Bill Murray

The truth is, anybody that becomes famous is an ass for a year and a half. You’ve got to give them a year and a half, two years. They are getting so much smoke blown, and their whole world gets so turned upside down, their responses become distorted. I give everybody a year or two to pull it together because, when it first happens, I know how it is.

I lost my phone and I just really didn’t look for it. It was the nicest feeling, like six weeks. … A couple of times I needed to use a telephone, and I was always able to touch someone that had a telephone and say, “Hey, can I use your phone? May I please?” And they’d say, “Sure.” And that was it! So it was OK, it was a real vacation. I took a real vacation from myself.

You know the theory of cell irritability? If you take an amoeba cell and poke it a thousand times, it will change and then re-form into its original shape. And then, the thousandth time you poke this amoeba, the cell will completely collapse and become nothing. That’s kind of what it’s like being famous. People say hi, how are you doing, and after the thousandth time, you just get angry; you really pop.

The way financing for independent movies goes is great. You get the money from the guy who’s actually doing the distribution in France. You say, “Do you want a piece of this movie?” And he’s got to sell this movie to get his money back. That’s the brains of it; that’s the genius of this financing. “You want Germany? Give us a million dollars and you’ve got Germany.”

When I started, the scripts weren’t as good, and you’d have to have a huge burst of energy to go, “Sheesh, how am I going to? This stuff’s no good.” So you’d have to improvise something or create something or try to work with the ware and try to figure out, how do you make this visually and orally acceptable, entertaining? Nowadays, the scripts are just so much better, that you don’t have to feel that way. You feel like the script’s coming to you, you can just relax. You don’t have to drive the boat.