It's such a great thing to work with people and not have a plan.
Kerri and I met at theatre camp when were 16 years old, which is pretty lame. The rest of us met when we founded the State at New York University in 1988. Most of our adult lives have been spent bickering with these people.
The more people's money you take to do something, the more inputs you get.
When you do a movie in the studio system, there's a committee. A committee of six or seven people you answer to. There's two or three producers, a studio executive and one or two people above that studio executive.
All studio movies are the middle of the Bell curve. The only way to do something is to do it yourself. And the only way to do that is to not take any money from anyone or take as little money as possible from anyone and that's it.
The first record I bought with my own money was Rio.
You hate to see yourself do one draft of a script and then have somebody else come back in and change what you've done.
I feel like I'm the most well-adjusted character on the show, even though I'm sure the other actors would tell you the same thing about their characters.
Our reward for Starsky and Hutch was getting to write The Six Million Dollar Man for Todd.
That's the other thing about working on movies, the commitment is years. That's one thing that's so frustrating about the process is that it goes on and on and on for years.
Yes, I am complimented on my work in Kids in the Hall once or twice a week. It's a nice feeling.
The only guaranteed way to make something not very funny is to make it vague.
There was so long from when we did the pilot and then when the show was eventually picked up by Comedy Central - and, in fact, we had to shoot the pilot twice.