Women don't like advice. They don't want you to fix their problems, they just want you to listen.

You have to step up to the plate, and then hit one out of the park.

A lot of the jokes had some build-up to some nasty stuff. But most of it was all character situations leading to what the ultimate payoff would be for that character.

Any time something does that well, you gotta follow up.

If you keep up with pop culture, everybody knows the joke.

Now we have to hit them from a different angle.

They'll say, That's funny, but you can't do that on TV.

We all write, but the script is a blueprint. We can lose whole scenes when we're shooting.

We definitely have our finger on the pulse. You have to keep up. We decide what to watch by what's funny.

We did a lot of press for the last film and now for this one. We don't rest on our laurels.

We have always had gross humor. But we try for funny, not gross.

We like writing with each other; it's fun.

We pay homage to the people who came before, doing satires, like Mel Brooks; we're just carrying the torch.

You lose your privacy, and sometimes, people don't see you as human.

For Scary Movie 2, we had a due date and had to work fast. And though there's a lot of pressure, as artists, we just block it out. So really, the pressure comes from us. That's how the first movie happened. There was no outside pressure: we wanted to hit the audience hard.

I knew when I was 6. I just knew it; I didn't care about nothing else. If I didn't make it in this world, I would probably be homeless. I gave myself that little to fall back on.

There were challenges with production because of the special effects. There are just some things that, although written, special effects just isn't able to do.

We still have that same burn, to get that same kind of laughs. So whether the studio wants us to or not, we're going to do it. The money is just a byproduct of coming out with good stuff. Our whole thing is building that rapport with the audience.