I'm always stunned when I find out people like Roosevelt and Tolstoy weren't Jewish. How could I love them so much?
Good taste is the enemy of comedy.
I love [Nikolai] Gogol's great eye for idiot behavior. Gogol said that life is so tragic, so stupendously sad that we'd better laugh a lot and enjoy ourselves. You either get a sense of humor going or you go under.
Do you have a dollar on you? I hate to answer questions for nothing.
The Twelve Chairs is about the same thing. It's all about money or love. We know we need money, we know we have to get money, we know we have to hurt others to get money. But we don't know until maybe it's a little too late in life that love is the most important thing. Love, friendship, affection, bonhomie, whatever. Those are the only things that really count: to love and be loved.
I was adored [as a kid]. I was always in the air, hurled up and kissed and thrown in the air again. Until I was six, my feet didn't touch the ground. "Look at those eyes! That nose! Those lips! That tooth! Get that child away from me, quick! I'll eat him!" Giving that up was very difficult later on in life.
Now thyself is more important than “Know thyself.
A cinema villain essentially needs a moustache so he can twiddle with it gleefully as he cooks up his next nasty plan.
You're always a little disappointing in person because you can't be the edited essence of yourself.
The audience. They see the name Mel Brooks, they want something really funny. They don't want to be moved; they don't want to be taught any lessons. [...] I get more letters for Twelve Chairs and Life Stinks than I get from any other movies, because people actually agree with the philosophy, or were moved, or they love the movie.
My liveliness is based on an incredible fear of death. In order to keep death at bay, I do a lot of "Yah! Yah! Yah!" And death says, "All right. He's too noisy and busy. I'll wait for someone who's sitting quietly, half asleep."
When I'm writing a script, I don't worry about plot as much as I do about people. I get to know the main characters - what they need, what they want, what they should do. That's what gets the story going. You can't just have action, you've got to find out what the characters want. And then they must grow, they must go somewhere.
Comedy is lively, comedy is joy, and that's what keeps us [people] going, we've got to look forward to little, little happiness's. Little, little joys, and comedy is very, very important, it's a vital. We underestimate its value, but we should see more comedies. Comedy is life giving, it's invigorating. I really believe it.
Basically, I'm a writer. I'm the proprietor of the vision. I alone know what I eventually want to happen on the screen. So if you have a valuable idea, the only way to protect it is to direct it.
Every human being has hundreds of separate people living under his skin. The talent of a writer is his ability to give them their separate names, identities, personalities and have them relate to other characters living with him.
The more serious the situation, the funnier the comedy can be. The greatest comedy plays against the greatest tragedy. Comedy is a red rubber ball and if you throw it against a soft, funny wall, it will not come back. But if you throw it against the hard wall of ultimate reality, it will bounce back and be very lively. Very, very few people understand this.
I usually start with the words. The rhythm of the words gives me the rhythm of the song, and then I look for the musical highlights in it to carry it.
The thing is to be brave and move the audience with you, instead of cater to the lowest common denominator, you know, slipping on a banana peel and falling on your ass. You got to move the audience a little further ahead in terms of their appreciation of what is comedy. It's complicated.
If you're quiet, you're not living. You've got to be noisy and colorful and lively.
Rhetoric does not get you anywhere, because Hitler and Mussolini are just as good at rhetoric. But if you can bring these people down with comedy, they stand no chance.
If Ivan the Terrible had been kissed and loved between zero and three, he probably would have become Ivan Not So Terrible. If you're Jewish, you have a small smile on your face. Because you know the rest are wrong and you don't want to hurt their feelings.
My job is to go out and entertain the most people possible.
There's no such thing as too far. If it works it's funny, if it doesn't work it's too far, it's stupid. Really there's no such thing as "too far." You're joining the politically correct when you use words like "too far." You don't want to join the army of politically correct.
It's good to be the king.
THE 2,000-YEAR-OLD MAN'S SECRETS OF LONGEVITY 1. Don't run for a bus - there'll always be another. 2. Never, ever touch fried food. 3. Stay out of a Ferrari or any other small Italian car. 4. Eat fruit - a nectarine - even a rotten plum is good.
