|Review with Forrest MacNeil||2014 2014||Actor||n/a||20147|
|Honeymoon in Vegas||1992||Director||n/a||4|
|It Could Happen to You||1994||Director||n/a||4|
|Isn't She Great||2000||Director||n/a||4|
|Undercover Blues||1993||Executive Producer||n/a||1|
|Mickey and Nora||1987 1986 - 1987||Executive Producer||n/a||1|
|White Fang||1991||Executive Producer||n/a||1|
|Little Big League||1994||Executive Producer||n/a||1|
|Honeymoon in Vegas||1992||Screenplay||n/a||1|
|Oh, God! You Devil||1983||Screenplay||n/a||1|
|Black Bart||1975 1974 - 1975||Creator||n/a||2|
|Blazing Saddles||1974||From Story||n/a||1|
|TV debut, wrote and co-executive produced (with Lobell) TV sitcom pilot, "Mickey and Nora"|
|First film credited as producer (co-executive with Lobell), "White Fang"|
|Feature film co-writing debut (with Richard Pryor and director Mel Brooks), "Blazing Saddles" (also story)|
|Directed the Jacqueline Susann biopic "Isn't She Great"|
|First film produced for own production company, Bergman/Lobell Productions (with Michael Lobell), "The Journey of Natty Gann"|
|Credited as Warren Bogle for producing and co-writing (with director John Cassavetes), "Big Trouble"|
|Feature directing debut (also writer), "So Fine"|
|Worked as publicist at United Artists; authored several books on Hollywood (fiction and non-fiction)|
|Feature solo writing debut, "The In-Laws"|
|Rudy Bergman||Father||wrote a radio and TV column for the New York "Daily News"; wrote for Victor Borge among others; introduced Bergman to Borge, Ernie Kovacs, and Bob and Ray|
|University of Wisconsin|
|"Bergman is a clever writer, full of off-the-wall notions, which he works into elaborate farce plots: he's Mel Brooks with structure. In 'The In-Laws,' Alan Arkin is a dentist led astray by a rogue C.I.A. operative (Peter Falk)...and winds up dodging bullets on a Caribbean island. The college professor played by Ryan O'Neal in 'So Fine' finds himself working in the garment trade and running for his life from a hulking mobster. The hero of 'The Freshman' is, within a few days of arriving in New York, making deliveries for an "importer"...and being treated like a member of Sabatini's family (or Family).... All the movies he's worked on have funny things in them, but they're all marred, in varying degrees, by overinsistence: they keep telling us how outrageous they are and what a great time we're having, and we're rarely allowed to respond freely--to catch a comic detail out of the corner of our eye." --Terrence Rafferty in his review of "The Freshman" (THE NEW YORKER, July 30, 1990)|
|"Bergman writes the same story over and over, and it's a serviceable one: a reserved middle-class guy is plunked down in an unfamiliar and dangerous subculture....The key to Bergman's sense of humor is that the denizens of each movie's alien culture always act as if their way of life were the most natural thing in the world: the hero is sweating and shaking and looking for the nearest exit, and the people around him can't figure out what he's so upset about." --Terrence Rafferty in his review of "The Freshman" (THE NEW YORKER, July 30, 1990)|
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