"When Harvey Korman’s coming downstairs, before the line [about fruit cups], he shifts his cuffs and he’s very, you know, breezy — very on top of his game, whatever you want to say — he was sure he was gonna have that fruit cup. [Regarding how she got the mustache in High Anxiety:] I had been made up and I was sitting in my trailer waiting to be called and just doing nothing so I had a little black pencil. Just not even thinking about it, I put on a mustache, and all of a sudden, I got a knock on the door: “Okay, time. Come to set.” So I tore down there and Mel was there and I said, “How do you want me to play this part?” He said, “I’ll leave it to you.” I said, “Well, I did this already in Young Frankenstein.” He said, “Oh well, what do you want to do?” I said, “Well, I don’t know. I feel like in High Anxiety that I don’t want anyone to know me so I thought I’d just talk funny.” We went to the wardrobe department and they put this costume on that fit perfectly and was beautifully made. I said well let’s make the shoulders a little bit broader maybe. That didn’t work, and I had this big chest if you remember in High Anxiety. You remember that? So I thought we should put a back on to match the front, to balance it at least. That worked, that was good, but this thing about broader shoulders didn’t work. The costume didn’t look like it was mine, so by that doing that it really helped, it was very good. Then I wanted to raise the whole costume. I looked like a baby ostrich in it. My head was sticking out so I thought we should raise the dress. They just pulled the dress and everything way up. That’s what I looked like with a mustache and raised [dress]."

"It's an unstoppable record. I nicked my copy so I never had a sleeve for it, so I never got any of the song titles or anything like that. But again it's a very complete record. It's one of the few albums that I can just leave on and it can play all the way through and you don't go oh, not this track again, I hate this song. Everything on it sounds like it was recorded in somebody's bedroom. I've never even looked up how they actually did do it, but I just love that the machines and the loops they used were pretty much standard for the dance crowd, and things like where I would have said oh, not that beat again, everybody's heard that loop, you know, actually they turned round and said ah, but if we do it like this it sounds really good. And the production on it is amazing. Some of the things that are going on with the timings on the compressors and the noise gates, on that level there's plenty to listen to, as well as the songs being great. The dynamics and the editing in and out and the mixes are really quite something else. I wonder sometimes if it's only because I've made records myself that I get how much work must've gone into that to make it happen. But at the same time it still sounds like it was done in a bedroom. But again, they're very minimalist in what they use. They pick their shots. When they do something they make sure it's in the right way and in the right place. There's nothing in there that clouds the water or gets in the way of the vocals or loses the bass. It's always relevant."

"I was just thinking last night, after I’d already sent you the list of songs, “Why didn’t I put that Lux Prima record in there?” It’s my favourite of the year so far. The first time I heard this song it knocked the wind out of me. Where did that melody come from? I’d never heard it, and yet it felt like it had existed for all eternity. By the time the track's over, it's already ingrained in you. Something else I love about this album is that it starts with a couple of songs that have you thinking that you know where the record’s going, and then it takes this hard right turn. I love that! Why don’t bands do that more often? You think of Ziggy Stardust as being this big rock record, but you forget that all of the big rock songs are saved for the back half. Side one is all soul and pop. I like that kind of sequencing, where the band is being deliberate, where they know they’re handling a piece of art. I think, with us having just put together Everything Hits at Once, I relate to that more than ever - that sense of wanting the album to gradually take the listener somewhere."

"Bridesmaids. It is hands-down… That’s like the funniest movie that I’ve seen in a very long time. Girls Trip was really funny the other day. I loved that; I saw Girls Trip in my hotel room. Bridesmaids, I remember laughing out loud in the theater, like dying laughing over it. I mean, to watch how all of the actors interact, and the improv, and I love that they interact the way that my girlfriends and I interact. There’s a specific realness to it that I thought was depicted so well and I loved it so much. And I mean, we get to watch Melissa McCarthy in her Academy Award Nominated performance. I mean, she’s genius, she’s brilliant, and Kristen Wiig — all of them, every single actor in that movie is brilliant. I just loved that movie."

"I was thinking of different forms of inspiration and years ago, when I used to box, I had a heavy bag hanging in the garage of my house that I bought after I was inspired by "Peace of Mind." I would go out, and work, and do my TV shows, and do my radio shows, and do all that kind of stuff, where you’re sitting there with makeup on, and trying to hit your marks, and all that business. And then I would go home and I would crank in my mix cd and one of the songs was Midnight Oil’s “Blue Sky Mine”. And it just had such a strong drum beat that I would just go into this zone and just start pounding the body of that heavy bag to the beat of the drum. And it really just got me inspired. So, like I said, Boston was inspiring to get me into a career, and Midnight Oil was inspired for me to break someone’s ribs."