I'm not sure I agree with the thesis, because I think that even though something grotesque or gross has been part of film since way back, what we accept or what we can get away with on the screen is broader now.
I don't think there will be another Ghostbusters. I think we're all too old to do it. I think we've done it a couple times and there is not that much to get out of it, to do that would be fresh in it.
I call it like the domino theory of reality. If you can go one step at a time and it seems to make sense, you can then take your audience into an area that is relatively outlandish.
I always thought that Bill Murray was one of the great actors that I've worked with. And I've worked with all kinds of people who are known primarily for their dramatic work.
Everybody says how hard comedy is, but, when it comes time to honor things, whether it's on a weekly critical basis or whether it's award time, at that time of the year, comedy is the poor, dumb child of dramatic work.
A good actor is someone who knows how to take the part and make it real and make it honest and be effective in it. If it's in a funny movie and, as long as they are cast in an appropriate way, humor will come from it.
I always see things that I can improve. But frankly with Stripes, I'm surprised at how effective it is, even today, and how vibrant that movie is and how juicy the performances all are.
My first student film was Orientation, which was basically the set-up for Animal House. There are a couple of scenes that we later borrowed in some form.
