I love making people laugh. It's an addiction and it's probably dysfunctional, but I am addicted to it and there's no greater pleasure for me than sitting in a theater and feeling a lot of people losing control of themselves.
We collaborate on everything. I'm involved in the writing and pre-production. There's a whole bunch of people who keep in touch at every step about everything.
You could get in rehearsals, pre-production, anything that would actually contribute to the understanding of how a film gets made. I actually find those things increase people's interest in a movie and like that better than worrying about showing the tricks behind the curtain.
The success of the second 'Austin Powers' caught us by surprise a little bit. We had decided not to do even a second one, unless the audience wanted it and we could do something better.
I learn so much from watching films like that with commentary and then when you get to hear another filmmaker talk about their films it's a really great experience.
Sometimes I would like the opportunity to do character-driven comedy and that's really what I was trying to do in Meet The Parents. I think in a way this is a more old fashioned type of comedy.
We had to do the same thing here. To top that sequel was quite a task. Mike had a couple of good conceptual humour and character ideas, which got me back into it.
I do love DVD and I've always taken them seriously. You know, on the Austin things, we really put a ton of work into them because there's so much design involved. And in this one, we thought a lot about it and what could go in.
I really enjoy the consolation when I'm having to cut loose stuff I love, of saying 'Well, at least it will make it onto DVD.' There's a couple of scenes which I liked very much, but couldn't fit them into the film that are on there.
My biggest role as director on the film is keeping a sense of the overview - how to cast the movie and shoot it in such a way that it will cut together. And how to design the style and tone.
The commentary track became a lot like the movie and there are some funny, long, awkward pauses that you can tell we're just trying to find stuff to say. None of us had gotten to really talk about the movie until that moment and they were in New York and we were in L.A.
On the other track I got to talk with Jon Poll, my editor, and we go into more detail about the decisions we made in both the production and the post-production. So I hope the combination becomes something worth collecting.
I hope we're all kind of influencing each other now to keep the quality up on those things. They seem to be getting better and better and better as there's not only sort of a film geek audience, there's also a general interest in the overall film consuming population.
My favorite laser disk ever was the laser disk for The Graduate, which had a commentary track that wasn't even the filmmakers, it was a professor, some film criticism guy who just happen to be this amazing commentator who went off into the whole theory of comedy.
But I always reassure them that as far as my contractual rights can go, I will protect them and make sure that they have approval over every bit of it so that they know I won't show something that's embarrassing.