I have to match wits with the ads. Like, there's pop-ups that, like, move around and you have to chase them like it was a video game or something. And then there's ads where, like, you know, the X to, like, close the ad screen is so kind of small that you can't find it and you have to actually go looking for it. And so I spend all my energy - instead of, like, absorbing what the advertiser wants to communicate to me, I spend my energy trying to figure out how to defeat the ad.

Anyone who agrees to be interviewed must decide where to draw the line between what is public and what is private. But the line can shift, depending on who is asking the questions. What puts someone on guard isn't necessarily the fear of being 'found out.' It sometimes is just the fear of being misunderstood.

When we spoke, Gene Wilder had just written a memoir called "Kiss Me Like A Stranger." The title was suggested by his late wife Gilda Radner three weeks before she died in 1989.

I mean, Dad was one of these people who simply could not lose, you know? He could not stand it when a kid was beating him. He would go crazy when the child came to that moment, which, you know, you have to come to - I mean, Dad played Old Maids like he played football. He just simply had to win every single thing every single time.

I work in a medium where I get to be totally invisible and I get great pleasure from that, being a pretty self-conscious person.

Gene Wilder made his movie debut in "Bonnie And Clyde," starred in the Mel Brooks films "The Producers," "Young Frankenstein" and "Blazing Saddles," played opposite Richard Pryor in "Silver Streak" and "Stir Crazy" and portrayed the candy-maker in "Willy Wonka And The Chocolate Factory."

I love songs. Songs are my favorite things.