Browse content similar to Mel Brooks: Unwrapped. Check below for episodes and series from the same categories and more!
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-Hello? -Dave? -Yes. -It's Alan. | 0:00:02 | 0:00:04 | |
-Hi, how are you, Alan? -I'm fine. | 0:00:04 | 0:00:07 | |
-So, is Mel in? -Yes, he is, he's getting ready. | 0:00:07 | 0:00:11 | |
What does that mean, he's getting ready? | 0:00:11 | 0:00:13 | |
I think he was expecting you shortly. | 0:00:13 | 0:00:16 | |
OK. What...? Is he expecting me at 2.00 or 2.30? | 0:00:16 | 0:00:21 | |
Um... | 0:00:21 | 0:00:23 | |
Probably two, but, um, maybe you're coming closer to two thirty? | 0:00:23 | 0:00:26 | |
This programme contains some strong language. | 0:00:29 | 0:00:36 | |
-Shelby? -Yes? | 0:00:59 | 0:01:02 | |
Where is he? | 0:01:02 | 0:01:03 | |
I don't know. | 0:01:04 | 0:01:06 | |
Hello? Hello? | 0:01:10 | 0:01:12 | |
Hello! | 0:01:14 | 0:01:16 | |
Peter! Where the hell is the thing on the screen? | 0:01:23 | 0:01:26 | |
Right. | 0:01:26 | 0:01:27 | |
Thank you, Peter! | 0:01:30 | 0:01:31 | |
That's 20th Century Fox, in case you can't read, | 0:01:33 | 0:01:36 | |
that's what it says. | 0:01:36 | 0:01:38 | |
That's the best part of the picture, right there. I'm crazy about that guy. | 0:01:38 | 0:01:42 | |
I love him! I can't get enough of him. | 0:01:43 | 0:01:46 | |
Phil, raise the gate, for Christ's sake! Will you raise it up? | 0:01:48 | 0:01:51 | |
Thank you, Phil. Agh! | 0:01:51 | 0:01:53 | |
Julio, get me a half a dozen bagels! | 0:01:57 | 0:01:59 | |
Julio! Pull up near the toilet, I have to pee. | 0:02:07 | 0:02:10 | |
Julio! | 0:02:12 | 0:02:14 | |
I'm going to take your licence away! | 0:02:14 | 0:02:16 | |
Julio, hang on to that. | 0:02:18 | 0:02:20 | |
-Mr Brooks? -What? -Do think we might get a chance to talk? | 0:02:22 | 0:02:26 | |
-Who are you? -The BBC. | 0:02:26 | 0:02:29 | |
Oh, yes, that's right. The Bengal Broadcasting Company, right? | 0:02:29 | 0:02:33 | |
-You're the Indian that was supposed to interview me? -From London. | 0:02:33 | 0:02:36 | |
-Oh, from London. -Yes. -Ah, what's your name? | 0:02:36 | 0:02:39 | |
-Alan. -Alan what? | 0:02:39 | 0:02:41 | |
-Yentob. -Are you a Jewish Indian? Ah, the best. All right, listen, | 0:02:41 | 0:02:44 | |
-did you see Blazing Saddles? -Oh, yes, I liked it a lot. | 0:02:44 | 0:02:47 | |
I didn't get your money. I didn't get your ticket. | 0:02:47 | 0:02:49 | |
-All right, look... -Mr Brooks, how long will you be? -I have to pee. | 0:02:49 | 0:02:52 | |
Keep talking. Just keep talking. | 0:02:52 | 0:02:54 | |
I'm a very busy man. Ask me questions, it's all right. | 0:02:54 | 0:02:57 | |
Er... | 0:03:00 | 0:03:01 | |
-Oh! -Alan, Alan, Alan! -Ah. -Oh, Alan, I'm sorry. | 0:03:03 | 0:03:09 | |
I may have some bad news for you. All right? | 0:03:09 | 0:03:12 | |
Really, I mean it. I've been thinking. | 0:03:12 | 0:03:16 | |
-I have been thinking. -Thinking... -I love you. I love what you do. | 0:03:16 | 0:03:20 | |
I've always loved, you know... | 0:03:20 | 0:03:22 | |
However, I've been thinking. I may not be able to do this. | 0:03:22 | 0:03:27 | |
Listen, everybody you're close to... | 0:03:27 | 0:03:29 | |
I'll be very honest about this, very honest. You know, you were very, | 0:03:29 | 0:03:33 | |
very close to Orson Welles. | 0:03:33 | 0:03:37 | |
Very close. And you saw him | 0:03:37 | 0:03:38 | |
and you did a documentary on him, and then he died. | 0:03:38 | 0:03:41 | |
And then Arthur Miller, the great... You know, Death Of A Salesman, | 0:03:41 | 0:03:45 | |
the great View From The Bridge, | 0:03:45 | 0:03:47 | |
one of the greatest playwrights of all time, | 0:03:47 | 0:03:50 | |
and close to you, and then he died. | 0:03:50 | 0:03:52 | |
Stanley Kubrick. Alan and Stanley. And then he died. So, I mean... | 0:03:52 | 0:03:58 | |
You're just not good luck. I don't want to... I don't want | 0:03:59 | 0:04:02 | |
-to take a chance on dying, you know? -So, why didn't you tell me | 0:04:02 | 0:04:05 | |
-before, before I came? -It didn't occur to me! | 0:04:05 | 0:04:08 | |
It occurred to me just as I walked in. I said, "This guy's | 0:04:08 | 0:04:11 | |
"the kiss of death! Everybody, every time he gets close to somebody | 0:04:11 | 0:04:15 | |
"and he...he does something with them, they die!" | 0:04:15 | 0:04:19 | |
OK. I'm sorry, bye-bye. | 0:04:19 | 0:04:21 | |
Eight, seven, six, five, four... | 0:04:23 | 0:04:28 | |
-Can I help you? -I got an appointment with the head of BBC Two. Yeah. | 0:04:31 | 0:04:38 | |
Sir, well, have you got any sort of identification on yourself? | 0:04:38 | 0:04:41 | |
-They're expecting me. They're expecting me inside. -Sir, I'm afraid | 0:04:41 | 0:04:44 | |
if you haven't got any identification, I can't let you in. | 0:04:44 | 0:04:46 | |
All right. Look, I'm going to go out this way | 0:04:46 | 0:04:48 | |
and then I'm just going to go here for a second. | 0:04:48 | 0:04:51 | |
Fat guy! | 0:04:51 | 0:04:53 | |
-Excuse me. -Sorry? -Excuse me. It's all right. Excuse me, excuse me. | 0:04:59 | 0:05:03 | |
Innkeeper! I'm here. Mel Brooks, here to see the head of BBC Two. | 0:05:03 | 0:05:08 | |
-Er, do you have an appointment? -Call whoever the guy is, BBC Two, | 0:05:08 | 0:05:13 | |
tell him Mel Brooks, here, waiting. Waiting to see the chief of BBC Two! | 0:05:13 | 0:05:19 | |
I don't need an appointment. He'll be very thrilled to know I'm here. | 0:05:19 | 0:05:22 | |
Hello, er, I have Mel Brooks in reception for you. | 0:05:22 | 0:05:25 | |
-He'll probably want me in immediately! -Er, yeah, hold on. -OK. | 0:05:25 | 0:05:28 | |
Er, would you like to take a seat, please? | 0:05:28 | 0:05:32 | |
-Take a seat? -Yeah, if you wouldn't mind waiting? | 0:05:32 | 0:05:35 | |
Jesus! OK, I'll take a seat. | 0:05:36 | 0:05:39 | |
SHOES SLAM DOWN ONTO TABLE | 0:05:45 | 0:05:48 | |
This British television. Lakes, ponds, ducks, pigeons...weather. | 0:05:48 | 0:05:54 | |
The weather in Lisbon. I've got to know if it's raining in Lisbon | 0:05:54 | 0:05:58 | |
-in Portugal. -Oh, Mr Yentob, there's a Mr Mel Brooks waiting for you. | 0:05:58 | 0:06:02 | |
Is that the guy? Is that the guy? | 0:06:02 | 0:06:04 | |
Hey! Hey! Hey, no, it's all right, they know me, they know me! | 0:06:04 | 0:06:09 | |
MEL WHISTLES Hey, excuse me! | 0:06:09 | 0:06:11 | |
-Are you the head of BBC Two? -Yes. -I'm Mel Brooks, I'm supposed to... | 0:06:11 | 0:06:13 | |
You're supposed to do a documentary for The Late Show on me, | 0:06:13 | 0:06:16 | |
-on Life Stinks. -Yes, that's right. -Wait a minute, don't I know you? | 0:06:16 | 0:06:20 | |
-I don't think so. -I've seen you before. -No. | 0:06:20 | 0:06:22 | |
-I seen this guy before! -I just have to go in... | 0:06:22 | 0:06:24 | |
Didn't you come to 20th Century Fox to do a documentary on me | 0:06:24 | 0:06:27 | |
-about ten years ago? -No, I don't think so. -Yes! | 0:06:27 | 0:06:30 | |
-Mel Brooks. -No. Can I just go in here? -I mean, you were nothing then! | 0:06:30 | 0:06:33 | |
And now you're the head of BBC Two? | 0:06:33 | 0:06:36 | |
I'm having a deja vu. | 0:06:36 | 0:06:38 | |
VOICE ECHOES, HARP PLAYS Am I having a deja vu? | 0:06:38 | 0:06:41 | |
What is all this shit? | 0:06:45 | 0:06:48 | |
What have you done to my hallway? | 0:06:48 | 0:06:51 | |
-Who are you? -Electrician. -Electrician? | 0:06:51 | 0:06:55 | |
-Nobody behind here. What's going on here? I have things to do. -You said | 0:06:56 | 0:07:00 | |
to come back at three o'clock. | 0:07:00 | 0:07:01 | |
I know! But you're not supposed to put all this shit in the hallway. | 0:07:01 | 0:07:04 | |
I have big meetings with important Gentiles! | 0:07:04 | 0:07:07 | |
I mean, this is a film studio! What is this crap doing here? | 0:07:07 | 0:07:11 | |
-It's supposed to be neat and clean! -This is supposed to be | 0:07:11 | 0:07:13 | |
a special. I just thought we would just wait for you. | 0:07:13 | 0:07:15 | |
A sp... All right. But how about a clean special? | 0:07:15 | 0:07:18 | |
This is a filthy special. Is this the way you do things | 0:07:18 | 0:07:21 | |
in England, just junk all over the halls? I'm surprised. | 0:07:21 | 0:07:24 | |
Now, look. Are you...? He's taking pictures... There's a mic? | 0:07:24 | 0:07:28 | |
All right, do me a favour. Cut out all the... | 0:07:28 | 0:07:30 | |
You know, all the times I've said "shit", take that out, | 0:07:30 | 0:07:33 | |
right? And, look, let me make another entrance, all right? | 0:07:33 | 0:07:36 | |
Hello, hello! | 0:07:36 | 0:07:38 | |
Oh! What the fuck, I'll risk it. | 0:07:40 | 0:07:42 | |
I'll risk it. But remember, I'm doing this, um, | 0:07:42 | 0:07:46 | |
because I would, you know... | 0:07:46 | 0:07:49 | |
You know the Latin phrase "quid pro quo"? I do this for you. | 0:07:49 | 0:07:56 | |
I do this for you, maybe you do a little something for me? | 0:07:56 | 0:08:02 | |
A little something? | 0:08:02 | 0:08:04 | |
You mention that I've got a show at the Garrick Theatre in the West End? | 0:08:04 | 0:08:10 | |
-No, I... -I know, I know! BBC. | 0:08:10 | 0:08:13 | |
-Yeah, you can't really do that. -I know, I'm not allowed to... | 0:08:13 | 0:08:17 | |
All right. I won't say... I won't mention Young Frankenstein | 0:08:17 | 0:08:21 | |
at the Garrick Theatre in the West End in London. | 0:08:21 | 0:08:25 | |
-I won't mention it, I promise. -No, just if you don't repeat | 0:08:25 | 0:08:27 | |
-the name all the time. -You can bleep it! You can bleep it. | 0:08:27 | 0:08:32 | |
It'll be like... Look at me, it'll be like... | 0:08:32 | 0:08:35 | |
HE MOUTHS | 0:08:35 | 0:08:37 | |
-HARP PLAYS -No, Mel, no, no. Mel! | 0:08:37 | 0:08:40 | |
-It's such a bargain. -Mel! -It's the best show in town. -Mel! | 0:08:40 | 0:08:43 | |
-Please, I urge you, if there's a little old lady in your way... -Mel! | 0:08:43 | 0:08:47 | |
..throw her aside. Kick her in the ass, | 0:08:47 | 0:08:49 | |
-get those tickets, they're very tough to get. -Mel! -What? | 0:08:49 | 0:08:52 | |
-Alan? Alan Yentob is here. -That's not right. That's not right! | 0:08:52 | 0:08:56 | |
-Can you just...? -What? -It's not right. -What's not right? | 0:08:56 | 0:08:59 | |
You can't... It's the BBC, you can't plug the show like that. | 0:08:59 | 0:09:02 | |
It's not the BBC plugging the show, I'm plugging the show! | 0:09:02 | 0:09:05 | |
-I happen to be on the BBC. -No, I know, I appreciate that. | 0:09:05 | 0:09:09 | |
But you're not... We're not allowed to do commercials for... | 0:09:09 | 0:09:13 | |
You're afraid it's going to become the Brooks Broadcasting Company, | 0:09:13 | 0:09:17 | |
right? You're afraid that the BBC is going to segue into | 0:09:17 | 0:09:20 | |
-the shit house because I'm taking over? -No, no... Not at all, not at all. | 0:09:20 | 0:09:25 | |
We're very respectful. But the other thing is that we need | 0:09:25 | 0:09:29 | |
to do a promotion for BBC.... This is on BBC Four. | 0:09:29 | 0:09:32 | |
You're doing a promotion for BBC, right? | 0:09:32 | 0:09:34 | |
I'm doing a promotion for The Producers. Why do you think | 0:09:34 | 0:09:37 | |
-I would do this junk? -You haven't put the cards up. -What? -The cards, | 0:09:37 | 0:09:39 | |
-Mel. -There's something on the other side, right? Sorry about that. | 0:09:39 | 0:09:44 | |
-That's it. -Why do you give me these cheap cardboard...? -Could you place them...? | 0:09:44 | 0:09:47 | |
You mean like this? You want me to do the whole show | 0:09:47 | 0:09:49 | |
like this, so that I'm plugging you ad infinitum? | 0:09:49 | 0:09:52 | |
No, I will put it on the table in front of me, and every once in | 0:09:52 | 0:09:56 | |
a while, I'll do this. OK? OK? | 0:09:56 | 0:10:00 | |
So, all right, quid pro quo, you do something for me, | 0:10:00 | 0:10:03 | |
I do something for you. All right. | 0:10:03 | 0:10:04 | |
Kevin, I'm going to do this thing. I'm not pushing, I'm | 0:10:04 | 0:10:08 | |
-not pushing anything. It's Kevin. He's busy. -What's he doing? | 0:10:08 | 0:10:11 | |
Kevin Salter works with me. He's busy. He works around the office | 0:10:11 | 0:10:16 | |
and I don't...I really don't understand exactly what he's doing. | 0:10:16 | 0:10:20 | |
But I'm sure it's tidying up a bit. | 0:10:20 | 0:10:23 | |
He's making sure the office... That everything is hung | 0:10:23 | 0:10:28 | |
correctly and we're doing... Done? | 0:10:28 | 0:10:32 | |
-Thank you, Kevin! -My pleasure. | 0:10:32 | 0:10:35 | |
-So... -So, questions and answers. | 0:10:35 | 0:10:38 | |
Yeah, well, I'd like to ask you about Young Frankenstein anyway, | 0:10:38 | 0:10:41 | |
-the musical. -You mean...? -Yeah. | 0:10:41 | 0:10:46 | |
I had done The Producers on Broadway and there was, uh, | 0:10:46 | 0:10:51 | |
there was an army of Jews that wanted to invest in another | 0:10:51 | 0:10:55 | |
hit musical comedy. | 0:10:55 | 0:10:57 | |
So I was thinking, what is my next musical comedy on Broadway? | 0:10:57 | 0:11:04 | |
ELECTRICITY CRACKLES | 0:11:04 | 0:11:07 | |
From that fateful day when stinking bits of slime first crawled | 0:11:10 | 0:11:15 | |
from the sea and shouted to the cold stars, "I am man!"... | 0:11:15 | 0:11:23 | |
..our greatest dread has always been the knowledge of our own mortality. | 0:11:23 | 0:11:28 | |
Young Frankenstein had a lot of theatricality, | 0:11:28 | 0:11:35 | |
a lot of footlights. | 0:11:35 | 0:11:38 | |
Life! | 0:11:54 | 0:11:56 | |
Life, do you hear me? | 0:11:56 | 0:11:59 | |
Give my creation life! | 0:11:59 | 0:12:04 | |
If a monster puts on a top hat and sings Puttin' On The Ritz, | 0:12:07 | 0:12:12 | |
you're not going to do better than that. | 0:12:12 | 0:12:15 | |
# Different types who wear a day coat | 0:12:15 | 0:12:17 | |
# Pants with stripes or cutaway coat Perfect fits | 0:12:17 | 0:12:20 | |
# PUTTIN' ON THE RITZ! | 0:12:21 | 0:12:23 | |
# Dressed up like a million-dollar trouper | 0:12:24 | 0:12:29 | |
# Tryin' mighty hard to look like Gary Cooper | 0:12:29 | 0:12:33 | |
# SUPER-DUPER! | 0:12:33 | 0:12:35 | |
# Come, let's mix where Rockefellers walk with sticks | 0:12:35 | 0:12:38 | |
# Or umbrellas in their mitts | 0:12:38 | 0:12:41 | |
# PUTTIN' ON THE RITZ!... # | 0:12:42 | 0:12:45 | |
One night, I had a kind of epiphany. | 0:12:45 | 0:12:49 | |
I, you know, I sprang up from my bed like Scrooge, you know, | 0:12:50 | 0:12:56 | |
and said, "Oh, what have I done?" | 0:12:56 | 0:12:57 | |
So, I decided to write a musical called Young Frankenstein, | 0:12:57 | 0:13:02 | |
use the skeleton, the bones of Young Frankenstein | 0:13:02 | 0:13:06 | |
and add songs that were funny, touching, appropriate | 0:13:06 | 0:13:12 | |
and, you know, would knock them out, knock the audience out. | 0:13:12 | 0:13:17 | |
THUNDER CRASHES, ELECTRICITY CRACKLES | 0:13:17 | 0:13:19 | |
-You must be Igor? -Nope. | 0:13:21 | 0:13:23 | |
It's pronounced "eye-gor". | 0:13:23 | 0:13:26 | |
Welcome. | 0:13:30 | 0:13:31 | |
Sorry, I don't wish to embarrass you, | 0:13:33 | 0:13:35 | |
but I am a rather brilliant surgeon. | 0:13:35 | 0:13:37 | |
Perhaps I could help you with that hump. | 0:13:37 | 0:13:40 | |
What hump? | 0:13:40 | 0:13:42 | |
Your track record with reviewers has been not good. Blazing Saddles got | 0:13:42 | 0:13:47 | |
bad reviews, didn't it? The Producers got bad reviews. | 0:13:47 | 0:13:49 | |
-Yeah. -Are you a bit disappointed that this has got such good reviews? | 0:13:49 | 0:13:53 | |
Yeah! | 0:13:53 | 0:13:54 | |
Yeah, I mean, I wonder, have I done something wrong? | 0:13:55 | 0:13:59 | |
I mean, the five-star reviews... | 0:13:59 | 0:14:03 | |
I've never gotten good reviews before, you know? | 0:14:03 | 0:14:06 | |
He's alive! | 0:14:11 | 0:14:13 | |
When I did The Producers, they said, "Springtime For Hitler? | 0:14:13 | 0:14:18 | |
"How dare you!" You know? "Shame on you!" | 0:14:18 | 0:14:21 | |
# Springtime for Hitler and Germany | 0:14:21 | 0:14:27 | |
# Deutschland is happy and gay... # | 0:14:28 | 0:14:34 | |
You know, I watched this in North London with a lot of Jews. | 0:14:34 | 0:14:40 | |
# Look out, here comes the master race... # | 0:14:40 | 0:14:46 | |
And I don't think they could believe what they were seeing. | 0:14:46 | 0:14:49 | |
# Come on, Germans, go into your dance | 0:14:53 | 0:14:57 | |
# I was born in Dusseldorf Und that is why they call me Rolf... # | 0:15:02 | 0:15:05 | |
How did you get this made? | 0:15:05 | 0:15:07 | |
# Don't be stupid, be a smarty Come and join the Nazi Party... # | 0:15:07 | 0:15:11 | |
I came to him, and he was wanting to make a major motion picture, | 0:15:16 | 0:15:18 | |
and he said, "Tell me the story." I told him the story and I said, | 0:15:18 | 0:15:21 | |
"'And then # Springtime for Hitler... #' | 0:15:21 | 0:15:23 | |
And he was drinking coffee, and the coffee went up his nose, | 0:15:23 | 0:15:26 | |
and he fell, he went and fell on the floor, gasping. | 0:15:26 | 0:15:29 | |
I mean, the coffee went up his nose and out of his mouth. | 0:15:29 | 0:15:32 | |
Well! Talk about bad taste! | 0:15:32 | 0:15:36 | |
# Springtime for Hitler and Germany | 0:15:36 | 0:15:43 | |
# Means that soon we'll be going | 0:15:43 | 0:15:47 | |
# We've got to be going | 0:15:47 | 0:15:49 | |
# You know we'll | 0:15:49 | 0:15:51 | |
# Be going to war! # | 0:15:51 | 0:15:58 | |
James, could you come back, please? James, I want to talk to you. | 0:16:05 | 0:16:09 | |
If you don't mind, I'd like to talk to you without Alan Yentob around. | 0:16:09 | 0:16:14 | |
Listen, he's been a friend of mine for a long time and I'm... | 0:16:14 | 0:16:18 | |
Honestly, just between us, I want you to know I'm getting fed up, | 0:16:18 | 0:16:24 | |
because every time we go to lunch or we go to dinner, he never | 0:16:24 | 0:16:28 | |
sticks his hand in his pocket. | 0:16:28 | 0:16:31 | |
Oh! What a pleasant surprise! What are you people doing in the hallway? | 0:16:31 | 0:16:36 | |
Oh, this is nice, this is wonderful. Isn't this? Watch your hands. | 0:16:36 | 0:16:40 | |
This is terrific. Isn't this nice? | 0:16:40 | 0:16:43 | |
Every... All of this beautiful stuff all around here. | 0:16:43 | 0:16:47 | |
Oh, you're the fella from the BBC? And you're the cameraman filming it. | 0:16:47 | 0:16:51 | |
Hello. Hello, England. Hello, how's everything going? | 0:16:51 | 0:16:55 | |
Ever been to Harrods? I gave it back. | 0:16:55 | 0:16:57 | |
What, are you going to come in and talk to me this afternoon? | 0:16:57 | 0:17:00 | |
-Yeah, we want to do this story. -Oh, wonderful, wonderful. What are you | 0:17:00 | 0:17:03 | |
-going to talk about? -About, you know, Melvyn Kaminsky, | 0:17:03 | 0:17:06 | |
-your childhood, and.... -Melvyn Kaminsky? Are you crazy? | 0:17:06 | 0:17:10 | |
Let's... I've been Mel Brooks for the past 22 years. I make a living | 0:17:12 | 0:17:16 | |
as Mel Brooks. Nobody knows Melvyn Kaminsky! | 0:17:16 | 0:17:19 | |
It's a picture of me as a baby, yes, yes. | 0:17:22 | 0:17:24 | |
I don't like this picture. I don't want to use this photo. | 0:17:26 | 0:17:28 | |
Well, if you find... If you've got a better one, | 0:17:28 | 0:17:32 | |
-you know, that's fine by me. -Wait a minute. | 0:17:32 | 0:17:33 | |
I have something a little...I think that's a little better...in my desk. | 0:17:33 | 0:17:40 | |
Here. Use this. | 0:17:41 | 0:17:43 | |
-It's very nice, but this says Robert Redford on this. -Robert Redford? | 0:17:49 | 0:17:53 | |
Cut out the Robert Redford on the bottom of it and, uh.... Look, | 0:17:53 | 0:17:57 | |
a three- or four-year-old kid, what difference does it make | 0:17:57 | 0:18:00 | |
if it's me or Robert Redford? Nobody will know. | 0:18:00 | 0:18:02 | |
-It's a nice blond-haired kid. -That's fine. | 0:18:02 | 0:18:05 | |
I mean, if that's what you want, you know, that's fine. | 0:18:05 | 0:18:07 | |
Can you tell me what kind of baby you were, what kind of child you were? | 0:18:07 | 0:18:10 | |
I was, mmm... | 0:18:10 | 0:18:12 | |
I was a baby, I was the fourth child born to my mother. | 0:18:12 | 0:18:17 | |
I was a 10lb baby. | 0:18:17 | 0:18:20 | |
I was the fourth son born to her. | 0:18:20 | 0:18:23 | |
She tells me that she said to the doctor, "I don't want him. | 0:18:23 | 0:18:27 | |
"Would you like him?" The doctor said no | 0:18:27 | 0:18:31 | |
and asked around the building, and everyone came to look and said, | 0:18:31 | 0:18:36 | |
nicely, you know, in a nice way, "No, no." | 0:18:36 | 0:18:38 | |
So my mother kept me, and she's been happy ever since, | 0:18:38 | 0:18:44 | |
because I'm the one - not Irving, | 0:18:44 | 0:18:46 | |
not Lenny, not Bernie - but Melvyn is the one | 0:18:46 | 0:18:51 | |
that sends her the 16 and 93 cents a month. | 0:18:51 | 0:18:55 | |
They don't send her the cheque, I send her the cheque. | 0:18:55 | 0:18:58 | |
In the interview later, say it's 116, all right? | 0:18:58 | 0:19:02 | |
-Promise? Good boy. OK. -You were born in Brooklyn. | 0:19:02 | 0:19:06 | |
I was born in Brooklyn, yes, which is a province of New York. | 0:19:06 | 0:19:10 | |
Was there something special about being Jewish in Brooklyn | 0:19:10 | 0:19:13 | |
-at that time in New York? -No, everybody was. | 0:19:13 | 0:19:15 | |
Every single human being in Brooklyn was a Jew at that point, | 0:19:15 | 0:19:19 | |
so there was nothing special about it. It was quite ordinary. | 0:19:19 | 0:19:22 | |
It was a pedestrian thing to be. I mean, I went to Manhattan | 0:19:22 | 0:19:26 | |
and I met all these Gentiles and it was a little frightening. | 0:19:26 | 0:19:28 | |
That was frightening. I said, "My God, | 0:19:28 | 0:19:30 | |
"you mean there are other people besides Jews in the world?" | 0:19:30 | 0:19:33 | |
So we never felt any anti-Semitism or any strangeness. | 0:19:33 | 0:19:39 | |
Had we been transported to Nebraska or Kansas or Abilene, Texas, | 0:19:39 | 0:19:43 | |
yes, we would have felt... They would have said... | 0:19:43 | 0:19:46 | |
SOUTHERN DRAWL: .."What the hell is that thing there, | 0:19:46 | 0:19:48 | |
"talking in that Jew talk? What the hell? | 0:19:48 | 0:19:51 | |
"They're so little, itty-bitty people. They're so short. So funny. | 0:19:51 | 0:19:54 | |
"And they can count. | 0:19:54 | 0:19:56 | |
"I got myself a Jew. | 0:19:56 | 0:19:58 | |
"I wanted an Airedale, but I got myself a Jew instead. | 0:19:58 | 0:20:02 | |
"And it do everything. | 0:20:02 | 0:20:04 | |
"Ostensibly, it's my accountant, | 0:20:06 | 0:20:07 | |
"but it's cuter than an accountant. It can count. | 0:20:07 | 0:20:11 | |
"It don't even need a pencil. It can count. You just... All you do... | 0:20:11 | 0:20:14 | |
"Every night, you just take a little matzos. That's what they eat, | 0:20:14 | 0:20:17 | |
"unleavened bread. You put that in their dish, | 0:20:17 | 0:20:20 | |
"in a little water to soften up, because it cut their gums. | 0:20:20 | 0:20:23 | |
"You don't want a little Jew bleeding all over your carpet. | 0:20:23 | 0:20:27 | |
"You give them the matzos, the little Jews, and they love you for it. | 0:20:27 | 0:20:31 | |
"They love you for it. They're wonderful people. | 0:20:31 | 0:20:33 | |
"And I'm trying... I'm going to get another one. | 0:20:33 | 0:20:36 | |
"I'm going to get a female, and I'm going to breed them. | 0:20:36 | 0:20:38 | |
"I'm going to breed these little Jews, and I'm going to sell them | 0:20:38 | 0:20:41 | |
"as little Jew accountants to everybody in Texas." | 0:20:41 | 0:20:43 | |
Your career in comedy started in the mountains. | 0:20:46 | 0:20:49 | |
Would you please bring...? Mrs Poldenfarm, other people would like | 0:20:49 | 0:20:54 | |
to use that rowboat. | 0:20:54 | 0:20:56 | |
Please bring in rowboat 101. | 0:20:56 | 0:20:59 | |
The real name of the rowboat is 11. | 0:20:59 | 0:21:02 | |
That's a hole in the middle. You're sinking. | 0:21:02 | 0:21:05 | |
The Jewish mountains, you went there, really... They went there, | 0:21:05 | 0:21:10 | |
really, for the food. They went there to die. | 0:21:10 | 0:21:12 | |
Because the food was cholesterol. That's all it was. | 0:21:12 | 0:21:15 | |
It was sour cream on potato pancakes. It was only things | 0:21:15 | 0:21:21 | |
that would kill you. | 0:21:21 | 0:21:22 | |
The most dangerous thing that a Jew could do in the Borscht Belt | 0:21:22 | 0:21:27 | |
was to sing a song after lunch. | 0:21:27 | 0:21:31 | |
Lunch would fill them up to here. | 0:21:31 | 0:21:33 | |
They would eat kneidlach, meidlach, teidlach, | 0:21:33 | 0:21:36 | |
meidlach, reidlach, neidlach and teidlach. | 0:21:36 | 0:21:38 | |
I don't know what... | 0:21:38 | 0:21:39 | |
It's all Yiddish words for doughy substances | 0:21:39 | 0:21:42 | |
filled with cheeses and kasha, covered with creams. | 0:21:42 | 0:21:46 | |
Sometimes they would have just a lot of raw vegetables covered with | 0:21:47 | 0:21:51 | |
one gallon of sour cream. And they would eat that. | 0:21:51 | 0:21:54 | |
Then they would have sour cream on blintzes for lunch, for dessert, | 0:21:54 | 0:21:57 | |
and that would be their lunch. And then ten gallons of hot tea. | 0:21:57 | 0:22:01 | |
And then a glass of sour cream. You don't know what... | 0:22:01 | 0:22:04 | |
And then, after that, they would sit and rock. | 0:22:04 | 0:22:07 | |
They would be on the porch, they would rock, and this is the most | 0:22:07 | 0:22:10 | |
dangerous thing a Jew can do. The most dangerous thing a Jew | 0:22:10 | 0:22:13 | |
could do in the mountains was to sing Dancing In The Dark. | 0:22:13 | 0:22:16 | |
Why Dancing in the Dark? Because they never understood the range | 0:22:17 | 0:22:21 | |
of that song and would invariably start in the wrong key. | 0:22:21 | 0:22:26 | |
If you're going to sing Dancing In The Dark, you've got to start very low, | 0:22:26 | 0:22:29 | |
because the song goes very high. And many Jews would die of a stroke | 0:22:29 | 0:22:33 | |
because they would start too high, thinking that was a normal place | 0:22:33 | 0:22:36 | |
to start Dancing In The Dark. They would sing what would appear normal. | 0:22:36 | 0:22:39 | |
# Dancing in the dark... # | 0:22:39 | 0:22:41 | |
Now, that doesn't sound so bad. # Till the tune ends... # | 0:22:41 | 0:22:43 | |
But you watch. | 0:22:43 | 0:22:44 | |
# We're dancing in the dark And it soon ends | 0:22:44 | 0:22:48 | |
# And we can face the music together | 0:22:48 | 0:22:53 | |
EVER HIGHER: # Dancing in the dark! # | 0:22:53 | 0:22:57 | |
And a stroke, and they would die. Because they don't know how | 0:22:57 | 0:23:00 | |
high that song goes. You've got to start it like this. | 0:23:00 | 0:23:03 | |
MUCH LOWER: # Dancing in the dark Till the tune ends | 0:23:03 | 0:23:08 | |
# We're waltzing in the dark And it soon ends | 0:23:08 | 0:23:12 | |
# And we can face the music Together | 0:23:12 | 0:23:15 | |
# Dancing, as we're dancing in the dark. # | 0:23:15 | 0:23:19 | |
That was perfect early Crosby. Crosby, '39. | 0:23:19 | 0:23:23 | |
Wow! | 0:23:23 | 0:23:25 | |
It's difficult to believe, but you are a musical person. | 0:23:25 | 0:23:28 | |
I'm very musical. You want to hear? | 0:23:28 | 0:23:30 | |
HE CROONS | 0:23:30 | 0:23:32 | |
# How brown... # | 0:23:32 | 0:23:34 | |
-That was Crosby, '32, also. -What about this Sinatra | 0:23:34 | 0:23:38 | |
version of High Anxiety? How did that come about? | 0:23:38 | 0:23:41 | |
I thought it would be wonderful. | 0:23:41 | 0:23:43 | |
When we were doing High Anxiety, | 0:23:43 | 0:23:45 | |
I was a doctor, a psychiatrist, and she says, "Do you sing?" | 0:23:45 | 0:23:48 | |
And I say, "No, no. In the shower." | 0:23:48 | 0:23:51 | |
And then she says, "Well, try." We're sitting around a piano bar. | 0:23:51 | 0:23:55 | |
And so I thought it would be sensational if a novice singer, | 0:23:55 | 0:23:59 | |
you know, a psychiatrist, would suddenly sing | 0:23:59 | 0:24:01 | |
exactly like Frank Sinatra. | 0:24:01 | 0:24:03 | |
Hey, it's song time here at the piano bar. | 0:24:03 | 0:24:05 | |
That means I lay back and let you come forward | 0:24:05 | 0:24:08 | |
and sing a few songs. How about you, sir? | 0:24:08 | 0:24:10 | |
How about you, ma'am? No? | 0:24:11 | 0:24:13 | |
How about you, Doc? How about giving us a tune? | 0:24:14 | 0:24:16 | |
-Come on. -Me? -Yes. | 0:24:16 | 0:24:18 | |
I don't sing, no. | 0:24:18 | 0:24:20 | |
I really don't sing. Not professionally, anyway. | 0:24:20 | 0:24:22 | |
Yeah, come on, Doc, give us a song. | 0:24:22 | 0:24:25 | |
-Please. -We'd love it. -Come on, Doc, you can do it. | 0:24:25 | 0:24:27 | |
Well, go ahead. Go ahead, it'll be fun. | 0:24:27 | 0:24:30 | |
All right. Do you know High Anxiety? | 0:24:30 | 0:24:34 | |
You got it. Is B flat OK? | 0:24:34 | 0:24:36 | |
B flat? | 0:24:36 | 0:24:38 | |
-The key. -Oh. Oh, the key. Oh, that's fine, sure. I guess so. | 0:24:38 | 0:24:41 | |
-Sing into here? -Mm-hm. -OK. Any time. | 0:24:41 | 0:24:44 | |
PIANO INTRO | 0:24:44 | 0:24:47 | |
# High an...xiety | 0:24:47 | 0:24:50 | |
# Whenever you're near | 0:24:51 | 0:24:54 | |
# High an...xiety | 0:24:56 | 0:24:58 | |
# It's you that I fear | 0:24:59 | 0:25:03 | |
BAND JOINS IN # My heart's afraid to fly | 0:25:03 | 0:25:08 | |
# It's crashed before | 0:25:08 | 0:25:11 | |
# But then you take my hand | 0:25:12 | 0:25:15 | |
# My heart starts to soar Once more | 0:25:16 | 0:25:21 | |
# High anxiety | 0:25:21 | 0:25:23 | |
# It's always the same | 0:25:24 | 0:25:28 | |
# Ooh, xiety | 0:25:29 | 0:25:31 | |
# It's you...that I blame | 0:25:32 | 0:25:36 | |
# It's very clear to me | 0:25:38 | 0:25:41 | |
# I've got to give in | 0:25:41 | 0:25:44 | |
# High an...xiety | 0:25:46 | 0:25:49 | |
# You win. # | 0:25:50 | 0:25:52 | |
Comedy is always about what's happening in your life | 0:25:53 | 0:25:56 | |
and the world, and there's nothing better than getting a laugh. | 0:25:56 | 0:26:00 | |
It makes everybody happy. | 0:26:00 | 0:26:01 | |
If Carl Reiner's got something | 0:26:01 | 0:26:04 | |
to say, chances are it's funny. | 0:26:04 | 0:26:06 | |
Over a career that spanned more than seven decades, | 0:26:06 | 0:26:09 | |
the 94-year-old has penned, directed and acted out | 0:26:09 | 0:26:12 | |
some of comedy's greatest hits, | 0:26:12 | 0:26:14 | |
from the semiautobiographical Dick Van Dyke Show | 0:26:14 | 0:26:18 | |
to multiple collaborations with Steve Martin, like The Jerk... | 0:26:18 | 0:26:22 | |
Stay away from the cans! | 0:26:22 | 0:26:24 | |
..and The 2,000 Year Old Man. | 0:26:24 | 0:26:26 | |
That hurts? | 0:26:26 | 0:26:28 | |
Yeah, you bet it hurts now. | 0:26:28 | 0:26:30 | |
Reiner's ad-libbed routine with famously close buddy Mel Brooks. | 0:26:30 | 0:26:34 | |
Are you surprised at how much people love that sketch? | 0:26:34 | 0:26:37 | |
Well, Mel, I think, is the funniest human being in the world. | 0:26:37 | 0:26:41 | |
He's connected to the truth. | 0:26:41 | 0:26:43 | |
Here are the two funniest guys on the planet, | 0:26:43 | 0:26:46 | |
and you're both now in your 90s. | 0:26:46 | 0:26:48 | |
PHONE RINGING TONE | 0:26:51 | 0:26:53 | |
-Hello? -Hello, Carl, can you hear me? | 0:26:57 | 0:27:00 | |
-Barely. -MEL CHUCKLES | 0:27:00 | 0:27:02 | |
I've got Alan. | 0:27:03 | 0:27:05 | |
I've got Alan Yentob with me. | 0:27:06 | 0:27:09 | |
You're kidding! | 0:27:09 | 0:27:10 | |
Really. He's here from England, and he's expressed | 0:27:10 | 0:27:14 | |
a desire to see you. | 0:27:14 | 0:27:16 | |
Well, I'd love to see him. I'll even shave. | 0:27:16 | 0:27:20 | |
-No, you don't have to. -No, don't shave. | 0:27:20 | 0:27:22 | |
Now, listen, Carl. I'm going to check Whole Foods. | 0:27:22 | 0:27:27 | |
-Stay with me, Carl. -Yeah, yeah. -I'm going to check Whole Foods, | 0:27:27 | 0:27:32 | |
and I'm going to see whether or not they're open. And if they're open, | 0:27:32 | 0:27:37 | |
I'm going to get... Er, I'm going to get chicken meatballs, | 0:27:37 | 0:27:42 | |
and I'm going to get...cannell... | 0:27:42 | 0:27:45 | |
-You know... -OK! -I'm going to get that thin spaghetti. | 0:27:46 | 0:27:51 | |
And I'm going to bring it over with a lot of sauce | 0:27:51 | 0:27:54 | |
-and we're all going to eat. Is that all right with you? -Yes, of course. | 0:27:54 | 0:27:58 | |
-If you've got it, eat it. -OK! -If you've got it, eat it. | 0:27:58 | 0:28:03 | |
If you got it, eat it. All right, I'm going to try and get it, | 0:28:03 | 0:28:06 | |
and I'll get back to you in a half-hour with all the stuff. | 0:28:06 | 0:28:09 | |
-OK, I'll be here. -OK, you'll be there. You wait. | 0:28:09 | 0:28:13 | |
-Yes? -Yes. -Yes! | 0:28:34 | 0:28:36 | |
-Yes. -Yay! -How are you? -I love you. | 0:28:36 | 0:28:39 | |
You have made me laugh on very sad days. | 0:28:41 | 0:28:43 | |
-Oh, I'm so happy I could do that. -You have put a smile on my face | 0:28:43 | 0:28:47 | |
when things weren't great. | 0:28:47 | 0:28:49 | |
If I knew that, I would probably have charged you. | 0:28:49 | 0:28:52 | |
But I didn't know. | 0:28:52 | 0:28:54 | |
-Thank you. -You got it. | 0:28:54 | 0:28:56 | |
-You are truly one of a kind. -Bless you. | 0:28:57 | 0:29:01 | |
-Thank you. -You have been an inspiration to so many. | 0:29:01 | 0:29:03 | |
People like me, when we're down and you make us smile, it means a lot. | 0:29:03 | 0:29:08 | |
-Who are you? -These are friends taking pictures of me. | 0:29:08 | 0:29:12 | |
Do you have any chickpeas? The ones that are not spicy, these. | 0:29:13 | 0:29:18 | |
-You want the teriyaki sauce? -Not the ones that are spicy. | 0:29:18 | 0:29:23 | |
-This is not spicy. -OK, good. | 0:29:23 | 0:29:26 | |
There's a little dog... | 0:29:34 | 0:29:36 | |
There's a little dog going to make trouble. | 0:29:38 | 0:29:40 | |
-OK. -It's Rosa's little dog. He's a little white dog who goes bananas | 0:29:40 | 0:29:44 | |
when people come to the door. | 0:29:44 | 0:29:46 | |
Caesar! | 0:29:48 | 0:29:50 | |
We're lucky. Caesar? | 0:29:50 | 0:29:53 | |
Friends. OK, he's not here. | 0:29:54 | 0:29:56 | |
Carl? Where's Carl? | 0:29:59 | 0:30:02 | |
Carl is upstairs. | 0:30:02 | 0:30:04 | |
-TV: -The destination for the eerie. | 0:30:04 | 0:30:07 | |
Weird, blood-chilling tales told by Old Nancy, the witch of Salem... | 0:30:07 | 0:30:11 | |
Hello? | 0:30:13 | 0:30:16 | |
-TV OFF -How are you? -Come to find you. | 0:30:22 | 0:30:25 | |
-I'm here. -We've brought you your dinner. -OK. | 0:30:25 | 0:30:29 | |
I was just putting together some things to show you what I'm doing. | 0:30:29 | 0:30:34 | |
-Yeah. -Here's one of them. What does it say? | 0:30:34 | 0:30:38 | |
It says, "The Rise & Fall & Rise & Fall & Rise & Fall & Rise | 0:30:38 | 0:30:42 | |
"& Fall & Rise & Fall & Rise Of Radio | 0:30:42 | 0:30:47 | |
-"by Carl Reiner." -Yes, but isn't this interesting? | 0:30:47 | 0:30:51 | |
Because this is... | 0:30:51 | 0:30:54 | |
..a crystal set. My father, when I was four, five years old, | 0:30:54 | 0:30:58 | |
he built a crystal set very similar to this. | 0:30:58 | 0:31:02 | |
But we heard scratchy music and Lowell Thomas doing the news. | 0:31:02 | 0:31:08 | |
That was the only... Amos 'n' Andy came on. | 0:31:08 | 0:31:11 | |
And then he went out and built the radio, a real radio. | 0:31:11 | 0:31:15 | |
But we had gaslight. So he had to get a storage battery | 0:31:15 | 0:31:19 | |
-to run the radio. -Was your radio like that? | 0:31:19 | 0:31:23 | |
He had a different speaker, but it was very similar. | 0:31:23 | 0:31:26 | |
-And there's my father. -HE CHUCKLES | 0:31:26 | 0:31:29 | |
Oh, gosh! | 0:31:29 | 0:31:31 | |
-I'm looking to see if... -And this is my favourite thing of all. | 0:31:31 | 0:31:36 | |
When I was in the NYA radio make shop, | 0:31:36 | 0:31:39 | |
we had a producer, a young girl producer, called Miriam Wolfe. | 0:31:39 | 0:31:43 | |
And I said, "Are you the same Miriam Wolfe who did The Witch's Tale? | 0:31:43 | 0:31:49 | |
"I heard it." She said yes. This is what she looked like. | 0:31:49 | 0:31:54 | |
She scared the shit out of me. She had this voice. | 0:31:54 | 0:31:58 | |
She says, "It's now the wi... She says, "Gaze into embers, | 0:31:58 | 0:32:02 | |
"gaze into them deep, and soon you will see..." | 0:32:02 | 0:32:06 | |
Scared the shit out of me. And then she was my producer. | 0:32:06 | 0:32:10 | |
-This is her. -She was your first producer? -Yeah, in radio. I was 18. | 0:32:10 | 0:32:15 | |
I'm going to do James Cagney. | 0:32:17 | 0:32:20 | |
HE GASPS REPEATEDLY | 0:32:20 | 0:32:22 | |
All right, now get out. | 0:32:28 | 0:32:30 | |
You know, it was Carl Reiner and Mel Brooks who created | 0:32:30 | 0:32:33 | |
the famous 2,000-year-old Man, a marvellously inventive comedy idea, | 0:32:33 | 0:32:37 | |
especially since they conceived this idea way before | 0:32:37 | 0:32:40 | |
Medicare was even thought of. | 0:32:40 | 0:32:42 | |
So here's Carl Reiner to tell us more about this | 0:32:42 | 0:32:45 | |
lovable ancient character. Carl Reiner, ladies and gentlemen. | 0:32:45 | 0:32:48 | |
CHEERS, APPLAUSE, INTRO MUSIC | 0:32:48 | 0:32:50 | |
Well, ladies and gentlemen, it's that time of the year | 0:32:55 | 0:32:59 | |
when the 2,000-year-old-man goes to the Mayo Clinic | 0:32:59 | 0:33:02 | |
for his annual checkup. Ladies and gentlemen, the | 0:33:02 | 0:33:05 | |
2,000-year-old-man, Mr Mel Brooks. | 0:33:05 | 0:33:08 | |
CHEERING, APPLAUSE, INTRO MUSIC | 0:33:08 | 0:33:10 | |
Ah! I feel good, and I'm happy, | 0:33:14 | 0:33:17 | |
-and I'm delighted. -Delighted to be here on the Hollywood Palace. | 0:33:17 | 0:33:20 | |
-Delighted to be alive, never mind anything else. -That's good. | 0:33:20 | 0:33:24 | |
When I wake up in the morning, I make myself a birthday cake. | 0:33:24 | 0:33:27 | |
A cupcake with one candle. I am glad to go in and out. | 0:33:27 | 0:33:32 | |
So, what has... What has...? I've asked you this many times. | 0:33:33 | 0:33:36 | |
-You've asked me a lot of junk since... -Yes. But we are always | 0:33:36 | 0:33:40 | |
fascinated to know, what has kept you alive? | 0:33:40 | 0:33:43 | |
What do you think has kept you alive? | 0:33:43 | 0:33:44 | |
The main thing that has kept me alive, rolling along and singing | 0:33:44 | 0:33:47 | |
a song for over 2,000 years | 0:33:47 | 0:33:50 | |
is women, hundreds and hundreds of beautiful women. | 0:33:50 | 0:33:54 | |
We know that, many, many hundreds of years ago, most men | 0:33:54 | 0:33:58 | |
-had more than one wife. -Yes. -Did you practise polygamy in those days? | 0:33:58 | 0:34:02 | |
I never practised it. | 0:34:02 | 0:34:03 | |
I was perfect at it. | 0:34:03 | 0:34:04 | |
I don't even remember this. But it's funny. | 0:34:06 | 0:34:10 | |
I had my original toupee then. | 0:34:10 | 0:34:14 | |
Carl, that's amazing. | 0:34:14 | 0:34:16 | |
-Carl Reiner! -CHEERING AND APPLAUSE | 0:34:16 | 0:34:19 | |
Don't you miss that toupee, Carl? | 0:34:21 | 0:34:23 | |
Where's the seat? | 0:34:23 | 0:34:25 | |
There's a big seat. Where am I standing? | 0:34:25 | 0:34:27 | |
That's a big seat. Thank you, thank you. | 0:34:27 | 0:34:30 | |
Look, here you are on Jay Leno. | 0:34:30 | 0:34:34 | |
And you're still at it. | 0:34:34 | 0:34:35 | |
It must be...30 years on? | 0:34:35 | 0:34:38 | |
30? Maybe 40. | 0:34:38 | 0:34:40 | |
Sir, I understand... | 0:34:44 | 0:34:46 | |
I understand that you've been given a clean bill of health. | 0:34:46 | 0:34:49 | |
Yes, sir, a clean bill of health | 0:34:49 | 0:34:51 | |
-and a big bill for payment. -Yes, well, that's the way it is today. | 0:34:51 | 0:34:54 | |
What is it...? What is it that has kept you alive? What is the secret | 0:34:54 | 0:34:58 | |
-of your longevity? -I have been kept alive, | 0:34:58 | 0:35:02 | |
singing a song, rolling along for 2,000 years... | 0:35:02 | 0:35:05 | |
-..by the help of garlic. -Garlic? Just garlic? -Garlic, yes. | 0:35:05 | 0:35:09 | |
-How could garlic do that? -Well, you know the scientific way how you die? | 0:35:09 | 0:35:13 | |
-Yes. -The Angel of Death rings your bell, | 0:35:13 | 0:35:16 | |
you let him in, like a schmuck, | 0:35:16 | 0:35:18 | |
he comes up to your apartment, | 0:35:18 | 0:35:20 | |
he leans over, he gives you the kiss of death... | 0:35:20 | 0:35:22 | |
-The kiss of death! -..and he takes you away. -Yes. -Before I retire, | 0:35:22 | 0:35:27 | |
I eat a pound and a half of garlic, I chew it up, I leave a little bit | 0:35:27 | 0:35:31 | |
-under my tongue... -I see! -..then I go to sleep. | 0:35:31 | 0:35:34 | |
He comes in, bends over to give me the kiss of death, | 0:35:34 | 0:35:37 | |
-I say, "Whooooo is it?" -Oh, I see, I see. | 0:35:37 | 0:35:41 | |
-He wouldn't want to kiss you. -Oh, yeah. | 0:35:41 | 0:35:43 | |
CHEERING AND APPLAUSE | 0:35:43 | 0:35:44 | |
In the early days... of our 2,000-year-old man, | 0:35:44 | 0:35:50 | |
I'm going to say... | 0:35:50 | 0:35:52 | |
I never knew what Carl... I never knew what he would ask me. | 0:35:52 | 0:35:57 | |
And sometimes he asked me things that were pretty bizarre. | 0:35:57 | 0:36:01 | |
And the more bizarre it was, the funnier. A trapped genius | 0:36:01 | 0:36:05 | |
mind against the wall comes up with | 0:36:05 | 0:36:09 | |
-absolutely the most brilliant things. -And I loved confounding him, | 0:36:09 | 0:36:15 | |
coming back with something that would actually break him up | 0:36:15 | 0:36:17 | |
and make him laugh. And then he'd come back | 0:36:17 | 0:36:20 | |
with a question that would stun me. | 0:36:20 | 0:36:23 | |
Nobody would dare ask that question. | 0:36:23 | 0:36:25 | |
There's a very other thing that's very important. | 0:36:25 | 0:36:28 | |
I don't think you can say "very other," but I'll let it go. | 0:36:28 | 0:36:31 | |
No, no. I was working at Universal | 0:36:31 | 0:36:34 | |
at the time, and I had a bungalow next to Cary Grant. | 0:36:34 | 0:36:38 | |
He passed one day, and I said - and the album just came out - | 0:36:38 | 0:36:42 | |
"Here's something you might enjoy." | 0:36:42 | 0:36:43 | |
He came back the next day and said, "Can I have a dozen?" | 0:36:43 | 0:36:47 | |
I said, "What are you going...?" He said, "I'm going to England." | 0:36:47 | 0:36:50 | |
I said, "You're going to take these to England?" | 0:36:50 | 0:36:52 | |
He said, "Yes, they speak English there." Those are his words. | 0:36:52 | 0:36:56 | |
He came back, and he said, "She loved it." I says, "Who?" | 0:36:56 | 0:36:59 | |
He said, "The Queen Mother. Took them to Buckingham Palace." | 0:36:59 | 0:37:03 | |
And I said to Mel, "The biggest shiksa in the world loved this. | 0:37:03 | 0:37:06 | |
"We're home free!" | 0:37:06 | 0:37:08 | |
I said, "Oh, my God! Oh, my God! It's Cary Grant. He's talking to me! | 0:37:08 | 0:37:12 | |
"I heard my name!" He said, "Mel Brooks." | 0:37:12 | 0:37:14 | |
I turned around, I said... "You're Cary Grant." He said, "Yes." | 0:37:14 | 0:37:17 | |
I said, "You shouldn't talk to me, I'm nothing! | 0:37:17 | 0:37:20 | |
"I'm a figment of your imagination. You're a great big star, | 0:37:20 | 0:37:23 | |
"I'm a little Jew from Brooklyn. Don't even look at me." | 0:37:23 | 0:37:25 | |
He said, "I've spent 1,000 yesterday buying your record. | 0:37:25 | 0:37:30 | |
"I've given your records to all my friends. It's the funniest damn | 0:37:30 | 0:37:33 | |
"record I've ever heard in my life." | 0:37:33 | 0:37:35 | |
I said, "I don't believe this." He said, "Where are you going?" | 0:37:35 | 0:37:38 | |
I said, "I'm going to the commissary." That's the lunchroom. | 0:37:38 | 0:37:40 | |
"The commissary?" He said, "OK. Come on, I'll buy you lunch." | 0:37:40 | 0:37:44 | |
I said, "All right, Cary Grant." | 0:37:44 | 0:37:45 | |
So we go to the commissary together. I walk past a guy, | 0:37:45 | 0:37:48 | |
my friend Murray. I said, "Murray! Me and Cary are going to lunch!" | 0:37:48 | 0:37:52 | |
We go to lunch. Cary, he orders a boiled egg. Don't ask me why. | 0:37:53 | 0:37:58 | |
Dry toast and a boiled egg. I ordered a tuna fish sandwich. | 0:37:58 | 0:38:00 | |
"What's your favourite colour?" "Yellow. What's yours?" "Blue." | 0:38:00 | 0:38:03 | |
OK, fine, great. Finished lunch, we go back. | 0:38:03 | 0:38:06 | |
He goes to Grand, I go to Schwartz. | 0:38:06 | 0:38:09 | |
Go into the bungalow, everything is gone. Next day, ring! | 0:38:09 | 0:38:13 | |
"Is Mel Brooks there?" "Yeah." | 0:38:13 | 0:38:14 | |
"It's Cary Grant." "It's Cary Grant! For me." | 0:38:14 | 0:38:17 | |
"Are you going to lunch? "Yes, Cary. I'll meet you just outside." | 0:38:17 | 0:38:20 | |
"OK, buddy!" | 0:38:20 | 0:38:21 | |
Cary Grant... I'm walking. "How you doing? What's your favourite car?" | 0:38:23 | 0:38:27 | |
"Rolls-Royce." "I like a '38 Buick." | 0:38:27 | 0:38:29 | |
"OK, fine, fine." "You like double-breasted? | 0:38:29 | 0:38:32 | |
"I like single-breasted." | 0:38:32 | 0:38:33 | |
"I like a red tie, you like a blue tie. Isn't that great?" | 0:38:33 | 0:38:35 | |
"I love your hair." "You like my hair? Great." OK. | 0:38:35 | 0:38:38 | |
We go in, he has a boiled egg, I have a tuna fish sandwich, | 0:38:38 | 0:38:40 | |
we finish lunch. We go back, he goes to Grand, I go back | 0:38:40 | 0:38:45 | |
to Marvin Schwartz's office. Fine. | 0:38:45 | 0:38:47 | |
Next day, ring! "Mel? Cal!" | 0:38:47 | 0:38:50 | |
Now, this time, we meet outside, we're skipping to the lunchroom. | 0:38:50 | 0:38:54 | |
APPLAUSE | 0:38:56 | 0:38:57 | |
And the conversation's getting sparse. I don't really know what to | 0:39:01 | 0:39:04 | |
say any more at lunch. I'm getting a little worried. | 0:39:04 | 0:39:07 | |
He's just voluble, he's carrying on, he's crazy about me. I don't know | 0:39:07 | 0:39:11 | |
what to say. OK. | 0:39:11 | 0:39:13 | |
The next day, Friday, the phone rings. "Hello, is Mel Brooks there?" | 0:39:13 | 0:39:16 | |
I said, "If it's Cary Grant, I'm not in!" | 0:39:16 | 0:39:18 | |
APPLAUSE | 0:39:20 | 0:39:21 | |
It's a true story. | 0:39:23 | 0:39:25 | |
-LIONEL RICHIE: -# Hello | 0:39:27 | 0:39:29 | |
# I just got to let you know... # | 0:39:31 | 0:39:34 | |
11-time American Music Award winner Mariah Carey has turned | 0:39:34 | 0:39:38 | |
her 1994 holiday classic All I Want For Christmas Is You into... | 0:39:38 | 0:39:43 | |
Shall we watch Sid Caesar? That was your writing debut. | 0:39:43 | 0:39:47 | |
Sid Caesar invites you! | 0:39:53 | 0:39:55 | |
Whoa! That was a good one. What was that, Pete? | 0:39:59 | 0:40:02 | |
That was a corker. I think you left the cork in the bottle. | 0:40:02 | 0:40:07 | |
What seems to be the discrepancy over here? Hm? | 0:40:07 | 0:40:11 | |
Yeah... Oh... Is that your seat, Harry? Oh. | 0:40:11 | 0:40:16 | |
That's your seat, right, Harry? | 0:40:16 | 0:40:18 | |
Hey, you. | 0:40:18 | 0:40:20 | |
Out. | 0:40:22 | 0:40:23 | |
-Shepherd's pie? -Shepherd's Bush. -Shepherd's Bush. | 0:40:25 | 0:40:29 | |
I was in Shepherd's Bush. There's all Jews there. | 0:40:29 | 0:40:31 | |
I try to get away from the Jews. That's why I don't want | 0:40:31 | 0:40:33 | |
to hang around there. I worked at Shepherd's Bush at the BBC. | 0:40:33 | 0:40:37 | |
There was a studio at the BBC, that's still there, Shepherd's Bush. | 0:40:37 | 0:40:40 | |
We did The Show Of Shows with Sid Caesar. | 0:40:40 | 0:40:42 | |
We did it live. We did 12 or 13 shows over that summertime period. | 0:40:42 | 0:40:47 | |
I lived in Pelham Place, in South Ken, SW3. | 0:40:47 | 0:40:52 | |
APPLAUSE | 0:40:52 | 0:40:53 | |
Well, there you are. There you are, everyone. | 0:40:54 | 0:40:57 | |
Another half-hour has slipped by. | 0:40:57 | 0:41:00 | |
But don't forget... Don't forget that Sid Caesar invites you | 0:41:00 | 0:41:03 | |
to tune in to the BBC next Tuesday again at eight. | 0:41:03 | 0:41:07 | |
I would have been a comic many years ago had I not had such a great | 0:41:07 | 0:41:10 | |
vehicle for my passion. I told you that. | 0:41:10 | 0:41:14 | |
Sid Caesar was a genius. So, when I met him, I said, "I knew you could | 0:41:14 | 0:41:17 | |
"play the saxophone, but this is thrilling. | 0:41:17 | 0:41:19 | |
"You are a thrilling interpreter of human behaviour." | 0:41:19 | 0:41:23 | |
And so, I said, "I'm going to write for you." | 0:41:23 | 0:41:26 | |
DRAMATIC PIANO CHORDS | 0:41:26 | 0:41:28 | |
What I got out of it was a sense of timing and a sense of... | 0:42:01 | 0:42:06 | |
..of height, that there were no limits to comedy, | 0:42:06 | 0:42:10 | |
that you had to scale higher mountains, that Annapurna was not | 0:42:10 | 0:42:13 | |
enough, it was Everest. It was the comedy Everest you had to scale. | 0:42:13 | 0:42:18 | |
And Sid Caesar taught us all that, that there were no limits | 0:42:18 | 0:42:22 | |
to our comic imaginations. | 0:42:22 | 0:42:24 | |
As a writer, you found success with Show Of Shows. Great success. | 0:42:26 | 0:42:29 | |
And yet then...that all went. I mean, how did that affect you? | 0:42:29 | 0:42:33 | |
I cried. | 0:42:36 | 0:42:37 | |
I cried. I mean, I cried for two years. | 0:42:39 | 0:42:41 | |
Thanks, Lee. All I did was cry for two years. I did nothing but sob. | 0:42:41 | 0:42:46 | |
I mean, I was broke. I mean, I didn't have a nickel. | 0:42:46 | 0:42:49 | |
He used to come to my office, he used to stop off at | 0:42:49 | 0:42:52 | |
Chock Full o'Nuts and buy a cream cheese and walnut sandwich | 0:42:52 | 0:42:57 | |
and a cup of tea in a container, and he'd come up and sit | 0:42:57 | 0:43:01 | |
there and talk about the future. He used to make a date to do that. | 0:43:01 | 0:43:05 | |
And I was busy trying to go out to lunch and make a career | 0:43:05 | 0:43:09 | |
for myself, and here was this guy who insisted on sitting there | 0:43:09 | 0:43:11 | |
with this container. | 0:43:11 | 0:43:13 | |
Included in the future was a very serious idea he had for the great | 0:43:13 | 0:43:18 | |
comic stage play called Springtime For Hitler, | 0:43:18 | 0:43:22 | |
which would show through comedy what the Nazis really were like, you see. | 0:43:22 | 0:43:27 | |
And he had these very serious ideas. | 0:43:27 | 0:43:31 | |
"Springtime For Hitler. | 0:43:31 | 0:43:33 | |
"A Gay Romp With Adolf And Eva At Berchtesgaden." | 0:43:33 | 0:43:38 | |
-Wow! -Wow! | 0:43:38 | 0:43:40 | |
-It's practically a love letter to Hitler. -This won't run a week! | 0:43:40 | 0:43:44 | |
A week? Are you kidding? This play has got to close on page four. | 0:43:44 | 0:43:48 | |
Do people say to you, "Do you wish to make serious films?"... | 0:43:48 | 0:43:52 | |
-..if that is the phrase you can use? -Yes. Yeah. Well, I tell them... | 0:43:52 | 0:43:56 | |
Sometimes I get up on my high horse. My horse is over 17 hands tall, | 0:43:56 | 0:44:00 | |
and I get up on that horse and I say to them... | 0:44:00 | 0:44:03 | |
..I say... | 0:44:03 | 0:44:05 | |
.."Bullshit." And they say, "What? I beg your pardon?" | 0:44:05 | 0:44:09 | |
"Excuse me." And I say, "All my films are serious. | 0:44:09 | 0:44:13 | |
"You examine any one of them, they're serious because they are | 0:44:13 | 0:44:16 | |
"passionate and they depict human behaviour at given points | 0:44:16 | 0:44:19 | |
"in the history of humanity." | 0:44:19 | 0:44:21 | |
I say, "They're not dramatic. That's the difference." | 0:44:21 | 0:44:24 | |
I say, "You've got to be careful what you say there when you use | 0:44:24 | 0:44:28 | |
"those words," because you can't make a successful comedy | 0:44:28 | 0:44:32 | |
that doesn't have any passion. It will not be successful. | 0:44:32 | 0:44:35 | |
You've got to say something about the system, about the social | 0:44:35 | 0:44:38 | |
structure, about... | 0:44:38 | 0:44:40 | |
prejudice, about people, about behaviour. | 0:44:40 | 0:44:43 | |
Comedy is not successful unless it deals with... | 0:44:43 | 0:44:47 | |
Even Laurel and Hardy, you'd say, "Well, they're cheap comedies," | 0:44:47 | 0:44:50 | |
but they always deal with the system. | 0:44:50 | 0:44:52 | |
The Marx Brothers always dealt with the system. | 0:44:52 | 0:44:56 | |
Every picture I've ever made has dealt with some aspect of the social | 0:44:56 | 0:45:02 | |
system and human behaviour within it. | 0:45:02 | 0:45:04 | |
I mean, I don't want to get clinical about it, but The Producers | 0:45:04 | 0:45:08 | |
was about the dream of little Leo Bloom... | 0:45:08 | 0:45:11 | |
..about success. | 0:45:13 | 0:45:14 | |
Bialystock says many things. If you listen to this big... | 0:45:14 | 0:45:17 | |
..Zero Mostel in The Producers, he says, "Bloom! | 0:45:17 | 0:45:21 | |
"Bloom, I'm sinking. I'm part of a society that demands success | 0:45:22 | 0:45:27 | |
"when all I can offer is failure." | 0:45:27 | 0:45:29 | |
Blazing Saddles is all about racial prejudice. | 0:45:29 | 0:45:32 | |
It's all about the hypocritical West shitting all over a black sheriff | 0:45:32 | 0:45:35 | |
and wanting him dead. | 0:45:35 | 0:45:37 | |
Did you think at the time you could get away with Blazing Saddles? | 0:45:37 | 0:45:40 | |
No. I said, "Look, I'm out of show business anyway." | 0:45:40 | 0:45:43 | |
The Producers made a penny. Twelve Chairs made a ha'penny. | 0:45:43 | 0:45:46 | |
I mean, it made nothing. You know? And I figured, "Well, I'm out of | 0:45:46 | 0:45:49 | |
"show business, I might as well say what I have and..." | 0:45:49 | 0:45:53 | |
I just flung myself into the nether land. | 0:45:53 | 0:45:56 | |
No, that's Holland. Into the nether world. | 0:45:56 | 0:45:59 | |
How did the studios let you do it, Blazing Saddles? | 0:45:59 | 0:46:01 | |
-What did they think of it when you'd done it? -They didn't know better. | 0:46:01 | 0:46:04 | |
They thought we were just making a raucous Western. | 0:46:04 | 0:46:07 | |
I just got a telegram from the Governor's office. | 0:46:07 | 0:46:10 | |
The sheriff will be here at noon. | 0:46:10 | 0:46:12 | |
I'd better rehearse my speech. | 0:46:14 | 0:46:16 | |
As honorary chairman of the welcoming committee, | 0:46:18 | 0:46:21 | |
it is my privilege to extend to you | 0:46:21 | 0:46:24 | |
a laurel and hearty handshake. | 0:46:24 | 0:46:27 | |
-Wonderful. -Lovely. -Excellent. -Hey, Gabby, can you see him yet? | 0:46:28 | 0:46:32 | |
The sheriff's coming! | 0:46:37 | 0:46:38 | |
Ring out the church bells! | 0:46:38 | 0:46:40 | |
-Strike up the band! -CHURCH BELL RINGS | 0:46:40 | 0:46:43 | |
BAND PLAYS A JAUNTY TUNE | 0:46:43 | 0:46:44 | |
-Hey! The Sheriff is a ni... -BELL RINGS | 0:46:57 | 0:47:00 | |
-What did he say? -"The sheriff is near." | 0:47:00 | 0:47:04 | |
No, God blam rarrit! | 0:47:04 | 0:47:06 | |
-The Sheriff is a ni... -BELL RINGS | 0:47:06 | 0:47:09 | |
# He rode a blazing saddle | 0:47:11 | 0:47:15 | |
# He wore a shining... # | 0:47:15 | 0:47:16 | |
Hey, where are the white women at? | 0:47:16 | 0:47:19 | |
These things are defective. | 0:47:19 | 0:47:22 | |
Excuse me while I whip this out. | 0:47:22 | 0:47:24 | |
SHOCKED SCREAMS | 0:47:24 | 0:47:26 | |
The Western is one of the great genres of American film. | 0:47:28 | 0:47:31 | |
Since the early days, Westerns have given us indelible images, | 0:47:31 | 0:47:36 | |
the grandeur of endless landscapes, | 0:47:36 | 0:47:39 | |
the intimacy of coffee at the campfire, | 0:47:39 | 0:47:42 | |
men who do the right thing. | 0:47:42 | 0:47:44 | |
I guess you could say that a Western embodies the spirit of America. | 0:47:44 | 0:47:49 | |
And this is what Mel Brooks did to it. | 0:47:50 | 0:47:53 | |
THEY ALL FART | 0:47:53 | 0:47:57 | |
Movies bring history to life. | 0:48:09 | 0:48:11 | |
They allow us to see, to experience | 0:48:11 | 0:48:14 | |
great moments of the past, | 0:48:14 | 0:48:16 | |
as if we were there living it, | 0:48:16 | 0:48:18 | |
from the dawn of man | 0:48:18 | 0:48:21 | |
to the eternal stories of the Bible... | 0:48:21 | 0:48:24 | |
The writing of God. | 0:48:24 | 0:48:25 | |
..to the epic tales of the Roman Empire. | 0:48:25 | 0:48:28 | |
Films have the ability to help us understand where we came from. | 0:48:28 | 0:48:31 | |
It is a proud and important tradition. | 0:48:31 | 0:48:34 | |
And this is what Mel Brooks did to it. | 0:48:35 | 0:48:38 | |
The Lord! The Lord Jehovah has given unto you these 15... | 0:48:38 | 0:48:44 | |
Um... | 0:48:46 | 0:48:47 | |
Ten! ..ten Commandments for all to obey. | 0:48:47 | 0:48:52 | |
Early on in my career, I set off on a bold adventure | 0:48:52 | 0:48:54 | |
to see if I could take mythological motifs | 0:48:54 | 0:48:59 | |
and turn them into a contemporary movie, | 0:48:59 | 0:49:03 | |
and I called this adventure Star Wars. | 0:49:03 | 0:49:05 | |
And this is what Mel Brooks did to it. | 0:49:05 | 0:49:08 | |
You have the ring. And I see your schwarz is as big as mine. | 0:49:13 | 0:49:18 | |
You see, the one thing that I don't like - | 0:49:27 | 0:49:33 | |
I don't like it in Hollywood and I don't like it at home - | 0:49:33 | 0:49:36 | |
is any kind of glitter. | 0:49:36 | 0:49:38 | |
I try to be as...as simple... | 0:49:39 | 0:49:43 | |
..and as earnest and as honest as I can. | 0:49:44 | 0:49:46 | |
I believe in the Oriental philosophy of life. I really do. | 0:49:50 | 0:49:54 | |
I subscribe to the yin and the yang. | 0:49:54 | 0:49:58 | |
And more recently the yen. | 0:49:58 | 0:49:59 | |
That's it. | 0:50:00 | 0:50:02 | |
-Can you do anything else musical? -Uh, musically, yeah. | 0:50:03 | 0:50:06 | |
Do you guys know Just In Time? We'll do it in G. | 0:50:06 | 0:50:08 | |
GUITAR STRUMS | 0:50:08 | 0:50:10 | |
Dean Martin. Make believe this is gin. | 0:50:10 | 0:50:13 | |
# Just in time | 0:50:13 | 0:50:15 | |
# Found you just in time | 0:50:15 | 0:50:17 | |
# Before you came, my time was runnin' low | 0:50:17 | 0:50:22 | |
# I was born, losing dice were tossed | 0:50:25 | 0:50:29 | |
# My bridges all were crossed | 0:50:29 | 0:50:32 | |
# Nowhere to go | 0:50:32 | 0:50:35 | |
# Ooh, now you're here | 0:50:35 | 0:50:39 | |
# And now I know just where I'm going | 0:50:39 | 0:50:43 | |
# No more doubt or fear | 0:50:43 | 0:50:46 | |
# Found my way | 0:50:46 | 0:50:47 | |
# And love a-came a-just in time | 0:50:49 | 0:50:51 | |
# I found you just in time | 0:50:51 | 0:50:54 | |
# You changed my lonely life that lucky day | 0:50:54 | 0:50:58 | |
# My lonely, lonely life that lovely day. # | 0:51:02 | 0:51:07 | |
APPLAUSE | 0:51:09 | 0:51:11 | |
Mel sold his previous house to Frank Sinatra. | 0:51:23 | 0:51:26 | |
Yeah. | 0:51:26 | 0:51:28 | |
If I'd hung on to it, I'd be rich. | 0:51:29 | 0:51:32 | |
ALAN LAUGHS | 0:51:32 | 0:51:33 | |
MEL HUMS TO HIMSELF Just a touch... | 0:51:34 | 0:51:38 | |
I'll play you just a little... | 0:51:41 | 0:51:43 | |
..just a touch from my favourite composer. | 0:51:43 | 0:51:47 | |
-George Gershwin. -George Gershwin. | 0:51:47 | 0:51:48 | |
HE PLAYS INTRO TO RHAPSODY IN BLUE | 0:51:48 | 0:51:52 | |
# Someday he'll come along The man I love | 0:52:20 | 0:52:26 | |
# And he'll be big and strong The man I love | 0:52:26 | 0:52:30 | |
# And when he comes my way | 0:52:30 | 0:52:33 | |
# I'll do my best to make him stay | 0:52:33 | 0:52:38 | |
# He'll look at me and smile I'll understand... # | 0:52:41 | 0:52:46 | |
On our desert island this week is the American film director, | 0:52:46 | 0:52:50 | |
-producer, writer, actor and comedian Mel Brooks. -He left out composer. | 0:52:50 | 0:52:55 | |
I was a drummer. Only a few blocks away from where I lived, Buddy Rich, | 0:52:55 | 0:53:00 | |
the famous swing drummer, one of the best that ever lived... | 0:53:00 | 0:53:03 | |
You were a drummer? You were a drummer. | 0:53:03 | 0:53:06 | |
How do you train to become a drummer? | 0:53:06 | 0:53:08 | |
When I was a little boy on Bright and Sixth Street, | 0:53:13 | 0:53:16 | |
walking with two Bobbys, one a friend Bobby, | 0:53:16 | 0:53:19 | |
a tall friend and a short friend Bobby, | 0:53:19 | 0:53:21 | |
we walked past Bright and Sixth Street, where I... | 0:53:21 | 0:53:24 | |
HE DRUMS ON DESK | 0:53:24 | 0:53:26 | |
We said, "Oh, that's good." We said, "Either Fred Astaire | 0:53:26 | 0:53:29 | |
"lives in that apartment or somebody has a set of drums, right?" | 0:53:29 | 0:53:32 | |
So, we peeked in and there was Buddy Rich at the drums, rehearsing. | 0:53:32 | 0:53:36 | |
Buddy Rich was a great drummer, so we bothered him. We said, | 0:53:57 | 0:54:01 | |
"How do you hold the drums? How do you...?" | 0:54:01 | 0:54:02 | |
He was a sweet guy, always a sweet man. And he taught us just | 0:54:02 | 0:54:06 | |
how to hold the drums, that the right foot was on the bass drum, | 0:54:06 | 0:54:09 | |
the left foot was on the high-hat. | 0:54:09 | 0:54:11 | |
And it was... HE IMITATES RHYTHM | 0:54:11 | 0:54:13 | |
If you can get that rhythm... | 0:54:13 | 0:54:15 | |
JAZZ PIANO PLAYS | 0:54:17 | 0:54:20 | |
Always keep the beat. I'm always in the centre of the beat. | 0:54:24 | 0:54:27 | |
Never wrong. Born to do it. | 0:54:40 | 0:54:43 | |
What I'm doing now is really the most important thing | 0:54:45 | 0:54:47 | |
a drummer can do - not show off, just drive. | 0:54:47 | 0:54:50 | |
Nobody at my age could take a break like that. | 0:55:02 | 0:55:05 | |
ON TAPE: I've always loved music. I would be seriously bereft and at | 0:55:07 | 0:55:12 | |
a great loss if music were taken away from.... | 0:55:12 | 0:55:15 | |
-Doesn't sound like you at all. It sounds like someone else. -Right. | 0:55:15 | 0:55:18 | |
-Let's break for your second record. -Yes. -Guess what this is. | 0:55:18 | 0:55:22 | |
When I heard the Fifth Symphony, I said, "Oh, my God!" | 0:55:22 | 0:55:26 | |
And if I had my way, conducted by Arturo Toscanini | 0:55:26 | 0:55:29 | |
with the NBC Symphony Orchestra. | 0:55:29 | 0:55:32 | |
MUSIC: Beethoven's Fifth Symphony | 0:55:32 | 0:55:34 | |
MEL IMITATES THE MUSIC | 0:55:38 | 0:55:41 | |
He was good. HE CHUCKLES | 0:55:55 | 0:55:57 | |
Oh... He knew... What he could do! I mean, there are four notes, | 0:55:59 | 0:56:04 | |
and the variations on four notes are incredible. | 0:56:04 | 0:56:09 | |
I mean, they're just stupendous. | 0:56:09 | 0:56:12 | |
How old were you when you first heard...? | 0:56:12 | 0:56:15 | |
I was 12. | 0:56:15 | 0:56:17 | |
That's still those four notes. | 0:56:18 | 0:56:21 | |
And that's a counterpoint to the four notes. I mean... | 0:56:21 | 0:56:24 | |
-For a little Jew in Brooklyn, that's quite upmarket. -Yeah. | 0:56:24 | 0:56:27 | |
MUSIC CONTINUES | 0:56:27 | 0:56:30 | |
When I was a little boy in Williamsburg, Brooklyn... | 0:56:40 | 0:56:44 | |
..I don't think I ever saw a green leaf. | 0:56:47 | 0:56:50 | |
Everything was cement. Everything was cobblestones and cement. | 0:56:50 | 0:56:55 | |
Now here every day there's something green and beautiful. | 0:56:55 | 0:57:00 | |
Now, if you back up and take a look at this guy... | 0:57:00 | 0:57:04 | |
Turn around, James. | 0:57:04 | 0:57:06 | |
I mean, this is... | 0:57:07 | 0:57:09 | |
..probably the best tree that ever grew in the whole world. | 0:57:09 | 0:57:14 | |
It has the most amazing roots, it has a network of branches. | 0:57:14 | 0:57:18 | |
It's amazing. | 0:57:20 | 0:57:22 | |
# Every time it rains, it rains Pennies from heaven | 0:57:23 | 0:57:28 | |
# They know each cloud contains Pennies from heaven | 0:57:29 | 0:57:34 | |
# If you want the things you love You must have showers | 0:57:34 | 0:57:40 | |
# So when you see it raining Don't run under a tree | 0:57:40 | 0:57:45 | |
# There'll be pennies from heaven For you and me! # | 0:57:45 | 0:57:52 | |
-Bravo. -OK, follow me. | 0:57:52 | 0:57:54 | |
Follow us, James. Just follow us. | 0:57:54 | 0:57:57 | |
This is my lovely citrus grove. | 0:57:57 | 0:58:00 | |
This is my tangerine tree. Here we go. | 0:58:00 | 0:58:03 | |
This guy's almost ready. Alan, eat this for James. | 0:58:03 | 0:58:09 | |
-You can tear it, peel it. -Here. | 0:58:09 | 0:58:12 | |
And these are for me. | 0:58:16 | 0:58:17 | |
All good. | 0:58:20 | 0:58:22 | |
-Seriously. -All good. -Seriously good. | 0:58:23 | 0:58:25 | |
Delicious. Really. | 0:58:29 | 0:58:31 | |
# There'll be pennies from heaven | 0:58:32 | 0:58:36 | |
# For you and me. # | 0:58:36 | 0:58:44 | |
Record number five now. What's that? | 0:58:49 | 0:58:50 | |
Record number five, Frank Sinatra. | 0:58:50 | 0:58:53 | |
Ohhh! Perhaps the best living singer, one of the great crooners, | 0:58:53 | 0:58:57 | |
you know, legendary crooners. A legend in his own life. | 0:58:57 | 0:59:00 | |
And here he is at the peak of his career. | 0:59:00 | 0:59:03 | |
PIANO INTRO Ah! In The Wee Small Hours. | 0:59:03 | 0:59:07 | |
-That's good taste. -Are you surprised? That was you. | 0:59:07 | 0:59:10 | |
He...never sang better than on this record. I mean, it is... | 0:59:10 | 0:59:16 | |
..the most typical. | 0:59:17 | 0:59:19 | |
# In the wee small hours of the morning | 0:59:19 | 0:59:25 | |
# While the whole wide world is fast asleep | 0:59:25 | 0:59:32 | |
MEL HUMS ALONG | 0:59:32 | 0:59:34 | |
# You lie awake and think about... # | 0:59:34 | 0:59:39 | |
Why did he have to die? I mean, the voice... He... | 0:59:39 | 0:59:43 | |
You know... If somebody had to live forever, I'd vote for Sinatra. | 0:59:43 | 0:59:48 | |
# When your lonely heart has learned its lesson | 0:59:51 | 0:59:58 | |
# You'd be hers if only she would call | 0:59:59 | 1:00:06 | |
# In the wee small hours of the morning | 1:00:07 | 1:00:14 | |
# That's the time you miss her most of all. # | 1:00:16 | 1:00:28 | |
Thanks to the power of his merciless tune, | 1:00:28 | 1:00:31 | |
so that the whole world was made beautiful. | 1:00:31 | 1:00:35 | |
Mel, aren't you dead? | 1:00:39 | 1:00:42 | |
Didn't we bury you in 1982? | 1:00:42 | 1:00:45 | |
My right name is Marion Michael Morrison, and the studio decided | 1:00:47 | 1:00:53 | |
that it was not American enough for a boy who was going to | 1:00:53 | 1:00:57 | |
play Breckinridge... | 1:00:57 | 1:00:59 | |
Don't you remember? It's true. | 1:00:59 | 1:01:01 | |
Mel, it's all true. | 1:01:03 | 1:01:04 | |
MEL WHISTLES Folksies! Hello? | 1:01:05 | 1:01:09 | |
Grave watchers! Hello, funeral parties! Hello. | 1:01:09 | 1:01:14 | |
Hello, hello, flowers. Hello, people. | 1:01:14 | 1:01:17 | |
HE WHISTLES Come over... | 1:01:17 | 1:01:19 | |
Here, over here. Here. Over here, please. | 1:01:19 | 1:01:22 | |
Hello! Ah, thank you. | 1:01:22 | 1:01:25 | |
Hi, folks. Look familiar? I was Mel Brooks, | 1:01:25 | 1:01:30 | |
one of the funniest little Jews that ever walked the face of this earth. | 1:01:30 | 1:01:34 | |
I think so. Well, what can I tell you? | 1:01:34 | 1:01:36 | |
I say Mel Brooks. Actually, my name was Kaminsky. | 1:01:36 | 1:01:39 | |
Melvyn Kaminsky. Now, I'd like you to think of me as Mel Brooks, | 1:01:39 | 1:01:43 | |
because that's where the big bucks came in. | 1:01:43 | 1:01:45 | |
Now, I can't really continue talking to you. I'd love to, but I can't, | 1:01:45 | 1:01:49 | |
because... | 1:01:49 | 1:01:51 | |
..you have to put in a coin. | 1:01:51 | 1:01:52 | |
If you don't pay for this, you don't get it. I'm sorry. | 1:01:52 | 1:01:55 | |
Even... Even after death, a little bit of commerce. | 1:01:55 | 1:01:58 | |
Yeah, would you please put in a coin? If you don't, I go black. | 1:01:58 | 1:02:02 | |
In about 30 seconds, you're going to lose me completely. | 1:02:02 | 1:02:06 | |
Forever. | 1:02:06 | 1:02:07 | |
Thank you! And...go. | 1:02:10 | 1:02:13 | |
Now, what was I saying? | 1:02:13 | 1:02:14 | |
Oh, yes. I'm here now, fresh, adorable, alive. | 1:02:14 | 1:02:19 | |
Actually, right below, here, right under this little mound, | 1:02:21 | 1:02:26 | |
the decay that's happening underneath this earth is disgusting. | 1:02:26 | 1:02:30 | |
But let's not go into that. | 1:02:30 | 1:02:31 | |
What lives, what goes on, after the body ceases? | 1:02:31 | 1:02:34 | |
Is it the soul, is it the spirit? That's what the religiosos | 1:02:36 | 1:02:40 | |
would have you believe. Actually, I'll tell you what lives on. | 1:02:40 | 1:02:43 | |
Video tape. | 1:02:43 | 1:02:45 | |
It's the only substance that is immortal. The soul vaporises. | 1:02:45 | 1:02:51 | |
I'm sorry. After you die, you got about 36 hours, and then... | 1:02:51 | 1:02:55 | |
..no more soul. But video tape is... | 1:02:55 | 1:02:58 | |
You're good, you're almost immortal, because after 15 or 17 years, | 1:02:58 | 1:03:02 | |
you recopy yourself on new vinyl, video, and you never die. | 1:03:02 | 1:03:07 | |
You're always on tape. | 1:03:07 | 1:03:09 | |
Melvyn Kaminsky is no more. But long live... | 1:03:09 | 1:03:13 | |
..video tape. | 1:03:13 | 1:03:15 | |
-Hello! -CHEERING AND APPLAUSE | 1:03:17 | 1:03:21 | |
Welcome, Mel! | 1:03:21 | 1:03:22 | |
Excuse me, this is the... this is the red carpet. | 1:03:24 | 1:03:28 | |
It's for celebrities. | 1:03:28 | 1:03:29 | |
Sorry, old boy. See you later. | 1:03:29 | 1:03:33 | |
BAND PLAYS Springtime For Hitler | 1:03:36 | 1:03:38 | |
Mel Brooks. | 1:03:42 | 1:03:44 | |
INTRO MUSIC | 1:03:44 | 1:03:46 | |
You know, with your kind of introspection, it's very | 1:03:49 | 1:03:52 | |
difficult to, you know, get to the heart of what | 1:03:52 | 1:03:56 | |
-really is Mel Brooks. -What am I really? | 1:03:56 | 1:03:59 | |
I'm a coalescence of vapour. Sometimes... Sometimes I think of | 1:03:59 | 1:04:04 | |
myself as a wraith. A wraith? | 1:04:04 | 1:04:08 | |
Make that a wreath. | 1:04:08 | 1:04:10 | |
This doesn't seem like a big production to me, really. | 1:04:16 | 1:04:19 | |
I mean, what the hell are you people spending on it? 28? | 1:04:19 | 1:04:23 | |
-I mean, you don't even have a good ending. -No, I know. -Do you want me | 1:04:23 | 1:04:27 | |
just to say, "Th-th-th-th-th-that's all, folks"? | 1:04:27 | 1:04:30 | |
You'd consider that the ending of a big Mel Brooks special? | 1:04:30 | 1:04:32 | |
"Th-th-th-th-th-that's all, folks"? | 1:04:32 | 1:04:35 | |
I'm Mel Brooks, not Mel Blanc. | 1:04:35 | 1:04:37 | |
How about the Mercedes, the BMW and the Porsche? | 1:04:37 | 1:04:40 | |
In our German Gestalt is the best in cars in the world. | 1:04:40 | 1:04:45 | |
The other cars, Americaners, are shit. | 1:04:45 | 1:04:47 | |
HE SHOUTS IN FAKE GERMAN | 1:04:47 | 1:04:50 | |
America is bullshit. | 1:04:52 | 1:04:55 | |
Und Deutschland ist alles Mercedes | 1:04:55 | 1:04:58 | |
and the besten Wagen in the Volkswagen in the Welt! | 1:04:58 | 1:05:03 | |
HE QUACKS LIKE DONALD DUCK | 1:05:03 | 1:05:06 | |
Yes, but, Mel! | 1:05:12 | 1:05:13 | |
-What? What do you want? -Yeah, but... is it an ending, really? | 1:05:13 | 1:05:17 | |
It's a terrific ending. Hitler, and then I go. | 1:05:19 | 1:05:22 | |
All right, so it isn't the greatest ending in the world, I admit it. | 1:05:23 | 1:05:26 | |
But it's an ending. It's some kind of an ending. | 1:05:26 | 1:05:29 | |
I mean, it's better than no ending. | 1:05:29 | 1:05:32 | |
Come up with a better ending. | 1:05:32 | 1:05:33 | |
I got to go to the toilet. I'll talk to you later. | 1:05:33 | 1:05:36 | |
HE SIGHS | 1:05:40 | 1:05:42 | |
You know... You know, there are no real endings, | 1:05:42 | 1:05:45 | |
if you want to be true to life, you know? | 1:05:45 | 1:05:48 | |
In the movies, people are shot, right? And they die. | 1:05:48 | 1:05:51 | |
"Aaaagh!" They die, and they say... | 1:05:51 | 1:05:54 | |
.."So this is the end." | 1:05:54 | 1:05:55 | |
KNOCK ON DOOR | 1:05:55 | 1:05:57 | |
Will you please stop knocking on the door? | 1:05:58 | 1:06:00 | |
-We're doing a... -Mr Brooks, Miss Lansing is here. | 1:06:00 | 1:06:04 | |
Who? Oh, uh... Can you explain that I'm...we're shooting a thing | 1:06:04 | 1:06:10 | |
and I need the... I need the office for...? | 1:06:10 | 1:06:13 | |
-Oh! -Look, I'm sorry to bother you, but I... | 1:06:13 | 1:06:16 | |
-..I really need my office back. -Why don't you give me a break? | 1:06:16 | 1:06:19 | |
-Just five more minutes. -Honey... I've really got to get to this. | 1:06:19 | 1:06:21 | |
-Must you? -Yes. I really do. | 1:06:21 | 1:06:23 | |
Please. I'm sorry. | 1:06:23 | 1:06:25 | |
-I wouldn't do it unless it was important. -Look, I know it's | 1:06:25 | 1:06:27 | |
your office, but... | 1:06:27 | 1:06:29 | |
It is my office, and I need my chair and I need my desk | 1:06:29 | 1:06:31 | |
-and I need my papers. -All right, all right, all right. | 1:06:31 | 1:06:34 | |
And it took longer than I thought. | 1:06:34 | 1:06:37 | |
MOVIE MUSIC SWELLS | 1:06:37 | 1:06:39 | |
What should I do? What's to become of me? Where will I go? | 1:06:40 | 1:06:44 | |
Frankly, my dear, I don't give a damn. | 1:06:44 | 1:06:47 | |
MUSIC: Hava Nagila | 1:07:02 | 1:07:04 | |
It's not what we take up front. That's not important. | 1:07:04 | 1:07:07 | |
CASH REGISTER RINGS The movie can be made. | 1:07:07 | 1:07:10 | |
We've got to raise money to make the movie. | 1:07:10 | 1:07:13 | |
The fees are not important. | 1:07:13 | 1:07:15 | |
I'm interested in the adjusted gross. | 1:07:15 | 1:07:17 | |
I want the gross after they're even dollar for dollar. | 1:07:17 | 1:07:20 | |
What? Who is it? | 1:07:20 | 1:07:22 | |
-It's Alan. -Oh, all right. | 1:07:22 | 1:07:24 | |
Come in, come in, come in. Come in. | 1:07:24 | 1:07:26 | |
What is it? What is it? | 1:07:26 | 1:07:29 | |
-What is it? I'm on the phone. -OK. I just wondered whether... | 1:07:29 | 1:07:32 | |
We still haven't got this ending sorted out. | 1:07:32 | 1:07:35 | |
MEL SIGHS | 1:07:35 | 1:07:36 | |
They haven't... No, no. It's this guy Yentob from the BBC. | 1:07:36 | 1:07:40 | |
No. They can't get an ending for this idiot documentary | 1:07:40 | 1:07:44 | |
they're doing with me. | 1:07:44 | 1:07:45 | |
What the hell do you want from me? No, tell me the deal again. | 1:07:45 | 1:07:49 | |
They want to give us 16,000 upfront for everything? | 1:07:49 | 1:07:53 | |
And then what do we get if the picture's a hit? | 1:07:53 | 1:07:55 | |
1,100? Are you crazy?! | 1:07:56 | 1:07:58 | |
-We're running out of film. -What? Oh. OK. | 1:07:58 | 1:08:01 | |
Look, I have to do this documentary. I'll call you back. | 1:08:01 | 1:08:06 | |
MUSIC: Arena theme by Brian Eno | 1:08:06 | 1:08:08 | |
Oh, you in there? Oh, there you are. | 1:08:08 | 1:08:11 | |
OK, hey, listen. This is Alan Yentob. He's head of BBC Two. | 1:08:11 | 1:08:14 | |
He flew all the way over from England to ask a few questions | 1:08:14 | 1:08:17 | |
about Life Stinks. OK. Talk to him. | 1:08:17 | 1:08:19 | |
He's in there somewhere. Go ahead. Go. | 1:08:19 | 1:08:21 | |
Hello. | 1:08:22 | 1:08:23 | |
Hello. Come in. | 1:08:23 | 1:08:26 | |
-Thank you. -So, you're from the BBC? -BBC. -Nice. | 1:08:27 | 1:08:31 | |
-It must be a bit cramped in here. -No, no, it's... It's very... | 1:08:31 | 1:08:37 | |
It's very comfortable, very, very, very comfortable. | 1:08:37 | 1:08:39 | |
As a matter of fact, we have... | 1:08:39 | 1:08:42 | |
Friday nights, we have a little party in here. | 1:08:42 | 1:08:45 | |
Excuse me? | 1:08:45 | 1:08:46 | |
"Gipper! It's Gipper! Frankie! | 1:08:46 | 1:08:51 | |
"Frankie, your mother forgives me! Frankie!" | 1:08:51 | 1:08:55 | |
Oh, that was a great motion picture. You know, I... | 1:08:55 | 1:08:58 | |
-I must go now, I think. -No, no, don't go, don't go. | 1:08:58 | 1:09:00 | |
I have many stories. I have things to tell you. | 1:09:00 | 1:09:02 | |
I love that shirt. I love that T-shirt. | 1:09:02 | 1:09:04 | |
It's a beautiful shirt. Don't, no, don't go. Please don't go. No. | 1:09:04 | 1:09:07 | |
I don't want to be alone here. I don't want to be... | 1:09:07 | 1:09:09 | |
You're the first human being that's come in in years! | 1:09:09 | 1:09:11 | |
You know, I had a very big office. It was great. | 1:09:11 | 1:09:14 | |
# This nearly was mine... # | 1:09:14 | 1:09:18 | |
Stay! | 1:09:18 | 1:09:19 | |
# This nearly was paradise | 1:09:19 | 1:09:22 | |
# I was living in paradise | 1:09:22 | 1:09:28 | |
# This nearly was mine. # | 1:09:28 | 1:09:32 | |
-Oh, please, don't go. Don't leave me. -Cut! -Don't leave me! | 1:09:32 | 1:09:35 | |
James, do me a favour. Say goodbye, thank you, and... | 1:09:35 | 1:09:40 | |
-..and get out. No... No offence. OK, take care. Bye-bye. -Bye. | 1:09:40 | 1:09:45 | |
MUSIC: Arena theme | 1:09:47 | 1:09:49 | |
-So that's it? -All right, now, please, no offence, | 1:10:01 | 1:10:06 | |
but get out. Enough. | 1:10:06 | 1:10:09 | |
It's enough interviewing, it's enough talking, enough camera. | 1:10:09 | 1:10:13 | |
I have a life. I have to... | 1:10:13 | 1:10:16 | |
You know. I want to eat some spaghetti and meatballs tonight, | 1:10:16 | 1:10:20 | |
with maybe some Parmesan cheese on top. And maybe a beer with it. | 1:10:20 | 1:10:25 | |
I can't do that if you just | 1:10:25 | 1:10:27 | |
keep talking to me and asking me questions. | 1:10:27 | 1:10:29 | |
Why aren't I on this show? | 1:10:34 | 1:10:37 | |
Well, Mel, why aren't I on this show? | 1:10:38 | 1:10:41 |