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Charlie Parker and Art Tatum to me were genius, and I'm right below that. I did, in my own way, do something different on the instrument, and that's the way I'd like to be remembered.
I opened up for Richard Pryor in 1992. I had a conversation with him. All those other comedians can say what they want about what they did, but I opened up for the man. Paul Mooney and I are probably the only ones that can say that.
Twin Peaks was special because it was so groundbreaking. In the early '90s it really changed television a lot. A bunch of weird shows, like Northern Exposure, came on after that.
It was kind of ridiculous to carry it up to a certain point and then drop the ball or the bomb, like quitting the band right after we had signed to Virgin.
I choose things that challenge me. I was afraid of the camera - that's why I chose to do 'Private Practice.' It's not like I left the theater.
I like Louis C.K., Chris Rock. Old schools like Richard Pryor and Eddie Murphy.
Of course I have the odd bad game like other players. But I can't accept that. Especially when things don't go right for United. It all means so much to me to be succesful here. It drives me crazy at times.
I've been alienating my public since I was 20 years old. When 'American Buffalo' came out on Broadway, people would storm out and say, 'How dare he use that kind of language!' Of course I'm alienating the public! That's what they pay me for.
'The Simpsons' was about children and married parents; 'Futurama' is about people in between; they're growing up and haven't settled down. Every other cartoon show seemed to be, you know, dumb dad, bratty kids.
