Harry Shearer quotes:

I went to graduate school at Harvard for one year I worked in the state legislature in Sacramento for one year. I taught school in Compton for two years.

I always used to sit next to Mel Blanc when we'd do the shows. When you have Jack Benny on one side and Mel Blanc on the other, you're not going to go far wrong.

That was Embassy Pictures, they went bankrupt shortly after This is Spinal Tap came out.

If absolute power corrupts absolutely, does absolute powerlessness make you pure?

When I was growing up, we learned our history almost as lives of the saints. And it came as a shock, "Oh, Jefferson had slaves?" It always comes as a shock to us that elevation to the White House didn't somehow cleanse them of all their deep character flaws.

When it moved to Friday night it disappeared, when they find another show that can do what The Simpsons does, they will be delighted to do cancel The Simpsons.

I was a Political Science major.

Democrats always like to brag that their guys are smarter than the opponents and Republicans always like to brag that their guys are more moral than the opponents. But if you're looking for morals in politics you're looking for bananas in the cheese department.

[C. Montgomery] Burns is much purer evil than Nixon was. I think it's the purity of his evil that attracts me as a comic character.

I wasn't playing Nixon's satirical stick figure. I was playing Nixon the man. As an actor, I felt I had to get to the deeply flawed humanity of the guy.

I'm at a little loss in terms of my Leave It To Beaver expertise, since I never watched an episode of the show - so the cast in the pilot could have been Martians or they could have been the regular cast for all I know.

I just think everyone knows you go on those [political satire] shows if you're a politician to, "humanize yourself" - to show, "Hey, I can take a joke." Well, why should satire be in the service of humanizing these people who are supposed to be the target of our venom and vitriol? I think that's unseemly.

Bush is a frat boy in the White House but we've had that before. But I wasn't one of those people that was threatening to leave the country. By the way none of those people have left the country. Alec Baldwin is still here.

I didn't have a lot of independent film connections. It really took until the digital film revolution came along that I realized that I could do it myself.

I couldn't help but be struck that this guy I had thought was the embodiment of everything wrong with American politics, a lot of his domestic policy was mind-numbingly, head-spinningly to the left of Obama's. It was under Nixon that the EPA was created. It was under Nixon that OSHA was created. Under Nixon that the Clean Air and Clean Water Acts were passed.

Well Washington DC what are you going to do. They think the capitol steps are the state of the art in comedy. You try to drag them into the 20th century let alone the 21st and they refuse to come with you.

The last president we had was the smartest guy anyone could remember and he did the dumbest thing anyone has ever seen in the White House so go figure.

As a kid, I really did want to hang out with the grownups, so it was hanging out with the hippest grownups in the world. This was the nicest bunch of people I've worked with in show business, with the exception of the people around A Mighty Wind. It really was a wonderful eight years.

When I did that first movie, it was the introduction to all the set-up time and the waiting time that's endemic in motion pictures, and the repetition.

Nixon's genius was that he was able to portray himself as the toughest of the anti-communists, and yet run on a platform that he had a plan to end the Vietnam War. And, of course, his plan was to prolong it until his second election - but he didn't tell us that then.

[The word class has] been excised from the acceptable political vocabulary, except in the limited usage of right-wingers when they accuse liberals of inciting 'class warfare' - a charge that means it's okay for rich people to vote their economic interests but it's not all right to encourage poor people to do so.

Well I directed a few feature length things for HBO in the late eighties.

I am one of those people who thrive on deadlines. Nothing brings on inspiration more readily than desperation.

I think in most cases, if you're with good people, comedy creation happens faster in collaboration. That's how I can tell if it's a good collaboration: If it's faster than me by myself, then it works. If it's slower than me by myself, then I get out of the room.

My parents didn't want me to be a regular in a series. I was a working actor from time to time but they thought was a little too much being a star of a series. They wanted me to have a slightly more normal childhood.

I am one of those people who thrive on deadlines, nothing brings on inspiration more readily than desperation.

You know, radio was a really easy way to do the shows. You'd come in, do a read-through, there'd be a few rehearsals, then you'd come the night of the show and do it in front of the audience and then go home.

A movie script more than anything else is a plan of action for the crew. Everybody in the crew looks at the script to see what they're going to do. It has to contain where you are, and how many people are there, and what they do, and what time of day it is, and what time of year it is.

Anybody who says that having the public recognize them and relate to the work they do is irritating should get into another line of work. You're in this business for people to know what you do and like it.

Even under the best of circumstances men are hard creatures to trap. Women who flatter themselves into thinking they've trapped one are like people who believe they can get rid of the cockroaches in their kitchen. They're in for a big surprise late one night when they turn on the light.

Here's a guy [Richard Nixon] who had no gift for small talk, never liked to be around strangers, was physically awkward, and he goes into the one business that calls for ease with strangers and a gift for small talk.

I happened upon a memoir by a midlevel White House staffer, and he had been in the room that [Nixon's last] night [in office]. This guy's memoir told me what Nixon's last words were. And they were, on August 8, 1974, to the crew: "Have a Merry Christmas, fellas!" That was just so bizarre.

I have a very strong visual memory of the first time I made him laugh. That was remarkable. I was like, "Oh, God, I just made Jack Benny laugh."

I think Nixon says a lot about those times. It was possibly hard, in the '90s and early 2000s to understand the grip of fear that communism had on the country in the 1950s and 1960s - a fear Nixon rode like a endless great wave on the Pacific to high office. I'm sure, though there's no evidence of it, one of the things that rankled him down deep was that it was called McCarthyism and not Nixonism.

I think the British learn their history through the prism of this gallery of grotesques known as the royals.

I was never into candy and games and clowns.

I would come back to public school for usually about half the year. It was actually better for me to be out of school a lot, because I was two years younger than everybody, which is a bad situation, socially.

I'd always loved radio.

If Nixon were a Republican senator today, he would have been primaried out.

If you're going to do something that lasts 90 minutes, you can't really do it with stick figures.

I'm not sure that there's anybody else that's as psychologically complex and who's given us this window into his soul that Nixon gave us. That's what I find absolutely addictive and seductive.

In the year and a half I was on SNL, I never saw anybody ad lib anything. For a very good reason - the director cut according to the script. So, if you ad libbed, you'd be off mike and off camera.

I've been doing Nixon pretty much my whole professional life. I was in this comedy group called the Credibility Gap in Los Angeles when he was president. I was doing Nixon on the radio, and when we did live shows I physicalized him - if that's a word - for the first time. And then I did a Nixon sketch on a very short-lived NBC show called Sunday Best.

I've got an odd, negative bond with C. Montgomery Burns. He reminds a lot of people of bosses they've worked for. He certainly reminds me of someone I'm working for

Music can happen with equal ease as a solo or collaborative venture, it seems to me.

Music often happens even faster than comedy in terms of the creation.

Nobody makes a movie thinking it's still going to be watched and talked about and quoted 20 years later.

Privilege has its own way of seeing the world.

Satire is an art best practiced behind the back of the intended target. I think inviting politicians on a satirical show becomes a very big trap. Because one of two things happen: Either you have to kind of unsharpen your fangs because you can't be quite as cruel to people to their face as you are behind their backs... Or you don't defang, and those guests get the word and they stop coming.

Sometimes, songs spill out of you very fast, and sometimes you have to wrangle them to the floor. But the same thing is true of comedy, where sometimes it really flows.

The act of getting married, stripped of the necessity to have a secure setting to raise children, seems to me no less grim than registering your emotions with the government.

The first thing you've got to do is know your craft, and then you can do something else with it.

The hardest work most of us do is maintaining the appearance of normality.

The Simpsons will end as soon as Fox is able to find an 8 p.m. comedy hit to replace it - so I give us another 50 years.

The theater business is very much about "Hey, if you want our big blockbuster at Christmas time, you'll play our piece of crap in April."

There were really funny characteristics about this guy [Richard Nixon], chief of which would be that he seemed to devote about 85 percent of his waking energy to suppressing any sign of his emotional response to anything that was going on around him, and the other 15 percent blurting out those authentic responses in the silliest and most inopportune ways. And he had these smiles that would come at the most inappropriate times - just flashes that there was an inner life screaming to get out.

To do then now would be retro. To do then then was very now-tro, if you will.

When Nixon died, on my radio show I started doing sketches with three basic conceits: One, there's a place called Heaven. Two, Nixon got in. And three, he's still taping.

You can get an awful lot of effects into the customer's mind for a great deal less time and money in radio than you can in television.

You have to do real acting, not just do a voice.

You're not just looking for laughs, but you're trying to do the characters first, and then the laughs come afterwards.

For a guy who is always banging on about the masculine virtues, Nixon had this remarkable proclivity for very dainty gestures.