We never tried to use funny clothing. Of course, there were times when we would wear odd garments for a special humorous effect, but as far as our two characters were concerned, we never tried to get very far from what was real. We always wore a stand-up collar but there wasn't anything unreal about them, especially in the twenties and early thirties. Stand-up collars were formal and slightly different, but never too obviously so. They gave us, together with our derbies, a something we felt these characters needed—a kind of phony dignity. There's nothing funnier than a guy being dignified and dumb. [...] The derby hat to me has always seemed part of a comic's make-up for as far back as I can remember. I'm sure that's why Charlie wore one. Most of the comics we saw as boys wore them, so I guess you'd say that's one item that's strictly in the public domain.

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I remember one time Charlie [Chaplin] and I were walking over to the theater all dressed up, hanky up the sleeve, spats, double-breasted coat, carrying canes—and on the way there we became aware of Nature's urgent call. Now, public conveniences are a regular part of English life, but they certainly aren't in America. We searched high and low and couldn't find accommodation. Finally, in desperation, we asked a cop where the nearest public convenience was. "The nearest what?" the cop yelled. We asked again, very politely. He finally got our drift and said very loudly, "Aw, hell, you'll have to go to a saloon, mister!" Mind you, we were now in a pretty anxious state. We got to a saloon and started down the aisle, as it were, when we realized that we hadn't purchased anything to warrant our use of the facilities. These polite Englishmen. So, tortured as we were, we marched up to the bar very bravely, ordered a beer and sipped it for a few seconds before we flew away.

I wish they’d re-release ... I guess maybe I’d like to see it again because it has one beautifully funny sequence that I’ve never seen in movies, either before or since. We had an army of knights in a chase sequence. There were over three hundred of them working with basket horses… the circus-clown type horses, with the men’s legs extending beneath the little papier-mâché horses built around them. It was hilarious, like some of those circus routines. There were a lot of routines we did in those days that have been forgotten today. Comics today rely too much on the line gag and not the visual gag. I think that Hollywood comics these days are talking too much and not doing enough.

He and Jolson were wonderful entertainers the like of which you don't see anymore. They weren't comedians really, but funny singing entertainers of the kind I used to see and love in the English music hall. It's a shame that young performers these days aren't remotely like them.

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[He can't stand to watch their old comedies on TV because] because they're so cut up. [...] I wish I could have edited them. They seem too slow nowadays. That was because we had to leave time between the gags for the audience to laugh. You don't need that spread in TV.

I suppose we had very little of what you'd call family life. We were very seldom all together. I was almost always either in boarding school or living with my grandparents in were I was born, but still, strange as it may seem, we were always a close family.

I don't see many people anymore. It's a long way out here to . And I can't go any place. I have and still haven't completely recovered from the stroke I had in 1955, so all I can do is stay in the apartment here and watch the ocean and television. About the only visitor I have, except for my family, is Jerry Lewis. He's been after me to work as a comedy consultant on his movies. Once he came out here and stayed seven hours. We had a lot of laughs. But, as for working again, I can't. I'm all washed up in this business.