- This is the only version of the Frankenstein story where Frankenstein learns to love and accept his creation, rather than rejecting it, and it's thus also the only one where the story ends happily. The point at which the doctor understands that he's basically brought a baby into the world—a baby only he can take care of— it starts making you feel all warm and fuzzy inside.
The Monster: For as long as I can remember people have hated me. They looked at my face and my body and they ran away in horror. In my loneliness I decided that if I could not inspire love, which is my deepest hope, I would instead cause fear. I live because this poor half-crazed genius, has given me life. He alone held an image of me as something beautiful and then, when it would have been easy enough to stay out of danger, he used his own body as a guinea pig to give me a calmer brain and a somewhat more sophisticated way of expressing myself.
- From a production standpoint, Brooks went out of his way to dig up all the original mad science equipment from the 1931 classic film. If that doesn't say Affectionate Parody for you...
- Wilder wrote in his autobiography that he kept trying to find ways to add additional scenes to the shooting schedule because the cast had a thoroughly great time together and Wilder didn't want filming to end.
- The above two facts, plus the fact that Mel Brooks insisted on keeping the film in black and white, the same style as the old classic Frankenstein movies - to the point where he took it away from Columbia Pictures when they insisted otherwise - just takes Doing It for the Art to a whole new level.