I was living in New York, so I just rode my motorcycle up to the set [of New Jack City]. So first day of work for me was kind of tough. I get ready to get off my bike, and I'm surrounded by the security guards, who were Louis Farrakhan's Nation Of Islam guys. Who had the double-breasted suits and guns. And this guy goes, "Where you goin'?" And I said, "I'm here to work." And they said, "No you're not." And I said, "Yeah. I'm here to work on the movie." And they said, "No you're not. Get on your bike."

I wanted to meet Orson Welles. So I was like, whatever, somehow get me in on this. I'm able to get cast in it, but Orson Welles worked alone. He worked before all of us worked. He didn't want to work with anyone else.

The first animation thing I did was the first Transformers, the one that was animated many years ago. And I had heard that Orson Welles was doing a voice on it.

Stagecoach is really my first Western, actually.

[John] Hughes really wanted it to sound authentic. He was a real collaborator. He encouraged us to bring to the material things we thought were maybe more truthful.

I just couldn't go back to Suddenly Susan after David Strickland's suicide. I didn't see how we could make the show light and funny any more.

You have to be so confident and so gifted to fill five minutes of nothing at the very beginning of a play before even a word is uttered.