You become so obsessed, and that's not a bad thing for a movie. Serve it with that sense that it's the whole world.
It's craziness to see yourself as damaged goods, so I was the goofy kid who'd stop a strange adult and say, 'Do you know how to get to Palm Avenue?' They'd say no, and I'd say, 'You go two blocks and turn right. You can't miss it.'
With music, you can put sophisticated thoughts in a child's head - it gives you a whole new avenue to express ideas.
Making an authentic film about anything is difficult.
I was only in college, unfortunately, for, um, a year. I think my major was public relations, and I had no idea what it meant except it seemed maybe attainable.
When I wrote a gay character, I spent six months asking questions I've never asked a gay friend, the questions you don't ask just because you don't have the right to do it.
Working on any show that works is the best job you can possibly have in any area of the business. You've got so much going for you, a good community, everybody's hanging together, and you get to do it every week.
Kids in general make things fresh and alive and they have this great appreciation for, Holy mackerel, we're making a movie!
I saw 'Annie Hall' with a group of people working in comedy and television. We were all stunned. Stunned. It was like watching a spaceship land. That something that funny could also be that beautiful.
If you ever catch a great boss, it's just such a rare thing, and it's amazing.
When you work alongside somebody day in and day out, the relationships tend to be wonderful: they're lifelong.
Watching people see your picture for the first time is such a public agony.
I've done it with Broadcast News-where there was no finish line, there was no agenda that I had to move all the characters to this point, that I was sort of open to what happens.
I worked for CBS News in the aftermath of all the greatness. I actually brought coffee to Edward R. Murrow.