988, when you basically had to get onto cable to have a joke heard across the country. Now all you need is an iPhone, and you can get your joke heard across the country.

Writing a screenplay's not rocket science, but I was in a bar, and the bartender came up to me and said, 'I saw 'Night at the Museum,' and the thing about him and his kid brought me and my kid together.' Something like that... it's like, 'Oh, right. That's why we're doing it.'

One has to be fully committed to one's career. Otherwise, there's no point.

I know what it's like and how hard my assistants work, and I try to treat them as fair as possible and make the office a fun environment.

Many ask me why I work with debutants, but I always tell them that there's space for every one in the industry, and if my music helps him, then I'm glad to be of some help. I will never say no to deserving newcomers.

We, as wrestlers, need to remember that this is a business. We started because we love the business, and we stay in it because we have a lot of passion for it, but you have to be rewarded for your work.