Then I discovered the newsprint of the newspaper would trickle down and look like the blood. The one shot I couldn’t mimic was the knife and the blood. We’re of course mimicking “Psycho” at every shot. I’ll say “That was a good joke.” Like in “High Anxiety,” I get very excited when Barry Levinson stabs me - I’m playing Janet Leigh - with the rolled-up newspaper after opening the curtain. Sometimes I see my old movies there, and I’ll actually enjoy it. Now that he’s gone, I don’t watch them anymore. Without Reiner, what are you watching?īROOKS: I haven’t been watching too many movies.
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He just wanted more joy and more comedy.ĪP: He had been your regular movie partner. He probably would have said “Why did you stop there? There was a lot more you left out!” There was never enough for Carl. I was so lucky he was my dearest friend.ĪP: Do you wonder what he would have thought of the book?īROOKS: I think he would have liked it. He lived a long, beautiful, loving, giving, happy life. By that night, the hot dogs had done him in. I love hot dogs and hot dogs love me.” But it wasn’t true. The day he died, I said, “Carl, you’re eating two hot dogs.” He said, 'They ain’t gonna bother me. I’ve been lucky in many departments.ĪP: Do you remember your last conversation with Reiner before his death last year?īROOKS: Yeah. And then you’re lucky if you have children that you like and like you. You meet Carl Reiners and Tom Meehans and Anne Bancrofts. Once in a while, I’ll think of something and think, too bad Carl isn’t alive and we could’ve nail that idea. But it’s money or love, and I go for love.ĪP: Do you still think up 2,000 Year Old Man jokes?īROOKS: Well, without Carl, who I loved so much and who was such a great, deep important part of my life, I don’t think very often of the 2,000 Year Old Man. I don’t know whether I learned it from Russian literature or Mel Tokin or life. It seems that I know that in this world, it’s either love or money. There’s a kind of crazy secret in my writing that I didn’t realize until I read the book myself. Like Bialystock and Bloom planning on having a flop and instead have an incredible hit. As soon as the money comes rolling in, they simply forget.ĪP: Has what’s funny to you changed at all with age?īROOKS: You never know what’s funny to you until it hits you, and then you say, “Gee, that’s funny!” Things that are positive surprises have always thrilled me. You won’t see him again.” I never changed a thing. You can get a handsomer guy who has more star quality.” I said, “Yes. When (producer) Joseph Levine said, “Get rid of this guy Gene Wilder in ‘The Producers.’ Get rid of him. A movie is forever.ĪP: A kind of running gag in the book is the litany of film executives who give you notes that you gladly accept only to completely ignore.īROOKS: (Laughs) I always agreed to them, 100%, to their faces. Maybe TCM or some little art house in Des Moines, but it’s somewhere. Every movie I’ve ever made is still around, playing somewhere. You can do a lot more, you have a lot more time and they last. I said, “Well, I’m going to continue but I’m going to go into movies. He understood that, but he couldn’t turn down the offer they gave him.
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I said: Harold Lloyd is still hanging from the clock in “Safety Last! ” from 50 years and you do an hour and a half of incredible comedy that is gone the minute they turn off the TV set.
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Was that always the case?ĪP: Years into the hallowed run with Sid Caesar, you implored him to join you in leaving television for the movies. Why bring the reader down when there’s so many ups to talk about?ĪP: You say that despite being a filmmaker and producer, you identify most as a writer. I didn’t write a lot of the downs in the book. When you had a show on television like "Get Smart," it was dropped after the first year. There was plenty of heartbreak right there. When you worked so hard on an idea or a project and the audience just said: No, thank you. Was there any downside to needing that response?īROOKS: Oh, yeah. It takes away precious minutes from your childhood.ĪP: Depending on laughs for happiness can lead to a lot of heartache. The guy said, “What happened at 9?’ I said, “Homework.” I realized the world wanted something back. From about 4 or 5 or 9, it was the most exciting, happiest, joyous life that anyone could experience. I was once interviewed and the guy said, “What was the happiest part of your life? Was it winning the Academy Award? Was it marrying Anne Bancroft?” I said no, not at all. I wanted to keep the happiness and joy and explosions of laughter going into a dour part of our lives, not our childhood anymore. BROOKS: I wanted to keep the party going.