A Quote by John Hurt
I first got involved with Mel Brooks through 'The Elephant Man.' Everybody knows now, but they didn't know at the time that he was the producer.
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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 have performed my one-man show '700 Sundays' over 400 times now. There were only two times that I can honestly say I was nervous. The first was when I knew Mel Brooks was in the audience, and the second was when Sid Caesar came.
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.
Everybody knows that the boat is leaking. Everybody knows the captain lied. Everybody got this broken feeling, like their father or their dog just died. Everybody talking to their pockets. Everybody wants a box of chocolates and a long-stem rose. Everybody knows.
They wanted me to play third like Brooks so I did play like Brooks - Mel Brooks.
I got a chance to work with Mel Brooks on two of his films: Silent Movie and High Anxiety.
Now, everybody knows my music. So that's really cool. A lot of kids know it. Now, when I go to a sports game, everybody knows my name.
I was always a big fan of Mel Brooks and Carl Reiner's '2000-Year-Old Man' sketch. I think it's one of the biggest influences on the podcast, definitely. You'd never say Carl Reiner was the funniest dude on there, because he's just teeing it up, but he knows what questions to ask to lead to great improv.
We don’t have much time. Mel will be out of the restroom soon.” “You’ve got a magician named Mel?
I grew up on Mel Brooks films. That was film to me until I got a little bit older and realised there were other kinds of movies.
As a kid, I always loved Mel Brooks' stuff - 'The 2,000 Year Old Man' record was something my dad put me onto.
There are four types of men in this world: 1. The man who knows, and knows that he knows; he is wise, so consult him. 2. The man who knows, but doesn't know that he knows; help him not forget what he knows. 3. The man who knows not, and knows that he knows not; teach him. 4. Finally, there is the man who knows not but pretends that he knows; he is a fool, so avoid him.
It's through working with a lot of first-time directors that I realized that people learn on their feet. Everybody works on something for a different reason. Everybody has got something new to learn on these sets, and you don't have to know everything, the second you start.
I was 17, and a friend said, 'Man, you've got to listen to this song,' and he played 'Man to Man.' From there on, I was hooked on country. Garth Brooks, Alan Jackson, Clint Black. Every show that came through America West Arena, I was there.
Everybody knows how to get prepared for an MMA fight. Everybody knows what the other person is going to do. Whereas when I did it, MMA was really style against style. Things you hadn't seen before, you'd see for the first time. People didn't know how to train properly for it, and the coaching wasn't there yet, either.
I remember reading Dave Barry for the first time and being like oh my God I can't believe you can do this. Watching Mel Brooks and Monty Python and SNL and all that stuff really informed me as a writer and then at high school I started a satire magazine and the college like The Lampoon really introduced me to like you know a lot of very like-minded people who really wanted to like comedy was the center of their lives.
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