I don't do any editing while we're making the movie. I sit down and watch it all with my editor, we make longhand notes on pads, and then we begin our work.
Strangely enough, among my dad's things, I found the diary of an ancestor who was born in 1797 and became a ventriloquist in London. That was quite chilling. It described exactly how I was as a child but 150 years earlier - doing voices, pretending to be a ventriloquist.
In 'Waiting for Guffman,' the character I played, the Corky character, he's very serious about what he does, and it's not meant to be mean that this is a small town and these people aren't the most talented people. They're trying the best they can. So to be mean, that would be kind of horrifying in its superficiality.
They sell these golf aids that attach to your knee and your head and are supposed to keep your swing correct. It's futile beyond belief. I've never bought any, but I could watch those ads for 24 hours straight. People with straight faces saying this thing will take strokes off your game - that's my peculiar obsession.
'This is Spinal Tap' was a film we felt really had to be done like that. It wouldn't have worked any other way. And it turned out to be the first time a fiction film had really been made in a documentary format. I continued to do that, obviously, because it's a fun way to work.
'Waiting For Guffman' was different right away from 'Spinal Tap,' because we didn't show the interviewer. That person became invisible immediately. That created a different way of tuning it and ultimately editing it.
