Jay Roach

“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.”

“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 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 figure if it's turns out well the film will have its own momentum and will carry into the video release. So it's hard to really picture the DVD version when I'm in production.”

“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.”

“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.”

“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.”

“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 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'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 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.”

“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.”

“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.”

“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.”

“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.”

“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.”

“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.”

“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.”

“I think sequels should be earned and we won't do it unless the script is better than the first one.”

“I think we'll all keep pushing each other, which is a great thing.”