If the studios paid the artists, how would they ever be able to afford the executives?

If the studios paid the artists, how would they ever be able to afford the executives?

A nod's as good as a wink to a blind bat!

Even if you've written something for print, I think it's good to try [it] out on someone because it changes. You can think it's hilarious and they can tell you it's not.

At least in America, you have freedom of speech, which is a good thing. It's just a question of whether you're allowed to use it on 'Fox News'.

We learnt a lot because we got in with real choreographers who tell you what they need from a song, because a song has to advance the story. Then real directors like Mike Nichols tell you where you can have 'B themes' and 'C themes', and we go oh yes, B themes and C themes! So we were taught in the finest school amongst the finest people. And also by the school of experience.

One of the reasons we moved to L.A. in the first place [was] so that it was no big deal that I was in show business. We decided if we move[d] to L.A., then everyone in one way or another was involved in it.