I am self-centred. I just adore myself.
You have to give people permission to laugh. That's why they would always cut to the banana peel in the Laurel and Hardy movies.
It's just an ice bucket with a bottle in it. The two flute glasses are little tray. I got to shut the curtains. I'm in my boxer shorts and shirt. I'm going to take a bath and go to bed. But I want to shut the blinds so it's really dark in the room.
It's fun to be on the edge. I think you do your best work when you take chances, when you're not safe, when you're not in the middle of the road, at least for me, anyway.
This big part flies off on the floor. The other part goes like this and lands in my foot! Standing up! It's standing in my foot! Right in the side of my foot. The flute glass. I think I'm like in one of my own pictures.
I lay on the ground, but then I can't reach - I don't want to take my foot out of the tub - but I've got to call somebody because I've got to get a band-aid or something to stop the bleeding.
I developed that for a long time. I also developed 'Sugar Sweet Science' at New Line and that didn't happen. That was a boxing movie. And between all that there were a couple of other things.
I'm shooting in Brooklyn, we've got all kinds of crap going on, and I'm all alone now in a big hotel suite that you can't believe the size of it and a thing sticks in my foot and I just think it's the funniest thing that's ever happened to me.
So we see Edward as a young man on the road and he meets a giant and he brings the giant to a circus where he meets a Miss Calloway. He sees the woman of his dreams and I am the only one who knows who she is.
I didn't do it because of the underlying greed that's prevailing, but it is about greed, doing the right thing at the right time using your clout when you have it and what for and what reason.
When I'm directing or producing, I like to do different kinds of stories. But you have to know what you really like, and when you do, you have to front your position.
There are two dilemmas that rattle the human skull: How do you hang on to someone who won't stay? And how do you get rid of someone who won't go?
My parents worked their tails off, but we weren't the poorest people in town. Some people I went to school with, you could tell they were dirt poor.
Most men somewhere in their psyche are still dragging women around by their hair. It's terrible. I have two daughters, but even before my kids were born I always thought that it was terrible.
I don't think I've been bored, ever. I've always been working on two or three things at a time; whether it was in the early days, or whatever, I was always working on something.
In this movie, you have all the things you love from Tim. All the magic and the whimsy and the surreal, but he also has a fantastic story of a father and son that really gets under your skin.
Well, you know, I feel like it's about a lot of things. The reason that I made it was because I thought it was really funny and unique and just a different genre.
Wherever I am, it's a really good feeling to have that connection to people. I love to go out to talk to people and be with folks. I don't shy away from it.
People come into your lives who you have a good time with, and time goes by and you still have a good time with them and you do stupid stuff with them. To me, that's life.
I don't look ahead. I'm right here with you. It's a good way to be.
