Every painting I do is related to the last one: it may be a continuation of a previous painting or it may be a reaction against it.

I feel constricted if I become too much aware of the act of making. Liberty is lost and instead of an instinctual lyrical expression the whole thing becomes arid.

I feel I can't teach you anything, what I can do is organize some material that may seem wildly complex when you first take a look at it. I've been working at it for such a long time I can at least organize it. So you can go home and teach yourself how to get control of it... I could throw an act, I can tell jokes and try to be stimulating, I can organize the books. If you don't want to do it, I can't do anything about it.

I had actually, at that point, been working with a guy back in L.A. just training with a car; not the General Lee, but other cars.

For a Classicist, one must learn to ask the questions in the way that a pagan society did. I think it's very important and tough for many of us who grew up in a Judeo-Christian society.

A lot of the stuff that I've done is just really broad comedy and the characters are not that bright. Obviously with the 'American Pie' films and 'Road Trip,' my guys were kind of dicks. These guys in 'Dukes' are good guys.

The theory on my part is to read; reading is the answer. Read anything that you can get your hands on. I would try to make sure that the author has something to say. Take a wide selection of authors: old, new, prose, poets, novels, epics, and all that stuff. ..Think about it and find something to talk about.

Especially our students serve as staff volunteers in their home town.

We all teach students a massive body of material to get some sort of mastery of it, pass a judgement, and defend it.

We rely on each other to get through.