Steven's Spielberg is one of the most visually talented and character-oriented directors I've ever worked with. And I learn from him every time I watch one of his movies. Good or bad - and he has made some awful movies - they're never uninteresting. He's made four or five of the greatest movies of all time. Perfect movies, like E.T. or Schindler's List or Saving Private Ryan.

Whenever I study a genre of film-making, Steve Spielberg is the first guy I go to. Even Catch Me If You Can, which is a very lightweight kind of thing, if you just look at the economy of the way he designs his shots and works around actors, the craft is amazing.

When I worked with Chevy Chase, Michael Ritchie would say, "Just ad lib and try to break me up. Just insult me. Anything." When we were doing his close-up, or when my back was to the camera, I would come up with jokes or quips or anything, to get a real reaction out of him. He was smart enough to know that was gold. So it was great fun working with him and Michael, and getting to see how the two worked together. I think Fletch and Clark Griswold were Chevy's two best roles. He's so incredibly talented and still vastly underused.

I was just dying to get out of the constraints of television, and the constraints of the parts I'd been playing. I had taken a bunch of improv classes and was performing with The Groundlings. I wanted to get into more adult, risky stuff.

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.

Steven's Spielberg is one of the most visually talented and character-oriented directors I've ever worked with. And I learn from him every time I watch one of his movies. Good or bad - and he has made some awful movies - they're never uninteresting. He's made four or five of the greatest movies of all time. Perfect movies, like E.T. or Schindler's List or Saving Private Ryan.

John Belushi infused Animal House with this spirit of guerilla filmmaking. John Landis came from that world too, and all the National Lampoon writers were from that world. It was just chaos on film. Controlled chaos, though. We stayed very close to the script. It was a very formal kind of movie, if you look at it. Formally photographed and structured, with certain elements of improv.