And introduce an element of cynicism and darkness into it and just realize that we're all vulnerable. We are humans. There is a finite end to this life and we're all going to face it and a little silliness can help.

So we had psychiatrists and counselors and therapists around the set regularly, especially for those scenes in which Jason would be dealing with a patient to make sure we were doing it all appropriately.

I worked for [Canadian Country Music Hall of Fame inductee] Tommy Hunter. It was a wonderful training program at the CBC, because they made sure they never paid you very much, so you had to do a lot of things, and that way you made some money. [A phone rings.] That's my agent right now telling me I've got a 13 cent residual from Tommy Hunter in 1969.

I've always felt that improv looks and feels more clever when you're there to experience it live than when you have the degree of separation that television creates. Television raises expectations.

I wouldn't call myself a standup in the presence of Jerry Seinfeld or Chris Rock, but I do my share of it and it has been and remains part of my activity and I like it.

The key to writing for Richard (Pryor) was to just push his buttons and then know when to push the buttons on your cassette recorder. You'd get him started, then surreptitiously start recording when he got inspired and started walking around the room and improvising in character. Then you'd get it all transcribed and take credit for it.

Family involvement is a valuable thing and playing together actively can be the '90s version of it. Instead of just watching, you can do it together... something we don't spend enough time on. We can motivate and excite each other about fitness.