Brief Summary
Mel Brooks, known for his comedic genius and control on set, held strong opinions about actors he worked with. This video details five actors who, despite their talent, fell out of favor with Brooks due to ego clashes, creative differences, or a lack of trust and humility. These actors include Frank Langella, Gene Wilder, Chevy Chase, Harvey Corman, and Jerry Lewis, each for distinct reasons that highlight Brooks's emphasis on collaboration, rhythm, and a shared comedic vision.
- Frank Langella was deemed too serious for the comedic tone of "Dracula: Dead and Loving It."
- Gene Wilder, a close collaborator, disappointed Brooks by directing a film without his input after Brooks felt he wasn't ready.
- Chevy Chase was perceived as too self-centered and unwilling to collaborate.
- Harvey Corman, despite his talent, often clashed with Brooks due to his desire for more creative control.
- Jerry Lewis was seen as too arrogant and unwilling to share the spotlight.
Intro
Mel Brooks is known for his sharp memory and holding onto memories of actors who didn't meet his standards on set. With a career spanning over 60 years, Brooks built comedic empires with a focus on controlling chaos through precision, timing, and trust. Actors who broke this trust were permanently written out. Brooks viewed actors as essential components in a larger machine, and if one cog squeaked too much, it was replaced. While he praised many, five actors stand out for negative reasons, marked by ego clashes and unspoken firings.
A Broadway heavyweight who didn’t make the cut
Frank Langella was initially cast as Dracula in "Dracula: Dead and Loving It," due to his prior success in the role on Broadway. However, his serious, theatrical approach clashed with Brooks's vision for a comedic, gag-filled portrayal of the character. Langella's inability to adapt to the comedic tone and his resistance to improvisation caused tension on set. After a test read where Langella questioned mocking the text, Brooks replaced him with Leslie Nielsen, who better fit the comedic style. While the official reason was creative differences, it was clear Brooks wanted someone who understood and embraced the humor. Langella never spoke about the experience, and Brooks always praised Nielsen's performance, omitting Langella's name entirely.
A close collaborator turned bitter memory
Gene Wilder, a creative soulmate of Mel Brooks, with whom he created hits like "The Producers," "Blazing Saddles," and "Young Frankenstein," experienced a rift after "Young Frankenstein." Wilder, who wrote much of the script, wanted Brooks to produce his film "The Adventure of Sherlock Holmes' Smarter Brother," which he also directed. Brooks declined, feeling Wilder wasn't ready to direct, leading to a betrayal in Wilder's eyes. Wilder proceeded without Brooks, but the film lacked the magic of their previous collaborations. They didn't speak for years, and while they eventually reconciled and returned to something close to friendship, they never worked together again. Brooks felt that Wilder had broken their trust, particularly in his ability to complete Brooks's unfinished thoughts and comedic ideas.
A comedy star with too much ego for the room
Chevy Chase never worked with Mel Brooks due to Brooks's perception that Chase didn't play well with others. Despite Chase's stardom and comedic talent, Brooks felt he was too self-centered and always trying to be the smartest person in the room. Brooks valued generosity and collaboration in comedy, traits he didn't see in Chase. The closest Chase came to working with Brooks was for the role of Dark Helmet in "Spaceballs," but Brooks chose Rick Moranis instead, valuing Moranis's ability to step back and support the ensemble. Brooks felt Chase "crashed comedy" instead of dancing with it, and that he lacked the genuine belief needed to sell a joke, no matter how absurd.
A sketch legend who crossed the line
Harvey Korman, known for his work on "The Carol Burnett Show," frequently collaborated with Mel Brooks, delivering memorable performances in "Blazing Saddles," "High Anxiety," and "History of the World, Part One." However, behind the scenes, there was friction. Korman, used to the freedom and improvisation of "The Carol Burnett Show," often clashed with Brooks's tightly controlled direction. The biggest clash occurred during "High Anxiety," where Korman wanted to heavily modify his character, Dr. Montigue, but Brooks insisted on sticking to the script. This led to tension and passive-aggressive behavior on set. After "High Anxiety," Korman's name disappeared from Brooks's future projects, not out of malice, but from exhaustion. Brooks valued joy on set, and Korman's brilliance came with resistance.
A Hollywood icon who left a lasting grudge
Jerry Lewis, despite being a comedic genius, never worked with Mel Brooks due to Brooks's aversion to arrogance. While their names were often linked in the comedy world, Brooks found Lewis to be "brilliant and exhausting." The breaking point came during casting for "Life Stinks," when the studio suggested Lewis for a supporting role. Brooks refused, stating he didn't want someone who thought he was funnier than the film. Lewis's habit of rewriting scenes and dominating the energy in a room clashed with Brooks's need for control. A dinner arranged between them went poorly, with Lewis launching into a monologue and barely acknowledging Brooks. Brooks concluded that Lewis wanted applause, not collaboration, and never entertained the idea of working with him again. Brooks valued ensembles and balance, which Lewis's ego wouldn't allow.
