I wanted to get more serialized. I had this idea for an event that would click onto everybody's mortality. I said, "I want somebody to die." Fortunately for me, when I was toying with that idea, John Landgraf, who's the head of FX but also a very smart executive, came up with the idea of the ashes in the maracas. He called me up and said, "Listen, what about this, they get the ashes in a box and when they get them, they shake them and they sound like maracas." And I was like, "Okay, now I've got my throughline."

Campbell [Scott] also directed me in a film with Hope Davis called Final. That was the first thing we did together, but I've known him for years.

I remember 9/11; we had 'Comics Come Home' about a month after those events. That night, even the comedians were concerned. Would the audience be ready to laugh? It was a release for everyone.

Charlotte Rampling, when she was younger, looked exactly like my wife. That's one of the reasons that when I first saw my wife, my knees buckled. Based on her looks alone, she was already in my kitchen making eggs.

The thing with movies is, because you have so little time, I always feel like there are more things we could've done with the character. If we'd done a sequel to 'The Thomas Crown Affair,' what would that have been like? But for the most part, you try not to think of that, because it's just going to break your heart.

Sometimes 'great acting' is just showing off - chewing up scenery and dialogue and other actors - the equivalent of a theatrical sugar rush.

We didn't have rehab back in the Seventies. Back in the Seventies, rehab meant you stopped doing coke, but you kept smoking pot and drinking for a couple more weeks.