Douglas Wood quotes:

I love all of Albert Brooks' work from 'Defending Your Life' back to his first film, 'Real Life', but am sorry that he seems to have lost his edge in his more recent work.

That said, I should also add that I learned a great deal from being allowed in these privileged circles and am grateful for the opportunity to have worked closely with some of the most powerful and successful people in the business including Steven Spielberg and Ted Turner.

I became much happier when I realized I shouldn't depend solely on my career for my sense of self. So I developed other interests and surrounded myself with a small group of friends I could trust.

Fear of failure has always been my best motivator.

Dick Van Dyke was my first idol. He's an amazing physical comedian, like a classic clown, but also very smart and not afraid to show vulnerability.

While I've lived in L.A. since 1985, I'll always consider Chicago my home town and have much affection for it. My parents and sister still live there so I try to visit as often as I'm able.

I know a lot of people in the business recommend the many Story Structure seminars being offered here, but I point to them as the single biggest contributor to lousy scripts.

Write the kind of movie you would want to see, in a genre you love.

Animation scripts tend to be much more descriptive and are lighter on dialogue.

I was only in one play at Steppenwolf, in the early days.

I am a big fan of the TV series 'Taxi' which combined comedy and pathos better than any other show I've seen.

But so much of being an actor isn't so great - the auditioning, the rejection, the financial insecurity.

There is nothing like the high of being on stage and reaping applause, especially for emotionally needy people like me!

Working in Hollywood can be tumultuous, with incredible highs and lows and you need to be grounded.

The best way for a beginner to write for animation is to closely watch animated films, then read the screenplays for them afterwards.

I'm more concerned with getting them to find and strengthen their original voice as writers rather than imposing my own subjective tastes, judgements or sensibility on the project.

When I saw 'The Player', I came out with knots in my stomach because it was so true to my experience.

I would rather read a poorly structured story that has fresh ideas than a tightly structured one with cliches.