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.

There are times over different projects when I've asked the writers why people are swearing for no good reason. I tell them that it would be funnier if there weren't these swear words.

The last thing on my mind was to be an actor, but I had a crush on a cute girl in the drama department, so the best thing for me to do was audition, help out, do carpentry, whatever it took to get me on that project.

I mean, Cheers [from the Star Wars] was just a job while we were doing it. All of us were really only hustling to pay the rent, weren't we.

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.

What I've learned from the Pixar guys is 'If you work for the love of what you're doing, it's always going to come out right.' Cause if you're working for a paycheck then it's not going to work in the long run; it's not going to feed your heart and soul.

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.