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.

Her business manager said, you know, Gilda [Radner] left you that house. That's when I decided to stay and test it out. And after about a month, the roots grew, and I didn't ever want to live anywhere else for the rest of my life - travel, yes, but not to live anywhere else.

If you're not gonna tell the truth, then why start talking?

I came home [after funerals] and I thought if I go back to California, where I had a small house, I don't think I'll ever come east again. So I decided to stay and go through the halls and stairways, talk to Gilda Radner, holler, express some of my anger and make sure there were no ghosts in the hallways that I should ever be afraid of.And then I found out - it sounds strange, but I found out she had left me the house. We never talked about her dying and what she was going to leave me or I would ever leave her. We just didn't talk about those things.

Woody makes a movie as if he were lighting 10,000 safety matches to illuminate a city. Each one is a little epiphany: topical, ethnic, or political.

I write funny. If I can make my wife laugh, I know I'm on the right track. But yes, I don't like to get Maudlin. And I have a tendency towards it.

Actors fall into this trap if they missed being loved for who they really were and not for what they could do - sing, dance, joke about - then they take that as love.