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."

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.

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."

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.

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.

I put out my hand to shake hands with Zero Mostel, and he took my hand [and] he pulled me up to his face, and he gave me a kiss on the lips. And all my nervousness went out the window.

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.