Quotes from Jay Chandrasekhar

Frankly, I love 'Scream': I think it's one of the great scary/funny movies.

Many films you see in theaters are financed through outside sources. With big films, the studio will pay, hoping to reap the reward of their big bet. But with medium and small-sized films, outside production companies and financiers often foot the bill.

One of my random skills is I have a very strong memory for dialogue and moments, and I don't know why.

It takes a year for us to generate a script that is ready to shoot. There are maybe 20 drafts of a script. And, each time, someone saying 'I don't really love this,' we discuss it for 15 minutes.

I myself downloaded and watched 'The Wire,' 'Breaking Bad,' 'Downton Abbey,' 'Mad Men' and 'The Walking Dead' on my iPad while walking on a treadmill. I never turned a TV on once. I never inserted a DVD.

I've been watching a lot of cable shows like 'The Wire' and 'Breaking Bad' and 'Downton Abbey.' I love how real the moments are.

Whether I'm performing or directing, I'm aways thinking about rhythm; sometimes it's nailing the right rhythm, and sometimes it's intentionally breaking the rhythm. Those two things are what make something funny or not. How long a shot is and where you put the camera are all part of that rhythm of directing.

The thing about our movies is, we write thirty drafts. That's a very detailed script. Which means that if you try to crank it out week to week in television, it's impossible.

I find that there's so much funny stuff in real life, and I am much more interested in super grounded, real stuff, so now I just want things to feel real and authentic.

It's never a matter ever, ever - are - we're never trying to gross anybody out, or ever are we trying to shock people. We're just trying to make it funny in a way that makes the audience go, 'You know, that was the first joke they thought of, and they weren't afraid to do it.'

When we had Brian Cox in 'Super Troopers,' we learned that when you put a great actor in the center of our lunacy, it grounds everything.

You can't halt time.

A lot of people come from small towns, and they come here wondering 'Can I really make it in Hollywood?' When I went to L.A., I knew I was going to make it. There's no doubt about it. Why? Because I'm from Chicago!

I've never thrown a javelin. What kind of sport is that? It's hilarious.

I've come to the realization that you can entertain people both through making them laugh and making them feel. You can be quiet, and they can feel, and you will have scored as well.

If you want to provide for your family, maybe show business is not a high degree of success. You will need to keep your day job until you make it, and know it's an odds thing just like the NFL. I personally wouldn't recommend anybody to go into this business.

If you hang around people from L.A., they're, like, used to having their city being maligned.

People always ask us, 'Hey, is there going to be a 'Beerfest 2'?' I don't know if I have another beer joke in me.

I always feel like any criminal who doesn't have a mask on is dumb: particularly the ones who don't realize that all mini-marts have cameras. I find that so hilarious. Or bank robbers without a mask. You're like, 'Have you seen no movies?'

Filmmaking, at the end of the day, is really - in addition to the story and all of the equipment and the actors, it's really about time management. And so the smartest filmmakers are the ones who sort of pre-visualize the film in their head and are literally shooting the shots they need to cut the story together.

What makes Broken Lizard, I think, is our timing.

Like hitting a baseball, comedy is very much about timing. To some degree, you either 'got it or you don't.'

Ultimately, in regular television, you've got seven or eight executives and maybe 50 people in the room with dials who are deciding whether a show goes - and it's not a great way, because we're making mass entertainment.

'Spinal Tap' influenced me, I think, specifically in making me really pay attention to tone.