The big catalyst was seeing my sister, when I was 11, doing a dramatic recital. When I saw her on the stage and everyone listening to her so patiently, quietly, that's all I wanted: for someone to look at me and listen to me, but in some beautiful and artistic way.

Because we had to convince the scientific members of Transylvania that with the procedure I was using on the creature, Dr. Frankenstein could be taught to be a civilized human being, what I called a man about town. Instead of a monster who's going to kill their children, it was someone who could sing and dance.

I love the art of acting, and I love film, because you always have anther chance if you want it. You know, if we - if this isn't going well, you can't say - well, you could say - let's stop. Let's start over again, Gene, because you were too nervous.

There wasn't a funeral per se. I buried [Gilda Radner] 3 miles from her house that she had bought just shortly before we met. It was an old house, old colonial house, 1734. And there were just a few friends at the funeral, a nonsectarian cemetery. And an old friend of hers from junior high school or high school was the rabbi in town, and he performed the service.

[ Zero Mostel] would tell anyone anything, not to be impolite, but he'd show that he wasn't at all afraid of however much money that person [had] or whatever title they had in a company. It didn't scare him. Mel [Brooks] was very much the same way.

I never used to believe in fate. I used to think you make your own life and then you call it fate. That's why I call it irony.

I met Mel [Brooks] backstage in Anne's [Bancroft] dressing room. He was wearing one of those pea coats, pea jackets that were made famous by the Merchant Marines, and I admired it and he said, "You know, they used to call this a urine jacket, but it didn't sell."