For a long time, there was this rumor that I turned down doing 'Austin Powers,' which is not true. While they did send me the script, I don't think I was ever a serious consideration to direct it. I'm sure they probably sent it to 20 others as well.
A lot of things I have turned down ended up being a big embarrassment. Like that script, 'The Beaver.' I thought that was one of the worst scripts I had ever read. But everyone said, 'Ooh it's on the Black List.' Yeah, well, good for it. They're a bunch of idiots. I saw the final film, and there were no surprises.
Maybe if I found something I was really passionate about, which is entirely possible, I would make another documentary, but it's not a good career choice for anybody. I don't recommend it.
That would be getting up at 5 am... I don't understand why film's shoot such brutal hours. I think it'd be worth it to not be so strictly cost-effective and have an 8 hour day. The film's would benefit in the end.
Crumb was such an influence on me. He's such a visionary, such a great artist, that he so shaped my artistic sensibilities on a certain level that I do owe everything to him. The way I see the world is largely changed by him.
When I went around promoting 'Crumb,' there would be days I'd wake up in, like, Houston or Cleveland, and I'd step outside the hotel and get no idea where I was. It all looks the same: one big corporate, consumer theme park. It's all, 'Here's the Starbucks, and here's the Gap, and we'll go over to Banana Republic and the Cineplex.'
Chicago always hit me as such a gloomy place - I just remember all the snow getting dirty as soon as it would fall, all the decaying brown brick buildings around where we lived, all this soot all over the place.
People think I have an interest in comics, but I'm only interested in comics from the '40s, like 'Donald Duck' comics.
I don't like most Christmas movies. They're pretty bad, though they seem to make tons of money anyway. Like this movie 'Elf,' I got the script for that, and I turned it down right away. Against my wife's better judgment.
I think my father kept struggling to get us into better neighborhoods, better schools. One of the worst jobs he had was folding shirts under these fluorescent lights all day at the equivalent of a Kmart. I remember visiting him at work, thinking, 'When I grow up, I've got to do anything else.'
I collect old Coon Chicken Inn memorabilia. I collect black memorabilia, like old minstrel posters. It was a real place. There was one in Seattle, one in Portland, and one in Salt Lake City. They started in 1925, and then they went out of business around 1958.
I've stopped going to see art films because every critic gives them four stars and say things like 'masterpiece,' 'spellbinding' and 'mesmerizing.' I mean, they're doing that with my film, but I don't want to use those blurbs. Critical reviews aren't worth too much anymore because just about every film can get one or two of them.
My hat's off to documentary filmmakers. I don't know if I'm ever going back to it. You're treated like a second-class citizen at most film festivals. You take the bus while everybody else is flown first-class. If you're a feature film director, you're put in a five-star hotel, and if you're a documentary director, you stay in a Motel 6.
