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That was the day I began cutting classes and returning to TV tapings; it ultimately led to a friendship with Johnny O, and an increasing fascination and respect for what he did.

I was lucky to be with Johnny... he taught me a lot about fame.

When I got a call to do the voice of Johnny in an episode of 'American Dad' titled 'I Can't Stan You,' it was a great opportunity to be a part of a really funny cutting-edge show on television. I really got into the character, and I was able to do some improvisation, which allowed me to mix in part of my personality into the script.

Most sketch aficionados have an enormous amount of respect for 'Mr. Show.' I didn't have HBO back then, so I was always trying to find episodes. Bob Odenkirk and David Cross became celebrities, and Jay Johnston - who's lesser known, but brilliant - deserves a lot of credit, too.

I wanted to try and trace the genuine origins of 'Johnny' and how he so successfully staged this takeover of 'Michael Pennington.' 'Johnny' is a contradiction to who I am as a person. I'm not very good at confrontation, I have a tendency to internalise and to carry things around.

I am very proud of what 'Johnny' achieved in stand-up comedy because he believed entirely in giving an audience the best kick he could. But he was someone who was quite detrimental to my health, both emotionally and physically.

I think anyone that grew up in the '70s and '80s grew up with Bob Barker and Wink Martindale and I think that was just always... when you were a game show host, you were the man of the hour.

I wrote on a show called Johnny Bravo when I was at Hanna-Barbera.

Most producers I've known were writers first, and writing is a vital part of any game show. You could easily argue that the writing is the key ingredient that makes 'Jeopardy!' so great.

Many have been with the show for years, and they have sources in the business, so we do know things, but until it is verified, we don't run with the story.