I may even show up behind the camera. I love to put things together; I love to give direction. I have a great eye for pace.

When I do an interview, when I appear on camera, I want to be the same person as the one you meet personally and say, ‘He is really the same person I saw on television.

I worked a lot on ‘Conan’ as an actor, and when I moved to New York, a lot of my friends were on the first staff of that show. I started doing bit parts, which was the first thing I’d done on camera in front of a live audience.

I just got this new camera. It’s very advanced – you don’t even need it.

I have been trying to retire to the back of the camera for quite a few years, and in 1970, when I first started directing, I said, ‘If I could pull this off, I can someday move to the back of the camera and stay there.’

There’s a gap between what I want to do, what I do on camera, and what gets edited. Right? So the goal is to try and close the gaps. What’s the biggest compliment is if I read a review and it’s exactly what I wrote down in my diary before ever filming it. That’s really cool. That’s the biggest signifier of closing the gaps.

There are cameras nowadays that have been developed to tell the difference between a squirrel and a bomb.

I think I’ve spent more time in front of a camera than off camera. That’s just the way it is.

I find it inspiring and I always think when I’m working on something new, whether it’s a new kind of character or a new kind of story or new kind of camera, it gets my creative wheels spinning.

I’m working on bringing the instant film camera back as part of the future.