I like to do things that I want to see myself. With 'Defending Your Life,' I wanted to see some aspect of death other than angels and the thing that 'Ghost' was about, because that didn't make any sense to me. So that's the reason: it fills a hole.
— Albert Brooks
I attempt to create a form of seriocomic entertainment to either delight, enlighten, or disgust, whichever you'd like. In terms of making motion pictures, I write and direct and act. I guess you'd say I'm a filmmaker.
I was offered 'Pretty Woman.' I was offered 'Big' and 'Dead Poets Society.' But what was important to me in those years was to make movies, to make these Albert Brooks movies.
If I start a film of my own, then what I eliminate is acting in other people's movies. Because once I start, and I go raise the money, it's about two and a half or three years, and I can't stop. I have people hired. I can't say, 'Ooh there's a good part called 'Drive'; I'll see you in three months.'
I never, in anything I've ever done, tried to get you to like it. I was never going to succeed at that. That's not the way most entertainment is made. Most entertainment is trying to get you. It's tested, like toothpaste.
I think I present a different side of a male character: a side that is not John Wayne-like, a side that is, in fact, destructible. To some people, that is refreshing, and to other people, especially if they don't know me, it may be disturbing.
I'm really fond of 'Real Life' because I think it anticipated a whole movement. And people forget, they talk about 'Spinal Tap,' but that wasn't... this was a mockumentary a long time before that. It was one of the early, early sort of mockumentaries.
It's funny: in the middle of making 'The Muse,' I was offered, at the time, the first 'Ice Age,' the part that Ray Romano took: I was offered the elephant. And I couldn't even stop to breathe, so I didn't do it. They've made, like, six of them. And in the animation business, for a voice actor, that's what you want. You want six, you know?
I did years of summer stock. I sort of only wanted to be an actor. And then at 19, I was funny, and I had some of these bits that I did for friends, and I immediately could get on television.
You know what I've always wanted to do? I've always wanted to put a lung in a suitcase and send it through an airport security check. In effect, the guard would be looking at an X-ray of a lung.
When I started out, I tried out all my stuff on national television. There were no comedy clubs, but even if there were, I don't think I would have gone to them. I used to do stuff in the bathroom, and then I'd drive down to NBC and do it on 'The Golddiggers' with Dean Martin.
If your last name is Christ, don't name your son Jesus.
I started on television. I had five years of network television before I ever got up on a stage. The first thing I ever did was in 1967. This guy Bill Keene had a little talk show at noon, and Gary Owens took over for a week. He knew about this dummy bit I used to do, this ventriloquist thing, and I was on 'Keene at Noon.'
My roots were in acting. That's all I wanted to be. Even though my father was a radio comedian, it wasn't cool to say, at a young age, 'I want to be a comedian.'
My audience has lots of people between 20 and 35, but there are always a few 60-year-olds, and it makes me happier than if everyone was 22.
The idea behind 'Defending Your Life': Imagine if you had to sit in a courtroom and watch your life. I don't care who you are - if you committed a crime and you had to have all of your emails searched and made public, who on this planet could survive that? Nobody.
I made my living in comedy, but I'm not a silly person. I've got all these sides to me. Even in my movies that I've written myself, the characters sometimes border on great anger or nutsiness or other kinds of behavior. I'm not just doing fart jokes for two hours.
There've been a few mother-daughter movies that are somewhat realistic. But the mother-son movies are more comical than realistic: 'Throw Momma from the Train,' 'Stop! or My Mom Will Shoot.' You don't sit in the dark and go, 'Oh my God, that's my mother.'
I had done about 60 television shows, from 'Ed Sullivan' to 'The Hollywood Palace,' before I ever went to 'Johnny Carson.' At the time, that was the showcase for comics. And I couldn't believe it.
Even in my comedies, I don't take anger as a joke. I think anger and laughter are very close to each other, when you think about it. One of the things I like about a character: I always think it's fascinating when a character can turn on a dime and go from one emotion to another. I like watching that.
My humor is traced with dark - I've got dark patches all over the place.
If you don't succeed on your own ground, then there's no reason to succeed. Unless, of course, you really want a boat. If you're a person who feels that with a yacht, everything will be all right, then you should do whatever you have to and get the yacht.
Basically, I still have the privacy that all celebrities crave, except for those celebrities who feel that privacy reflects some kind of failure on their part.
'Finding Nemo' has spawned so many sort of emotions over the years. I don't even know that you could really understand exactly what parents and kids are seeing in it, but they can see a lot of different stuff.
There are a few giant companies that I love, and I love Amazon. Their customer service is impeccable: sometimes, just for the hell of it, I'll sleep on a mattress for three years and return it.
I guess I was the class clown - with a name like Albert Einstein, you don't hide in the back. I'd read the school bulletin to the class, and I'd add activities and make stuff up. It was good, a good 10 minutes every morning.
Wouldn't it be great if cars came equipped with screens like that thing they have in Times Square that spells out the news? You could punch out your own instant messages: 'Will the small red car with the ugly driver please stay a little further behind?'
The people on this planet that are trying to live their life, that aren't trying to destroy things, are in the 99.9-percent majority.
I never liked going in the ocean.
My dad died right after performing at the Friars' roast for Lucille Ball and Desi Arnaz. I have that tape somewhere. There's still a lot of good jokes in there. I mean, that was 1958.
I studied acting at Carnegie Tech in Pittsburgh because I figured a good comedian certainly could act.
I wrote this book, '2030,' and I was careful in the book not to overdo the future because I don't think it comes that fast.
I don't know how, where, and why the idea for 'Defending Your Life' began; the idea had been bouncing around for a while. Stories like that sort of have to bounce. They don't come out of nowhere. I went through my own period of life with sort of everything turning upside down, and wondering, 'Why is it this way?'
Normally movies have the same people they use over and over for everything. It's called typecasting. They don't like to take chances. They'll go with the guy they had before.
This is a generalization, but I think women's brains are more accessible to ideas and differences. And they can accept stuff that's weirder. I think there are enough intelligent men out there who get it, but women will watch behavior that's different and process it better. In general, women are less threatened by their emotions.
I don't think the goal is, 'How big a star did you ever become?' I think the goal is, 'Were you able to express yourself?' And if you're able to say yes, in any field, you've won. If you paint, write, do mosaics, knit - if it's solving that part of your brain saying, 'I need to do this,' you've won.
I probably learned, being in 'Taxi Driver' before I made my first film, I would come to the set every day just to watch how that film came about. It's like a graduate course: it's terrific. You talk to the cinematographer during the breaks. You ask the electrician why they are doing this.
The first act is writing, the second act is filming, the third act is releasing. If you have to partake in the third act, it hurts the first act of the next one. It's like a prizefight. You get punched.
I don't see many explosions or ten-car crashes in the course of my life, so I don't put them into my movies. I would love to live in a society where 'My Dinner with Andre' made $100,000,000. Then I would be in the mainstream. I could do that stuff easier than I could do 'Meatballs.'
I don't know; I guess they'll never make another 'Nemo.' I see they're making another 'Monsters, Inc.' I had a wonderful idea for them. I swear to God, I think there could be a great sequel to 'Nemo' where the fish never will leave home. He just won't leave. 'Getting Rid of Nemo.' Right, 'You're 30 years old! Get out of here!'
In the course of my movies, the financing and the releasing were always the tough part. Because I loved the creative; I loved the writing. I loved the making of it. Because, I guess, I never had the giant blockbuster, I never got that sort of ease for the next one.
One thing about Los Angeles is it feels like it's not new. It feels like it's already been built, and it's deteriorating, except for the places they're trying to make nicer. But in general, you drive all through the city, and the city feels like it was new a long time ago.
My father was very sick around the time I was born. The doctors thought he wouldn't live. He did recover, but I don't remember him as very active. I do remember lots of schtick around the dinner table. Generally, he and my brothers and I were all laughing at the same thing my mother did not find funny, whatever that was.
I've heard people say, 'There are no bad audiences,' but that's just not true. There are people who just shouldn't be together in a room, who produce a really bad audience.
I like the acting. It's how I started, and I sort of feel that if I don't give it a little shot now, and I go back, then I'm pretty much done with it. I mean, at what age am I going to do it at? Although, when you see Christopher Plummer and Max von Sydow doing it, I guess the answer is 80.
If people don't love what you're doing, that doesn't mean you're wrong.
My dad played a character on the radio called 'Parkyakarkus.' A Greek-dialect comedian. He did Friars' roasts and wrote material and made people laugh that way. But he wrote his own shows with other writers.
I've been doing comedy since I was two. You know, kids who make other kids laugh. The sickness had set in! I could make my friends' parents laugh; I had a sense of what was silly and funny.
'2001' is a really interesting movie because it came out in 1968, and everybody thought that that was possible, and look how ridiculous that was. We don't have ships like that, and you know, nobody in 1968 was going, 'Oh, that'll never happen!' But of course it never happened. We're not even close to it.
This getting old is something. I think I envy my dog, because my dog is sixteen, and she's limping, and she's still living, but she doesn't look at me like she knows. She's not thinking what I'm thinking. It's a cruel trick that we all know the ending.
