NEIL LEVY: There was a feeling even before it started that something important was happening. It was almost like all the leftover spirit of the sixties found its way into this show- that spirit of rebellion, of breaking through whatever boundaries were left. There was something so special about being there that you knew from the moment you got there that this was going to work. Of course, some writers weren't so sure. Even Dan Aykroyd - he had a bag all packed. He said, "Neil, this show could fold in a second, and I got a nice little spot picked out on the 401, and I'm going to open a truck stop." He had a whole plan! There were people who thought every paycheck was their last. At the same time, there was this infectiousness. It was a joyous thing, really. Everybody had been fired up with this concept of the inmates running the asylum, and the idea that the writers were the most important aspect of the show, and how we'd be able to do whatever we wanted - all the stuff that Lorne talked about. You could see that everyone there was on fire. It seems in retrospect that everything was perfect - that it was this perfect, amazing, hilarious show, but even back then it was hitand- miss. They had a lot of clinkers. But the thing of it was, it had never been done before. And it was just the times. Nixon had just resigned, the Vietnam War had just finished - and we lost it - and America wasn't laughing. And this show came along and said it's okay to laugh, even to laugh at all the bad stuff. It was like a huge release.