Working with Steven Spielberg, how bad could it be? But "1941" was one of those excessively big movies where every action scene was done and re-done and re-done again. It was so overproduced and overly expensive. And it wasn't terribly funny.

Tucker's Witch was the first television I'd done in a while. It was just before Moonlighting, and just before you could get a little more outrageous on TV. We had a great premise.

I'll never forget John Heard doing Shakespeare In The Park with Raul Julia and Richard Dreyfuss. It was 30 years ago, I guess. It was Othello, and John Heard played Cassio, and while everyone else was "Acting!" Heard came on talking normal, and everyone in the audience was leaning in to follow him. I wasn't doing that in Bus Stop. I think in that performance, I was putting it out a little too much.

I must say Steven Spielberg was great to me, and I loved working with him. He called me up on the phone and was like, "I want you to be in this movie - 1941. There are a couple of parts. You can take whichever one you want. One of them is a main character who is involved in everything, and there's another character who has his own storyline and goes off on his own. He's probably the funnier, more unique character." I said, "Well let me do that second one."

I think it's that if you don't have the visual, you have to infuse the full personality into the voice. Think of Daffy Duck. I mean, what the heck? I was playing around with the Daffy Duck voice today when I was coming back from driving my kid to school.

I grew up on a set. The guys I hung around with were crew guys: the camera department, the prop guys. I was like the third kid through the door when I was a kid actor on Leave It To Beaver. I was always one of five guys who would have a couple lines. I was a journeymen actor in my first career, so I was appreciative of the journeymen on the set.

The core of Animal House was about prejudice, about equality, and about inclusion/exclusion. It was about a group of people who were together and anything went. Anybody who wanted in could get it in. Then there was that other group that nobody could get in, unless they were white, and just alike. It was very representative of the culture in the '60s, '50s, and '40s in America.