All Quotes

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"Dr. Frankenstein:: Igor, would you give me a hand with the bags? Igor:: [doing a Groucho Marx] Certainly, you take the blonde and I'll take the one in the turban."

- Mel Brooks

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"Igor:: Sed-a... Inga:: Sed-a... Igor:: Dirty word! He said a dirty word!"

- Mel Brooks

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"Dr. Frankenstein Damn your eyes! Igor (pointing at his lazy eye) Too late!"

- Mel Brooks

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"Josephus: I'm Josephus, and I'm the main course over at the Colosseum!"

- Mel Brooks

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"Count de Monet: [consistently mispronounced as "count da money"] Bearnaise? Bernaise: Yes? Count de Monet: Do we have any of those delicious raisins left? Bearnaise: You ate yours. These are mine. Count de Monet: Au contraire, they are mine! I paid for them! Hand them over! Bearnaise: [gives the bag of raisins to the Count, sotto voce, mimicking] 'Au contraire, I paid for them! They're mine!' [blows a raspberry] Count de Monet: Don't be saucy with me, Bearnaise! Bernaise: [mouths] Bitch."

- Mel Brooks

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"Count de Monet: It is said that the people are revolting King Louis XVI: You said it. They stink on ice."

- Mel Brooks

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"Impoverished Paris Street Merchant (Jack Carter): Rats, rats for sale. Get your rats. Good for rat stew, rat soup, or the ever-popular ratatouille."

- Mel Brooks

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"Other Street Merchant: Nothing, I have absolutely nothing for sale!"

- Mel Brooks

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"King Louis XVI: [prior to his arrest] It's good to be the king. [also used in Robin Hood- Men In Tights and The Producers [Musical]]"

- Mel Brooks

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"Tomás de Torquemada: It's better to lose your skullcap than your skull."

- Mel Brooks

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"Moses: Lord, I shall give these laws unto thy people. Do you hear me? Do you hear me?! All pay heed! The Lord! The Lord Jehovah has given unto you these fifteen- [drops one of the tablets] Oy. Ten! Ten commandments! For all to obey!"

- Mel Brooks

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"Madame Defarge: And now, let us end this meeting on a high note. [proceeds to sing a sharp high note, followed by the rest of the revolutionaries]"

- Mel Brooks

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"Jail Inmates: Eighty fff...Eighty fff...Eighty fff...Eighty fff...Eighty Six!"

- Mel Brooks

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"Excuse me, is this England?"

- Mel Brooks

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"Dark Helmet: I see your schwartz is as big as mine."

- Mel Brooks

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"Radar Officer: I've lost the sweeps, the bleeps, and the creeps! [Explains via vocal sound effects] Dark Helmet [aside to Colonel Sandurz]: That's not all he's lost."

- Mel Brooks

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"Dark Helmet : What? You went over my helmet?"

- Mel Brooks

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"President Skroob: What the hell, it works on Star Trek!"

- Mel Brooks

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"Dark Helmet: What's the matter Colonel Sandurz... chicken?!"

- Mel Brooks

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"Dark Helmet [after everyone on the bridge announces that their last name is "Asshole."]: I knew it, I'm surrounded by Assholes."

- Mel Brooks

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"Lonestar: That's all we needed, a Druish Princess!"

- Mel Brooks

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"Dark Helmet : So, Lone Star, now you see that evil will always triumph because good is dumb."

- Mel Brooks

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"Ahchoo:Man, white men can't jump!!"

- Mel Brooks

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"King Richard: From this day forward, all toilets in this kingdom shall be known as...'Johns'!"

- Mel Brooks

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"Townspeople: A black sheriff? Blinkin: He's Black?! Ahchoo: Why not? It worked in Blazing Saddles."

- Mel Brooks

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"Robin Hood: Watch my back! Achoo: Yo' back just got punched twice."

- Mel Brooks

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"Will Scarlet Blinkin, fix your boobs, you look like a bleeding Picasso."

- Mel Brooks

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"Blinkin Aaahhhh, you lost your arms in battle, but you grew some nice boobs (Blinkin gropes the Venus De Milo statue left behind after creditors take away Loxley Castle)"

- Mel Brooks

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"Robin Hood: Because unlike some other Robin Hoods, I can speak with a English accent."

- Mel Brooks

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"Sheriff of Rotingham King illegal forest to pig wild kill in it a is!"

- Mel Brooks

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"Spiegel: Can you also get your revenge on him by using comedy?"

- Mel Brooks

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"He understands not only with his brain but with his heart. And that might be called love. Not quite sure, but maybe that's the key."

- Mel Brooks

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"Mel Brooks has all the consistency of Spike Milligan, the subtle self-censorship of Benny Hill, and the human warmth of Bob Monkhouse. It's a good job he has the brassneck and occasional brainstorms of Mel Brooks or he would be a monster."

- Mel Brooks

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"Mel is sensual with me. He treats me like an uncle — a dirty uncle. He's an earthy man and very moral underneath. He has traditional values."

- Mel Brooks

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"All the apprehensions that surface in Brooks's comedy have the same eventual source: a fear — or, to put it more positively, a hatred — of death."

- Mel Brooks

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"When a war is won, it's the losers, not the winners, who are liberated."

- Romain Gary

• 0 likes• Novelists from France• Postmodern authors• Film directors from France• Aviators• Diplomats of France•
"Disease-carrying thoughts swarm and multiply in the dark and twisted labyrinths of our minds, and all that is needed is a mob and a good political slogan for the epidemic to be spread once again, with a burst of automatic weapons or a mushroom cloud."

- Romain Gary

• 0 likes• Novelists from France• Postmodern authors• Film directors from France• Aviators• Diplomats of France•
"I sat day after day in my little room, waiting for inspiration to visit me, trying to invent a pseudonym that would express, in a combination of noble and striking sounds, our dream of artistic achievement, a pen name grand enough to compensate for my own feeling of insecurity and helplessness at the idea of everything my mother expected from me."

- Romain Gary

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"A writer’s subconscious is one of the filthiest places there are: as a matter of fact, you can find the whole world there."

- Romain Gary

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"There is more to Jewish history than Auschwitz."

- Romain Gary

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"Gari in Russian means "burn!"… I want to test myself, a trial by fire, so that my I is burned off."

- Romain Gary

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"During the war he was an airman and slaughtered civilians from on high."

- Romain Gary

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"The gossip that came back to me from fashionable dinners where people pitied poor Romain Gary, who must be a little sad, a little jealous of the meteoric rise in the literary firmament of his cousin Emile Ajar… I’ve had a lot of fun. Good-bye, and thank you."

- Romain Gary

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"Humour is an affirmation of dignity, a declaration of man's superiority to all that befalls him."

- Romain Gary

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"The bombs I dropped on Germany between 1940 and 1944 maybe killed a Rilke or a Goethe or a Hölderin in his cradle. And yes, of course, if it had to be done over, I would do it again. Hitler had condemned us to kill. Not even the most just causes are ever innocent."

- Romain Gary

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"Gary’s life was shaped by war, revolution, emigration, anti-Semitism, defeat, and murderous low-altitude bombing runs. But he never wallowed in victimhood – quite the contrary. He wrote scathing satires of the victim syndrome, and never claimed that his changes of country and language were anything but opportunities to be someone else. He didn’t need to know whether he was Russian, or Jewish, or Polish, or Catholic, or French. In a questionnaire on ethnic identity he would have answered: all of the above. Gary is a good model for our own century of transnational lives."

- Romain Gary

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"In 1966, Gary and Seberg visited the memorial of the Warsaw ghetto, in the city where he’d lived as a child for several years before moving to France. This confrontation with the trauma of history — a horror he narrowly avoided — was overwhelming. Gary hallucinated the arm of a hidden Jew emerging from a sewer grill shaking its fist, and fainted from the shock. When he came to, some combination of survivor’s guilt and righteous anger was conceived, taking shape in The Dance of Genghis Cohn (1967) — a breathtakingly original, hilarious, and complex exploration of Gary as a man, an author, and a Jew. Genghis (né Moishe) Cohn, a comedian from Berlin imprisoned in Auschwitz, exposes his bare bottom to Schatz, the SS officer who kills him, and instructs him to “Kush mire in toques.” (Opines Cohn’s ghost: “There have undoubtedly been more worthy and noble last words in history than ‘Kiss my ass,’ but I have never made any claim to greatness and, besides, I’m quite pleased with my effort…”)."

- Romain Gary

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"Too famous for his work to be judged without bias, Gary felt he needed to break free from categorization. So, in 1973, at age 59 — the same age his mother was when she died — Gary invented Émile Ajar. He was by then twice divorced, retired from the diplomatic corps, and had published 22 books, including the Goncourt-winning The Roots of Heaven (1956), about illegal elephant poaching in Africa. It was time for a new adventure, as he explains in The Life and Death of Émile Ajar: “I was tired of being nothing but myself…there was the nostalgia for one’s youth, for one’s debut, for one’s renewal…. I was profoundly affected by the oldest protean temptation of man: that of multiplicity.” … events turned downright farcical. The Life Before Us was awarded the 1975 Prix Goncourt, the rules of which stipulate that it may be awarded to an author just once in his lifetime, and Gary had already received it for The Roots of Heaven. He instructed Ajar’s lawyer to turn down the honor on her client’s behalf, but the prize administrators would hear nothing of it. “The Goncourt Prize cannot be accepted or refused any more than life and death. Mr. Ajar remains the laureate.”"

- Romain Gary

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"Beyond Gary’s creative mendacity, one aspect of his life was indubitably genuine. After Germany invaded France, Gary escaped to London, where he became a war hero, serving as a fearless bomber pilot for the Free French Forces. Flying missions even when recuperating from battle wounds, Gary fought a feisty personal, even visceral battle against the Nazis (in one interview, Gary described himself as “testicularly anti-racist”) that was a concrete reality in a life devoted to more amorphous artistry, and his wartime loyalties remained a permanent obsession."

- Romain Gary

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"When it counted, Gary was ultimately accurate, as when he left a suicide note in 1980, explaining that he decided to end his life because he had written all he wished to write and not because his estranged and tormented ex-wife, film star Jean Seberg, had committed suicide a year earlier. Yet such basic home truths in Gary’s life and work can be obscured by his prose style and grandiose, self-mythifying persona. The Dance of Genghis Cohn itself demonstrates Gary’s paradoxical approach of using, as Bellos observes, “vulgarity and coruscating wit to defeat the greatest obscenity of 20th-century history, the slaughter of the Jews by Nazi Germany.” The novel’s protagonist (a blend of Mongol and Jewish, as Gary himself claimed to be), murdered by the Nazis in 1943, becomes a dybbuk in the mind of his executioner. The victim/protagonist forces his murderer to sing songs redolent of Yiddishkeit, like “My Yiddishe Mama.” Such burlesque ironies, painted with broad brushstrokes in a popular novel published one year before the release of Mel Brooks’s film The Producers, demonstrated the comic potential of ridiculing Hitler, but offended some readers in France, notably a critic from the weekly news magazine L’Express, who termed The Dance of Genghis Cohn an “affront to the memory of those who died at Auschwitz.” Forty-five years on, readers and critics are relishing the same pitilessly absurdist authorial voice, describing savage and coarse events of modern history in the savage and coarse terms that so troubled Gary’s readers when his books first appeared decades ago."

- Romain Gary

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