I like working on one - camera. This is not false modesty, but I don't think I'm very good at three - camera. And it's not that I'm nervous, but I just sort of feel like my collar is too small, or my clothes don't fit. I don't understand what that is. And I don't understand the format: There's an audience in front of you that you're playing to, but there are also these cameras.

I remember I was standing next to Timothy Dalton in Brenda Starr, and he turned to me and said,"Oh, I think I've just been tagged to play James Bond." I'll never forget that. I went, "Oh! Okay. Well, good for you."

Mel Brooks and David Zucker - there are very few people who know silly, and they're usually hugely intelligent, because you have to be intelligent to get it. Like the Marx brothers. I love it.

Guillermo del Toro. He's in his pure artist's stroke. He's just hitting it out of the park. I would go anywhere to work with him. He's a real artist.

Saturday The 14th movie is a cult classic. And you know another one like that that I did, is Three O'Clock High. People come up to me about those two all the time. Film schools even study Three O'Clock High. Shot for shot, it's a textbook.

At the beginning of the Larry Sanders show, you know, we were grateful to get guests. At the end, it was as if we actually were The Tonight Show. People would come on, and it had the same sort of imprimatur as if we were on the air. I've been on a lot of talk shows during that time and since then, and people would come up in the dressing room or in the corridors and say, "You guys got it exactly right." Or they would say, "We have Larry Sanders moments every day."

I really loved my dad. I was very, very close to my dad. He - you know, he was very, very nervous about my being an actor.