Bobby Farrelly Quotations

Well, there are conjoined twins in real life and we can tell a story about them so long as they're not the brunt of the jokes. In this, they're the heroes of this story; we love these guys.

I think the last one would have to be The Godfather because it was such a powerful story. There was lots of violence in it but I could take it because I thought there was a reality to it. It wasn't gratuitous, it was just these guys story.

The only thing we don't do together is get in front of an actor and show any indecision at all about what we think. We don't always agree, so we meet privately, then one or the other will approach the actor.

I know people watch our movies and they'll see a lot of images - they call it gross-out - that they don't like, and I understand that. It's an important movie and one that's extremely well done, but the amount of violent imagery was not for me.

In comedy, though, it's good to get feedback from the audience about what they find funny.

We feel that what's too far is when you make a joke and somebody gets hurt.

We want the best actor, and that's why Matt Damon worked so well in this role, because he's a great actor.

Clint Eastwood. Here's a guy who's been involved in so many movies, lots of them masterpieces, and now he's a director. I just like everything I know about him. He's very decisive, he makes up his mind real quick.

We wanted to do a sequel with Jim and Jeff. They said that the word was that Jim didn't want to do any sequels. We approached him and he said he would do it, but not until next year. New Line said it was too long to wait.

You know, I can't remember the last movie I walked out of. If I pay, I'll see it through. I can't be halfway through a movie and think that I know everything that's going to happen, because I hope that I'm wrong.

I feel reviewers are tougher on comedies in general. They don't take them seriously, and the ones that get great reviews are not necessarily the ones that I like.

I just feel I'm on a different page from the reviewers, so I've learned not to care about them too much.

I think that's the key to being a director: to be able to get the shot and move on quickly.

I think we both have some darkness in us. But when we are together, we tend to concentrate more on the light.

It's a big part of what we do - we test our movies extensively. I'm always there myself. It's sometimes difficult to sit through, especially if it's a version of the movie that's not working particularly well.

We love the Stooges, and young kids today don't watch them. They think it's their dad's comedy. So we thought we could reintroduce them to a new audience.

Erm, I don't really have any regrets.

In the world of comedy, having a partner is not the most unusual thing.

Writing is very difficult. You have 120 pages of blank paper and it's like, "Go fill that up with some funny stuff," and that's challenging.

If it doesn't work with an audience you have to make changes, even if it means not hanging onto the things that are your little favourites.

I think the reason why it works first of all is there's a different level of trust. And basically we both share the same vision. It's a warped vision, but we share it. And I think that we're able to protect that vision more, because the people that come at you try to get you to water down what it is that you see. And that is something that happens.

Irene. They weren't making out, which is what he wanted to do.

We never thought this would appeal to everyone. And, you know, some people just don't get it. We're making this movie because we think it's funny.

We probably weren't the first choice because our movies have a certain style and flavor to them which is kind of inconsistent to each one.

We were really serious about getting Larry David as Larry. He has the hair. But he seems to be doing just fine without us.

We thought that if he didn't use it at the beginning, it's just not as good a before-and-after picture, you know? 'Cause people do use those words. So we said we better make it as realistic as we can. We better be truthful about it.

Benicio del Toro. I think he's brilliant, and we like working with guys - or gals - who are very talented. They make us look good.

Every single person involved with the production learned a lot. I'll tell you what I learned. I've been around people with mental disabilities, but I haven't been around 150 of them at a time. And there's something about it that scares people. I don't think it's just me. It might come from the idea that 'I don't want to stare at this guy,' and it gets to where you don't even acknowledge him. But by the end of the shoot, you totally forgot that a guy had disabilities.

Eddie? I don't even think about him anymore as a disabled guy. I just think of him as a great character and a funny guy and a good friend. That's how it was with everyone. The barriers broke down.

The hardest thing in the world about making a movie is to satisfactorily end it. We almost always have a couple of different endings in mind, and it's informative to show the audience the different direction you might have gone.