Jay Roach Quotes

Because I actually find the next take after they’ve controlled it a little bit and repressed the laughter is actually a really interesting take, because that’s still going on underneath the surface. That struggle to maintain composure becomes part of the joy of the scene.

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.

As long as we, again, kind of keep earning the sequels with material and I’m confident Mike can, I’m in. You know I always want to do those. But I also want to keep going in some of the direction as Meet the Parents has.

But I couldn’t cut that whole septic tank scene out because the audience liked it so much. So I sort of fell right back into getting a cheap laugh, but I still loved it.

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 think we’ll all keep pushing each other, which is a great thing.

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.

The DVD does make it a little easier for myself to trim things that are otherwise very difficult to let loose of – knowing that they’ll make it on the DVD.

I’m developing some other things in other genres, including one dramatic piece. So, anything’s possible.

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.

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.

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.

I’m not one of these directors, so far, that wants to have a whole separate director’s cut of these things. So far they’ve turned out to be kind of the length that they wanted to be.

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 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.

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.

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.

I’ve recently enjoyed the Paul Thomas Anderson commentaries and the David Fincher commentaries.

It was an interesting process trying to get Bob to talk about the film because he’s such a shy person. He generally likes to talk when he really knows he has something to say.