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.

I worked with some of the best actors I've ever worked with: Mel Blanc and Don Messick. They could play a scene against themselves. Think of the characters that Mel created, and they're as good or better than any performance anyone has ever given. I mean: Daffy Duck! Think of the specific voice Mel gave Daffy Duck or Bugs Bunny or Porky Pig... It's just astonishing.

I allow myself to have my feelings of disappointment and discouragement, but never to sit and wallow in them.

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.

Kurt Russell said another brilliant thing. He had starred in umpteen movies by that point. And he said, "Generally speaking, in every film I've done, there are only about three or four scenes that I can really do something with. For the rest of it, it's not so much that you don't have to prepare, but there's not much you can really do. You just do what is asked of you in those scenes. You don't want to do too much."

I always wanted to be an actor. I was one of those lucky kids - or cursed kids - who always knew what he wanted to do.

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.