I look at the calendar. If it's a nice place, I go, like I did in London when it came to choosing to do a film. I always choose the best locations. New Orleans. That's fun. I'm available. Let's go.

One of the high points in my career came from a time I had with Tim Conway on a film when I had him fall down with laughter. I had this scene with him where I was this mechanic down fixing his car. I can't remember what my line was as written, but they were okay with me doing a made-up line. So Tim asks me what's wrong with his car, and I look up and say, "Well, looks like you got a squirrel caught up in there."

I don't know how many days I worked there [on Star Wars]. The thing I do remember was I somehow got a parking space next to Kermit the Frog. It was Jim Henson's space, with this Kermit the Frog sign. I took a photo of it and sent it to my mom with a caption that read, "Look, Mom. I made it. I got a parking space next to Kermit the Frog." I was always fascinated by the film-set infrastructures.

That was actually Lloyd Phillips who was a Kiwi film producer in L.A. And it was about Gorgeous George, not Haystacks Calhoun. I was in a couple of Lloyd's films and got approached to write the story. People don't realize it, but Gorgeous George had this flamboyant, camp stage persona that had a tremendous influence on other celebrities, like Elton John, Liberace, Elvis Presley, and Mohammed Ali, who all wanted to establish their own outlandish stage personas. The project died because Gorgeous George's wife refused to give up the rights.

On my visits back home, if they saw that I was getting a big head, they'd let me know right away.

I'd never been to acting school, so I never thought I'd get this far.

You've got to write for your audience.