Maybe, I got a sense when [Star Wars] came out, and there were always these lines around the block. We didn't understand the popularity of Cheers until maybe five years into the series.

Calvin: I'm a genius, but I'm a misunderstood genius. Hobbes: What's misunderstood about you? Calvin: Nobody thinks I'm a genius. Corfu? It's just a poor man's Pensacola.

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.

I remember being fascinated by the graduated sizes and perspective on the sets [of Star Wars]. And how they put shorter people and kids in the uniforms and placed them in the distance to give the idea that these sets had more depth than they really did.

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."

Really, improv is all about creating for what's around you, in the moment, so it fits in a way that you can't see the seams. It's like a great jazz combo. I still do it.

It was the last generation of writers [ the Cheers] that had grown up reading books instead of watching TV. So you weren't getting anything that was derivative of I Love Lucy or Happy Days. You were getting real characters [like those] they read in P.G. Wodehouse or Dickens or somewhere along the line, because they had all grown up with a love of literature.