The first 'Saturday Night Live' season I was heavily interested in was the one with Martin Short, Billy Crystal, and Christopher Guest. There was just something about Martin Short in particular. I really related to him and hung on his every word and mannerism, so I started impersonating all of his characters as an 8th grader.
When I graduated from college, I moved to New York and started doing improv because I read all about the early 'Saturday Night Live' guys having come through Second City and learning how to improvise, so I wanted to get immediately into that.
I come from Beverley in East Yorkshire, and no one there would step outside their front door, or even their back door, on a Saturday night - or any other time, for that matter - unless they were dressed to the nines.
I started performing non-professionally at birthday parties and family gatherings doing 'Saturday Night Live' impressions at four. Then I started for real at seven.
There was this real fear in doing 'Square Pegs' after getting such a fast ride to glory on 'Saturday Night Live'. I was afraid that the word would be 'peaks early, fails to live up to promise.'
Our television set was in the bedroom. I can picture my mother fast asleep, exhausted from driving my brothers around. I can picture the Maple Leafs playing the Canadiens. One or the other would always be on the CBC on Saturday night.
We have a show very early on called 'Slap Bang' on a Saturday night and it didn't work. It started off peak time and started getting earlier and earlier in the schedule. I think that that taught us you have to adapt.
The idea of trying to write sketches the same way we did on Saturday Night Live every day would be damn near impossible.
Who made me laugh when I was growing was Chaplin and the Marx Brothers, and then moving on, there were so many that I was a writer for for many years: I was a writer for the Smothers Brothers, Lily Tomlin, then I started on 'Saturday Night Live' as the head writer the first year we started it.