I wanted to be an actor. Maybe a comic actor, but an actor. That's what got me into acting was putting on an act, because in life, I wasn't funny and I felt on stage or in the movies, I could do whatever I wanted to. I was free.

On screen, Gene Wilder could often be summed up as an accident waiting to happen, that frizzy, flyaway hair, the eyes darting this way and that and then something would set him off, Zero Mostel, say, in the movie that made Wilder a star, "The Producers."

I like - it's not that I want to be someone different from me, but I suppose it partly is that. I love creating a character in a fantastical situation, like Dr. Frankenstein, like Leo Bloom, a little caterpillar who blossoms into a butterfly. I love that.

Anyway, when I got out of the Army, I went to see a therapist. And she said, what seems to be the trouble? And I said I want to give all my money away. And she said, how much do you have? And I said, I owe $300. She stared at me for several seconds, and she said, I see. Well, let's get to work. And maybe by the time you do have some money, you'll be wise enough to know what to do with it.

At the time, I didn't know why, but I know now that when I was a little boy, I was scared to death of the Frankenstein films ... and in all these years later, I wanted it to come out with a happy ending, and I think it was my fear of the Frankenstein movies when I was 8 and 9 and 10 years old that made me want to write that story [Young Frankenstein].

And in 'Frisco Kid' and in 'The Woman in Red' I had to ride badly. Then you have to really ride well in order to ride badly.

With Mel [Brooks], only one time and that was later on during "Young Frankenstein" - never with Zero [Mostel] and never with Mel except I was writing every day, and then Mel would come to the house and read what I'd written. And then he'd say, yeah, yeah, yeah, OK, yeah, OK. But we need a villain or we need whatever it was.