I come from Bridgeport, Connecticut and have friends I grew up with there.

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.

I was a carpenter in Northern Vermont and got this tax refund check that just about covered a one-way airfare to London. So this I saw as a sign from God. So I went over to see Ray [Hussett] for a couple of weeks and ended up staying 10 years. I got work as a stage carpenter at the Oval House in Kennington, South London.

When I go to the garage to pick up my clubs, I clean the spider webs off.

Before 1972, no actors got residuals. They just got paid. No residuals.

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.

Of course, I had a crush on Princess Leia. I really wanted to ask her out, back to my place, or something. But at the time, I was living in a squat on Fitzroy Road in Primrose Hill. It was pretty derelict. So what was I going do? Ask her to come back with me and watch me catch mice?