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.

My father was a really sharp cartoonist and filmmaker. He used to tape-record the family surreptitiously, either while we were driving around or at dinner, and in 1963 he and I made up a story about a brother and a sister, Lisa and Matt, having an adventure out in the woods with animals.

The Simpsons' from the very beginning was based on our memories of brash '60s sitcoms - you had a main title theme that was bombastic and grabbed your attention - and when you look at TV shows of the 1970s and '80s, things got very mild and toned down and... obsequious.

Cartooning is for people who can't quite draw and can't quite write. You combine the two half-talents and come up with a career.

By making the gay character funny and sweet but above all normal, you make a far better, longer lasting statement than you would if you had an entirely gay comedy.

Juilliard gave me the ability to go and do classical, contemporary, comedy, drama, everything.

I love Stephen Colbert and Jon Stewart because they're bringing irony back into American humor, which is a delicious treat. The entire Colbert persona of being extreme right-wing when he's not at all is highly amusing. He does it so well, but sometimes a little too well. My wife is convinced he's completely that way.

Humor writing requires a rhythm and timing, as well as some kind of connection to the reader, and I think that's how I tap into it.