Meeting Fidel Castro was really cool. It's cool because it's Fidel, and it's a world leader, and there's so much history behind the man and who he is in this hemisphere. And then at the end of the day, he's, I think, just like a big mayor. There's only, like, 11 million people in Cuba. He's a big mayor.

Fame is not your friend. It ain't necessarily your enemy. It is what it is.

I cannot be made into the commentator for the unspoken black masses.

Fidel Castro just talked a long time, and he talked and he talked and he talked and he talked... and he talked during the meeting. I think it was about four hours. But I guess that's part of the Castro spirit.

I think you have to play the game on every level. If you need a friendly, charismatic, good-looking guy to be the mouthpiece, then so be it. And maybe Ralph Nader should just be behind the scenes telling that guy what to say.

I think that's always been part of the thinking behind the script, that - and I really tried really hard to impress that upon the staff of the show, the animation staff - to try to get them to understand that we would only be able to get away with what we were writing if the visuals were appealing enough that it was like a balance, and even people who didn't like what they were hearing would still not want to turn away because what they were seeing was so nice. So that was kind of my hunch, and I think it worked.

I think, ultimately, the problem with something like this is that you actually have so many more opportunities to say something than you actually have things worth saying. And then, as an artist who doesn't want to do bad work, gosh, how do you fill up all that space when you really don't have anything actually worthwhile to say? And that's what makes the job tough, because the fans get mad - "That's not funny," or "You've been sucking for several months now." And you go, "It's not my fault! I'm trying."