Carol Kane thought Gene Wilder was ‘out of his mind’ when he asked her to do a comedy with him

Watching Carol Kane onscreen, it’s impossible not to notice her eyes.

Her expressive gaze — which has conveyed everything from Gitl’s resilience in

Oh, that’s so nice, isn’t it? I wish they hadn’t pulled the plug on that.

Would you ever return to that role if they wanted to do another continuation after the movie?

Oh yeah, I’d crawl on my hands and knees to do it.

What was it like working with Tina Fey?

Just a dream, she’s a dream. She’s so smart and she’s so down to earth, as is her husband, Jeffrey Richmond, who does the music, and her partner, Robert Carlock. She’s extremely generous.

For me, the only really difficult thing about that was that I was spoiled to do the four-camera comedy [on “Taxi”], with Jimmy Burrows directing, Jim Brooks and Ed Weinberger. And it was, you rehearsed five days a week like a play. And on the night of the fifth day, you did the play in front of cameras, so you had an audience, but you had it filmed. And you had the rehearsal like a play.

It was the perfect marriage for me, having started out on the stage and then film, and it was the perfect combo of both. Whereas nowadays, “Kimmy Schmidt” included, they don’t have an audience anymore. And maybe just because of my training on “Taxi” and “All is Forgiven” and “Cheers,” whatever, I found it very difficult to know if I was doing what was required without hearing any laughs.

No idea if the jokes are landing.

You have to just have your complete faith in Tina and Robert and Jeffrey and all of them. If it’s not funny, they’ll make you do it again. But it’s really, I guess just ego-wise, very nice to hear a laugh.

It is a shame that they don’t have that anymore, the live audience.

I don’t get it. I think it’s just such a great form and it’s so much easier on everybody because the hours aren’t so insane, like 14-hour shooting days.

I think the end result of “Kimmy Schmidt” was fabulous, but like I say, for me, it was a difficult transition to be in a comedy and not hear any laughs.

I wanted to touch on another of your iconic ’80s movie roles, “The Princess Bride.” What was it like sparring with Billy Crystal in that scene?

Oh, I was so intimidated because he’s such a genius at that. Talk about improv! Well, Billy, he’d just take off. I got to do a little, like the thing about the chocolate, that you can’t “go in swimming for at least an hour,” because that was my family’s tradition. But mainly Billy just took off there and it was just, you just had to hold on for dear life and hope that you could keep up.

I know that some of the other stars have talked about this before, how they very much oppose a reboot or a remake of any kind of “The Princess Bride.”

Oh, “The Princess Bride”? No, that would make no sense.

Exactly, that’s what everybody involved says — I know Cary Elwes, in particular, has been like, “No, don’t do this.”

Oh, no, not a good idea. But of course, they do remakes. Well, they remade “When a Stranger Calls.”

Did you watch that remake?

No, I don’t want… It was what it was at that time that it was, and it’s still, I think, a great horror movie.

For “The Princess Bride,” some fans have joked that the only acceptable reboot or remake would be a Muppets version, where all of you are Muppets.

That’s interesting, I never heard that, but that — I would watch that.

Would you show up as a Muppet Valerie in “The Muppets Princess Bride”?

Only if the rest of the cast came back. If we were all our Muppet versions, that would be tempting.

This interview has been edited and condensed for clarity.

“Between the Temples” is now in theaters.