RK

Robert Klein

64quotes
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American entertainment in the mid-twentieth century made room for performers who crossed between multiple disciplines — stage, screen, television, and music — treating each as a distinct craft rather than a side pursuit. Robert Klein built his career across exactly that kind of range.

Born on February 8, 1942, in the Bronx, Klein attended DeWitt Clinton High School before going on to Alfred University and then the Yale School of Drama. That formal theatrical education gave him a foundation that carried through the different kinds of work he took on over the course of his career. He worked as a stage actor, a film actor, and a television actor, accumulating credits across three separate performance formats while also working as a singer.

Klein's involvement in entertainment extended behind the camera as well. He worked as both a screenwriter and a film producer, which meant his relationship to the projects he was part of wasn't limited to performance alone. That combination of on-screen and off-screen roles made his presence in the industry broader than what any single job title could capture. All of his work was conducted in English, rooted in the American context he grew up in as a citizen of the United States.

The breadth of Klein's training and output — stage, film, television, music, producing, and writing — placed him among the performers of his generation who moved across formats rather than settling into one. His education at the Yale School of Drama, in particular, reflects the seriousness with which he approached the craft. That training, combined with the range of professional roles he took on throughout his career, stands as a concrete marker of how he positioned himself within American entertainment.

Quotes by Robert Klein

I was a class clown.
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I was a class clown.
Comedy has lost its eloquence.
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Comedy has lost its eloquence.
In the book of things people more often do wrong than right, investing must certainly top the list, followed closely by wallpapering and eating artichokes.
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In the book of things people more often do wrong than right, investing must certainly top the list, followed closely by wallpapering and eating artichokes.
I have a work-out regime; I am not a maniac. It sounds cliche, but stand-up comedy, doing a one-man show, helps keep me young, and yes, it is exhausting, but I don’t collapse.
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I have a work-out regime; I am not a maniac. It sounds cliche, but stand-up comedy, doing a one-man show, helps keep me young, and yes, it is exhausting, but I don’t collapse.
The ’50s were terrifying with nuclear bomb stuff but boring in a social way and then the ’60s were happening, and remember, there was no AIDS.
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The ’50s were terrifying with nuclear bomb stuff but boring in a social way and then the ’60s were happening, and remember, there was no AIDS.
And the only studies were – Rodney Dangerfield was my mentor and he was my Yale drama school for comedy.
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And the only studies were – Rodney Dangerfield was my mentor and he was my Yale drama school for comedy.
My son has been a class clown and it sort of ran in the family.
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My son has been a class clown and it sort of ran in the family.
I was in the De Witt Clinton Hight School marching band. One of the worst bands ever formed. When we played the national anthem, people from every country stood – except Americans.
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I was in the De Witt Clinton Hight School marching band. One of the worst bands ever formed. When we played the national anthem, people from every country stood – except Americans.
In the fifties I had dreams about touching a naked woman and she would turn to bronze or the dream about hot dogs chasing donuts through the Lincoln Tunnel.
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In the fifties I had dreams about touching a naked woman and she would turn to bronze or the dream about hot dogs chasing donuts through the Lincoln Tunnel.
According to one account of the New York City schools during the 1950s: The teacher could not technically hit the child, but the old crones found ways of skirting the rules. The push-probe-pull method was popular, in which the teacher would not hit you, but would poke you with her gnarled, witch-like fingers and grab your face like a taffy pull until you screamed. ... The pull-and-choke was also a favorite. It was executed by pulling the compulsory necktie up like a noose, until the errant boy's face turned the school colors.
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According to one account of the New York City schools during the 1950s: The teacher could not technically hit the child, but the old crones found ways of skirting the rules. The push-probe-pull method was popular, in which the teacher would not hit you, but would poke you with her gnarled, witch-like fingers and grab your face like a taffy pull until you screamed. ... The pull-and-choke was also a favorite. It was executed by pulling the compulsory necktie up like a noose, until the errant boy's face turned the school colors.
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