I played Hamlet, I played Chekhov and Ibsen and all the classics.
Funny is when you're serious.
But there's a lot of 50's and a lot of boomers and a lot of kids in their 30's that grew up with us.
I mean, we had on our show, we had marriages, divorces and other stuff going on. And that was just me.
Although in Abbott and Costello, and straight man was first. That's a very interesting concept.
You have to have a certain persona to be a star, you know, and I don't have that. I'm a banana.
You asked what is the secret of a really good sketch. And it is a sketch is a small play. It's got a beginning, and a middle and an end. It should have a plot; it should have the characters, conflict. It is a little play. And in it, will be funny stuff.
They say it's good but I didn't know what I was doing until I got into the suit and they put the moustache on me, and somehow, when I got all the drag on, it came out. It was the most amazing thing. I'm truly extraordinary.
Then I got out of the service, and I was going to be a Shakespearean actor.
I'm not a star.
I wish there was something that - I get all those wonderful letters and wonderful acknowledgments, and I wish I could be more appreciative of what I do. But it's hard for me.
I went to the Goodman School of Drama in Chicago.
I got canceled in the middle of making the pilot.
And it's tough traveling. You know, the hotels and the airports and all that. That part, eating and getting around to the hotel room and then going on.
And I went to New York and died; for 10 years I walked those pavements. I can't think of New York without feeling uncomfortable and feeling like a failure.
