A Quote by Clara Mamet

Preston Sturges is one of my favorites. I learned about dialogue and timing from him - louder, faster, funnier. But I do love Mel Brooks. — © Clara Mamet
Preston Sturges is one of my favorites. I learned about dialogue and timing from him - louder, faster, funnier. But I do love Mel Brooks.
The best thing I can say about 'Teen Wolf Too' is that it's the only time anyone ever referred to me as Preston Sturges. Leonard Maltin wrote that 'Teen Wolf Too' made 'Teen Wolf' look like Preston Sturges. I've always prided myself on that.
I like Quentin Tarantino, especially the early films, but I'm a big fan of Billy Wilder and Preston Sturges... you know, people were writing great dialogue back then. It's as if people only have the memory of the last 15 years. So, before Tarantino no one was writing witty dialogue? That's ridiculous. Why do we have to keep referring to Tarantino?
Id like to acknowledge three people who early on knew Mel Brooks was one of the funniest people in the world: Sid Caesar, me, and Mel Brooks.
I'd been a fan of old film comedies like Preston Sturges and Howard Hawks movies - the fast-paced dialogue in movies like 'His Girl Friday' and 'Bringing Up Baby' and 'Twentieth Century' and 'Sullivan's Travels.'
What I learned from Mel Brooks was audacity - in performance as in life. Maybe you go too far, but try it.
They wanted me to play third like Brooks so I did play like Brooks - Mel Brooks.
Preston Sturges, who wrote The Palm Beach Story, said screenplay writing is architecture. That's why it's so rare to read one that's any good.
I mean I would still love to be in Mel Brooks' movies; he's great.
Of those, the only one that really stands out for me is Tales From The Darkside, for a couple of reasons, one in particular being who I got to work with on it, which was Eddie Bracken. I mean, what a man. Someone who's done Preston Sturges movies, and I actually got to work with him? And he was great.
Think of Frank Capra and Preston Sturges. They used the same actors over and over again.
You set us up!” “No! I swear—” Her face fell. “Mel. Mel must’ve told him.” “Right,” I grumbled. “Blame Mel.
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.
And I love Mel Brooks. My Dad loved his movies, too, they're awesome, the kind of thing that if you're in for ten minutes, you're in for two hours.
The most fun I ever had on a movie was working with Albert Brooks. He's the caviar of comedy. I mean, nobody's funnier; nobody is smarter than Albert Brooks.
Over the years, if you look at the films of people like Billy Wilder, Preston Sturges, Frank Capra, their supporting characters, even if it's a doorman with two lines, always seem three-dimensional. To me, that's a sign of good storytelling.
Mel Brooks came to see Oh, Hello in L.A. Mulaney and I had a meeting with him, and we invited him to come to the show, and he saw the Oh, Hello show live in L.A. To me, he's the most famous person. Having him come to our show that was so inspired by both of us loving The Producers and all his movies.
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