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After 'Nikki' and 'Steve Harvey,' I had written on a show called 'The Oblongs,' which was pretty well respected and had a lot of 'Simpsons' writers on it. So I was a TV writer with an interesting voice at that moment.

When you write for a show that's not yours, your job is to hear the voices of the characters and write as best you can for those voices.

I thoroughly enjoyed working on Enemy of the State. Tony Scott is an important director, and has an amazing ability to express himself, and he doesn't do it in musical terms, he does it in emotional terms. I got along really well with him.

I love it and it is a blessing to be able to have seventy-five to eighty episodes to develop a character and find your voice. You have a similar through voice, and yet you are making different decisions, and so you act differently and you make different choices, as that is what your character would do.

I would like to find, or I would like a part to come to me that is like the part that Dennis Franz was fortunate to be able to play on 'NYPD Blue,' a sort of similar-looking actor to me, a generic, bald white guy who you would often think of as playing the authority figure. But he was the disgruntled middle-man. That would be a fun character.

Last season when things weren't working out, I thought we needed a different voice around the place.

It's nice, because after you've worked with various directors and producers enough times, they start to know your voice and what you're capable of.

'The Critic' was so absurd, and I loved that. I loved working with Jon Lovitz, I think he's got a great, great voice for animation.

The voice is always the starting place for me with a character.