A Quote by Armie Hammer

I mean I would still love to be in Mel Brooks' movies; he's great. — © Armie Hammer
I mean I would still love to be in Mel Brooks' movies; he's great.
My dad had a commercial film company, so he had a videotape player before anyone. So he got Mel Brooks movies or Citizen Kane or some classic old movies. And every summer the revival house in Evanston would show the great films from the '50s and '60s and '70s.
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 remember seeing Airplane, and even Mel Brooks movies like History of the World Part I, and just really loving that style of movies that make fun of movies. I think it needs to be done. All of these movies are ripe for being poked at.
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.
Mel Brooks and Carl Reiner are the funniest dudes ever, and they have great careers on their own. They made great art in the '90s, and they still have dinner three times a week.
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.
My parents took me to that I think is just one of those near-perfect comedies is Young Frankenstein. Gene Wilder and Mel Brooks, they're at the height of their game. The two of them working together was amazing. Yeah, just a terrific story. You get emotionally involved. Jokes all the time, jokes that come from story. Like, they don't have to go wildly out of their way to make the jokes. It's a parody of Frankenstein movies, but also it stands as one of the great ones, one of the great Frankenstein movies.
They wanted me to play third like Brooks so I did play like Brooks - Mel Brooks.
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.
The three theater peeps I would love to dine with are Mel Brooks, because he is so funny; Stephen Sondheim, because he is a god-like genius; and Ethel Merman, to compare notes on fabulous belting.
Preston Sturges is one of my favorites. I learned about dialogue and timing from him - louder, faster, funnier. But I do love Mel Brooks.
My movies were not reaping the kind of emotional rewards that I wanted. I wanted them to be appreciated and they weren't. I didn't want the reviews to say, "Mel Brooks has made another movie," and you get the title somewhere in the second paragraph.
Mel Gibson is my friend. I love Mel. He's not the person that I hear people are often trying to diminish. Whatever his challenges are in life, he still remains someone I'm very close to.
The audience. They see the name Mel Brooks, they want something really funny. They don't want to be moved; they don't want to be taught any lessons. [...] I get more letters for ?Twelve Chairs ?and ?Life Stinks? than I get from any other movies, because people actually agree with the philosophy, or were moved, or they love the movie.
I've been working with good directors - the Wachowski brothers, Spike Lee, Terry Gilliam, Mel Gibson... I love American movies, but I love European movies, too, and I want to do both.
Apparently nobody really read it, it was a cheap movie, it fit their schedule in terms of things so fine, let the guy make that high school comedy. I used to work with Mel Brooks so they figured oh it's going to be one of those really silly movies and that's how it got made.
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