I wrote three years for Lucille Ball. She taught me everything I know about physical comedy...

My partner after Fred Freeman was Jerry Belson. And Jerry Belson, after I was doing so well writing situation comedy, said, this is not good enough. We got to create our own shows. I said, but we're very happy doing this. No, no, no, you got to get your own show. So he made me - and he and I created our own shows. And we actually - everything we created failed. "Hey, Landlord" was our first show - 99th in the ratings. But imagine this - it's a great reflection on the years.

I played a lot of ball and got hurt, stitches and this and that. That, sometimes they said, built character. I don't think it built anything.

People always say, well, how do you get through show business? How do you swim the waters? And how do you survive and all that? I had a very solid method, and that is team up with ambitious partners.

I think a lot of creative people have no sense of numbers and economics.

My mother worked all of her life, she was a dance teacher and I also noticed, to be honest, that most of the male directors wanted to blow things up so there was like an open area for somebody who wanted to direct women movies, chick flicks, whatever you... I don't call them chick flicks.

If you're creative, they let you be the showrunner, producer. The first thing my partner and I did as producers was hire ourselves as directors - because who else would hire me?