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.

Sticks and stones may break my bones, but words will make me go in a corner and cry by myself for hours.

We destroy icons - that's what we do.

You initially become funny as a kid because you're looking for attention and love. Psychologists think that's all to do with mother abandonment. I think John Cleese has his depressions, and Terry Gilliam's the same. All of us together make one completely insane person.

When, in 1966, I progressed to The Frost Report, I was paid ten guineas a minute. I was guaranteed three minutes a week, so this was good money.

I always have a feeling you should move the playing field and the minute you know what you're doing, you're wrong. Therefore, I wanted us not to try to follow Spamalot immediately, but to do something different. This is perfect because it uses all the same skills, like story telling and lyric writing and music writing, but it's presenting it in a different form. And of course it gives me and John a nice chance to perform and show off which is also fun.

Never do things for money. It's always the things you do for love that turn out to pay the best.