Speaker 1: Oh, folks, it's showtime.
Speaker 2: People say, good money to see this movie. When they
Speaker 2: go out to a theater, they want cold sodas, hot popcorn,
Speaker 2: and no monsters in the protection booth. Everyone pretend podcasting
Speaker 2: isn't boring.
Speaker 3: Got it off?
Speaker 1: Hi, my name is Mike Myers.
Speaker 4: Perhaps you recognize me from my recent motion picture Wayne's World.
Speaker 1: Lax Lax.
Speaker 4: As you can see, I'm on the set of my
Speaker 4: new film, which I play a young fellow named Charlie
Speaker 4: who gets a little more than he bargained for.
Speaker 5: For example, there's suspense.
Speaker 2: Have you heard of this case?
Speaker 6: Missus X?
Speaker 4: She murders her husband's on her honeymoon, then she changes
Speaker 4: her identity and marries again.
Speaker 2: I never heard of it, So what I think I'm dating?
Speaker 2: Missus X?
Speaker 7: The Justice Department reports an alarming rise at the number
Speaker 7: of poisoning murders across the United States.
Speaker 2: It's a smart.
Speaker 4: Drink to improve your brain power.
Speaker 2: You like it, Charlie, Thank you. No, there's action, Charlie.
Speaker 8: There's something I've a meaning to tell you.
Speaker 9: She's a killer, Charlie, she is not a killer.
Speaker 2: And of course there's plenty of romance.
Speaker 6: What do you look for in a girl you date.
Speaker 4: I know everyone always says sense of humor that I'd
Speaker 4: really have to go with breast size.
Speaker 6: You lying on your side, totally asleep.
Speaker 10: I could just.
Speaker 11: Sticking italy.
Speaker 4: So as you can see, it has all the elements
Speaker 4: of a truly great motion picture.
Speaker 2: Oh did I mention.
Speaker 1: The axe murder?
Speaker 8: Hello, sweetheart, missed me darling.
Speaker 2: Welcome to the Projection booth. I'm your host.
Speaker 9: Mike White joined me once again as mister Mike Sullivan.
Speaker 2: Hey, I'm happy to be here, happy to talk about
Speaker 2: Mike Myers and his movies in the career.
Speaker 9: Also joining us in the booth is miss Amy Nicholson.
Speaker 8: Hello, I just realized how outnumbered by Mike's I am
Speaker 8: to it.
Speaker 9: Maybe so many Mikes this week we are mainlining the
Speaker 9: nineties into our veins like a supermodel mainlining heroine with
Speaker 9: Tommy Schlami's So I Married an Axe Murderer? Released in
Speaker 9: nineteen ninety three. It's the rare appearance from comedian Mike
Speaker 9: Myers where he's predominantly not in heavy prosthetic makeup and
Speaker 9: doing a bit.
Speaker 2: Instead, he's a.
Speaker 9: Relatively normal San Francisco beat poet. In nineteen ninety three,
Speaker 9: who's afraid of commitment. When he meets Nancy Travis as
Speaker 9: Harriet Michaels, he tries to get over his fears until
Speaker 9: he gets the idea that his new girlfriend may be
Speaker 9: the titular ax murderer of the film. We will be
Speaker 9: spoiling this movie as we go ahead, so if you
Speaker 9: don't want anything ruin, please turn off the podcast and
Speaker 9: come back after you've seen it. We will still be here. So, Mike,
Speaker 9: when was the first time you saw so I married
Speaker 9: an axe murderer? And what did you think?
Speaker 2: I saw this, like went right to video and at
Speaker 2: the time, remember I was kind of let down by
Speaker 2: because I was a big Wayne's World guy, but kind
Speaker 2: of like a Cohen Brothers movie. Like in a few years,
Speaker 2: my opinion about it changed. But as I keep watching it,
Speaker 2: my opinion keeps changing. I guess we'll get into that
Speaker 2: when we get into it. But it's the latest time
Speaker 2: I saw this. I wasn't as into it as I
Speaker 2: was previous feelings and Amy, how about yourself?
Speaker 8: This was a huge movie with me and my friends
Speaker 8: when I was a kid, Like we were slumber party girls.
Speaker 8: We do slumber parties and watch satura night Live at
Speaker 8: that moment when Satura Night Live felt like the coolest
Speaker 8: thing in culture when you're a little kid, and there's
Speaker 8: never been anything like Adam Sandler before in Wayne's world
Speaker 8: and all of this stuff, and it was half over
Speaker 8: our heads. But so I married an ex murderer, maybe
Speaker 8: because it had a romantic element too. We were just obsessed.
Speaker 8: And I don't think I had realized and tell this
Speaker 8: rewatch because I haven't seen it since I was did
Speaker 8: I think that we quoted this movie endlessly, like every
Speaker 8: single line in here. I forgot how deeply embedded it
Speaker 8: was in our culture, like in my friend's culture at
Speaker 8: least in San Antonio, Texas. Very specific, very much like
Speaker 8: the way we talked for a while.
Speaker 2: Yeah, my buddy and I used to quote the Charles
Speaker 2: Brody scene a lot when I was in Bay School,
Speaker 2: which I didn't realize until I rewatched that we used
Speaker 2: to recite that scene a lot. That's just sort of
Speaker 2: like creeped into the culture of this movie.
Speaker 8: Yeah, Like when they started doing the slam poetry, I
Speaker 8: had forgotten completely that there was slam poetry in this movie,
Speaker 8: and then every single line of every single poem immediately
Speaker 8: came back to me anyway. I don't remember the names
Speaker 8: of some of my friend's children, but I know every
Speaker 8: line of the poetry in this movie.
Speaker 10: Oh man, whoa man?
Speaker 2: She wasn't me.
Speaker 4: You put a belief she stole my heart in my
Speaker 4: cat Very Judy, Josie and those pots. They make me
Speaker 4: morny Sata day, morny gold up Contuins.
Speaker 2: Won't leave me at Ruins.
Speaker 6: I want to be Betty's.
Speaker 4: Barney, Hey, Jane, get me off this crazy thing.
Speaker 2: Cold Love.
Speaker 9: So that was back in ninety three. I think I
Speaker 9: probably saw it again in ninety five somewhere around there,
Speaker 9: and watching it again last night for the first time
Speaker 9: in however three decades, I guess I was remembering pretty
Speaker 9: much every line that was being said. Yes, the poems,
Speaker 9: but especially the alan Arkins stuff. I just fell head
Speaker 9: over heels for the whole alan ark and Anthony the
Speaker 9: Paglia stuff that is going on in this film, and
Speaker 9: I just absolutely love it. I'm sure I've probably sampled
Speaker 9: it on the podcast before because whenever there's an opportunity
Speaker 9: to talk about the hard boiled detective and his sergeant
Speaker 9: or captain just riding his ass like crazy I'm sure
Speaker 9: I've brought that whole thing into the show before.
Speaker 2: But you too nice.
Speaker 6: I'm too nice.
Speaker 2: Yes, you're too nice. Why can't you be like the
Speaker 2: captain of Stowski and Hodge, You know when you come
Speaker 2: in and you haul me into your office and you
Speaker 2: bawl me out because you're sick and tired of defending
Speaker 2: my screwballed antis to the commissioner. Why did you do that?
Speaker 1: Well, the truth of the matter is, I don't report
Speaker 1: to a commissioner.
Speaker 2: I report to a committee, some of whom are appointed.
Speaker 4: Some elected, and the rest co opted on a biennial basis.
Speaker 2: It's a quorum, so to speak. Quorum, Yeah, captain.
Speaker 12: When I do in the police force, I thought that
Speaker 12: I was gonna be Curvico, but instead Fish.
Speaker 1: From Barney Miller.
Speaker 2: Hey, somebody needs a hug.
Speaker 9: I really like this movie, and I ain't even remember
Speaker 9: it being a flop when it came out, But I
Speaker 9: didn't realize just how bad of a flop was.
Speaker 2: Yeah, I forgot. Like the critical reception on this was
Speaker 2: so angry. I remember for a while it was like
Speaker 2: a running gag in Entertainment Weekly where it would get
Speaker 2: name checked in other like other movies they didn't like
Speaker 2: for some reason. I remember the review of Its Packed
Speaker 2: because there's a line in it that's so inexplicable where
Speaker 2: it's like it's like they're paying homage to So I
Speaker 2: married an axe murderer, which is like such a I
Speaker 2: don't even know what they're getting acts. There's nothing really
Speaker 2: in it that's even the like So I varied an
Speaker 2: action murderer. Again, like, there's elements of this that didn't
Speaker 2: hold up for me this time. But I think like
Speaker 2: the reception was unfair. I think maybe because I think
Speaker 2: a lot of critics were like, there's a backlash Wayne's World.
Speaker 2: I think they were just there was maybe a degree
Speaker 2: of overexposure Mike Myers, and they were looking for, you know,
Speaker 2: chinking the armor, so to speak. And I think it
Speaker 2: was unfair. I think the reception was unfair at that time.
Speaker 8: You're bringing have something I think about a lot as
Speaker 8: a film critic, because I see it happen when critics
Speaker 8: decide that there's a movie that they're just gonna pick
Speaker 8: on just ready and in a way that I find horrifying,
Speaker 8: and this is a horrible movie to point to. Is
Speaker 8: the ambassador of a film that was unjustly picked on
Speaker 8: and for a bunch of reasons, and it the Kevin
Speaker 8: Spacey movie Nine Lives, where Kevin Spacey plays a cat. Yes,
Speaker 8: Kevin Spacey playing a cat, Honza reasons precancelation. But I
Speaker 8: remember seeing that movie in a theater full of critics
Speaker 8: and everyone was laughing and I had a good time
Speaker 8: as a movie about a talking cat for children. And
Speaker 8: then everyone went home and wrote a horrible review about it,
Speaker 8: but me and I was like, what's your problem? I
Speaker 8: heard y'all laughing, Like I heard y'all. But everybody's just
Speaker 8: like I have an open door to write the meanest
Speaker 8: thing I can and get away with it because nobody
Speaker 8: expects this to be good. And I think a movie
Speaker 8: with a title like this one kind of sets let off.
Speaker 8: It's I never stew dump for the MoMA from the Train.
Speaker 8: I assume it's bad because that was the kind of
Speaker 8: tuttle people wanted to make fun of. Or this seems
Speaker 8: like it was in that vain. We can mock this
Speaker 8: because it sounds dumb.
Speaker 9: Don't remember From the Train being awful. I remember not
Speaker 9: liking it, But that was actually my first exposure to
Speaker 9: strangers on a train. I had never seen strangers on
Speaker 9: a train at that point, because I was pretty darn
Speaker 9: and young when that came out, not strangers but through mama,
Speaker 9: And yeah, this one has that same kind of hitchcock
Speaker 9: thing that they're doing. Of course, being set in San Francisco,
Speaker 9: you've got some Verdi goo in there. And then yeah,
Speaker 9: this whole murder mystery, the wrongly convicted or wrongly accused
Speaker 9: person going on, and you'll hear in the interviews later
Speaker 9: on talk of oh no, we always meant it to
Speaker 9: end this way. I don't really believe that, because I
Speaker 9: went back I read the Robbie Fox short story that
Speaker 9: this was based on, or might have been a treatment,
Speaker 9: but he published it as in a collection of short stories.
Speaker 9: Harriet's definitely the murderer in that one, and Charlie is
Speaker 9: just I don't think he cares. By the end, he's
Speaker 9: so happy to be with her. He is just eventually
Speaker 9: she might kill me, but for now I'm having a
Speaker 9: great time.
Speaker 2: I'm curious about that because I was reading about the
Speaker 2: article and his version of it does not sound good.
Speaker 2: There's no punch to it, like she's the murderer and
Speaker 2: that's it. Like, how do they work around it. How
Speaker 2: do they make that? When he was He's like, it
Speaker 2: should have been done this way. And I kept thinking,
Speaker 2: if this was a made in the eighties with like
Speaker 2: Chevy Chase, this would be like forgotten, like unfaithfully yours,
Speaker 2: you know, like that Double War movie, Like it just
Speaker 2: has that here it is and no members. It sort
Speaker 2: of vibe to it.
Speaker 8: What was a basic instinct rip off, the kind of
Speaker 8: jokey one fatal instinct. It would be like that.
Speaker 2: Although they talked about doing an Albert Brooks version, which
Speaker 2: I think that would be the other good version, Like
Speaker 2: if that was made, I feel like he probably would
Speaker 2: involve with like the screenwriting process, and that would have
Speaker 2: I think that would have been something there. But the
Speaker 2: other versions they just so trip Myyers at least, even
Speaker 2: like I was reading that scripture sentence, like the cut
Speaker 2: scenes were good, like the wax museum bit where there's
Speaker 2: like a wax esam and everyone looks like the own
Speaker 2: Like I thought that was a funny little bit. Sorry
Speaker 2: that wasn't in the movie. I like that he needed Myers,
Speaker 2: they needed Myers, and I was a cursion mccle I
Speaker 2: can't remember who did the other the Curd of Callers,
Speaker 2: who did the other co writer on that with em
Speaker 2: That was his partner. Oh what's his name? Norman?
Speaker 9: Shoot, he's a guy who has the Swedish penis and
Speaker 9: larger pump in the very first Austin Powers films Neil Malarkey.
Speaker 9: And then you'll hear later on that this one of
Speaker 9: the scenes that takes place in the butcher shop was
Speaker 9: actually written or co written by Cohen and O'Brien, of
Speaker 9: all people, I.
Speaker 2: Was one of the movie because I read that too.
Speaker 2: He was, but his piece was credited. That's okay, that's interesting.
Speaker 1: Yeah.
Speaker 8: And wasn't Carrie Fisher involved?
Speaker 9: Yeah for a second, she definitely was. And I don't
Speaker 9: know how much of that stuff stayed in there, but
Speaker 9: it's very curious to see how this changed, especially because
Speaker 9: this is it's like the primordial Mike Myers one of
Speaker 9: the first movies that we get where he's playing multiple characters,
Speaker 9: because I don't believe he did that. In Wayne's World.
Speaker 9: It's the first time we hear him really doing and
Speaker 9: I know he did this on SNL, but in the
Speaker 9: movies doing the whole Scottish accent thing. So there you
Speaker 9: go with fat Bastard plus Shrek and then as his father,
Speaker 9: as this Scottish character Stewart Mackenzie. He's talking all about
Speaker 9: the Pentaborate and it's okay. All of this stuff from
Speaker 9: the Pentaverate shows up in what was that twenty twenty
Speaker 9: two with the Pentaverrate show on Netflix? So it's like
Speaker 9: you just get these little pieces of where he would
Speaker 9: be going with stuff. I know some people could say
Speaker 9: he just doesn't let a joke die, but I think
Speaker 9: some of these are just really good bits that he
Speaker 9: wants to work out as he goes for.
Speaker 8: Yeah, even the whole father element, even the playing of
Speaker 8: his father. Like he's talked a lot about how Austin
Speaker 8: Powers was his kind of love letter to his fatherhood passed,
Speaker 8: and that his dad was that kind of old school guy.
Speaker 8: He loved his old school stuff, loved his old school comedies,
Speaker 8: and he made Austin Powers as like a salute to
Speaker 8: the things his dad loved. And I feel like you
Speaker 8: feel it here. I think his dad's still alive when
Speaker 8: you make so I married an ex murder a guy
Speaker 8: kind of hooking fun at his dad's mitchiese Mo figuring
Speaker 8: out what parts of it he's gonna use inside his
Speaker 8: own comedy.
Speaker 9: Yeah, I think even the one of the opening credits
Speaker 9: is listed as Eric's Boy production, and that's He's Eric's boy.
Speaker 9: And of course, like the God the Father stuff in
Speaker 9: the third Austin Powers movie, it's off the charts as
Speaker 9: far as Dandy didn't love me and all this stuff,
Speaker 9: it's low. I know you're working out a lot of
Speaker 9: issues here.
Speaker 8: I did also get like a flash of my own
Speaker 8: kind of guilt watching the Father scenes here because and
Speaker 8: I'm so sorry about this. This is my public apology.
Speaker 8: By the time I was in high school, the heat
Speaker 8: joke had made it into my friend group's culture so
Speaker 8: deeply that there was a guy at our school that
Speaker 8: everybody called Heed because he did have a big head,
Speaker 8: and people called him Heed all through high school, just
Speaker 8: to the point that I almost forgot where it came from.
Speaker 8: And I feel very bad watching this. I'm I would
Speaker 8: say apologies to the person's name in person, but I
Speaker 8: don't want to call them out if they've forgotten the trauma.
Speaker 8: But like total flash of guilt watching the Head and
Speaker 8: it was awful.
Speaker 9: Well, I'm sure he hasn't forgotten is Heed. Their other
Speaker 9: son who is this kid, because I even went through
Speaker 9: and read the script and I was like, it just
Speaker 9: says young William or whatever his real name is, And
Speaker 9: I'm like, where did this kid come from?
Speaker 2: Myers his brother, the character's brother. I always wondering the relation,
Speaker 2: what the relationship was. But yeah, not only it's his brother, Yeah, but.
Speaker 8: They treat him like he's some orphan they took off
Speaker 8: the street to do the dishes. It's very much like
Speaker 8: an Oliver Toys kind of thing.
Speaker 3: Yeah.
Speaker 9: I don't want to start thinking about how old the
Speaker 9: mom was when she gave birth to Heed, but it
Speaker 9: must not have been an easy berth, I imagine, especially
Speaker 9: if it was Breach with that big head coming out.
Speaker 8: I wonder if there's Mike Myers in Heed, if he
Speaker 8: felt like ad Well.
Speaker 2: But mine with a loan. I mean, I was, you know,
Speaker 2: like I never considered that.
Speaker 1: Yeah, so painful.
Speaker 8: But to your point about like Mike Myers in this film,
Speaker 8: I think it's fascinating to watch him present himself not
Speaker 8: as the guy getting but as the straight man, the
Speaker 8: normal guy. He's just like Tom Cruise in this movie.
Speaker 8: He's got the Ray bans On, he's got like generic
Speaker 8: nineties guy open shirt, black tank top, black shirt underneath it,
Speaker 8: Like I've never seen him look this normal, and I
Speaker 8: have the confidence, I would say, to look normal, like
Speaker 8: he doesn't need to put on an act to be funny.
Speaker 2: This is actually what didn't work for me this time.
Speaker 2: When I was watching this, I'm thinking, I don't think
Speaker 2: he has the ability to play a person. He's coming
Speaker 2: off almost like an asshole at times in this movie,
Speaker 2: Like he's very peevish, He's like pissy and scenes, and
Speaker 2: I was getting like a sense of uncomfortability from him
Speaker 2: that he was like I think the only time he
Speaker 2: was probably at home was when he was in the
Speaker 2: LATEX playing his own father. Like to me, he never
Speaker 2: he never worked for me anyway, playing like a like
Speaker 2: a like a straight man, like a normal person. I
Speaker 2: think he can only feel comfortable. He only works when
Speaker 2: he's playing characters or caricatures. I saw him do like
Speaker 2: some There was a movie called Terminal I just saw
Speaker 2: him and not too long ago. I mean he was
Speaker 2: trying to play heavy in it, and for years I thought,
Speaker 2: you know, I think he'd have like good dramatic chops,
Speaker 2: Like I think he could pull off being a dramatic actor.
Speaker 2: I think he could play heavies and he just didn't,
Speaker 2: you know, he couldn't do it like he was really hammy,
Speaker 2: and it was almost like he was doing an SNL character.
Speaker 2: And that's the issue I had watching it this time.
Speaker 2: Like everything else about this, I love, like, I love,
Speaker 2: you know, the big parts with Michael Richards, I love
Speaker 2: the parts with Phil Hartman playing Vicky. I love Alan
Speaker 2: Ark and Alan Ark it's really funny in this. Charles Roden,
Speaker 2: Stephen Wright, the side bits, Anthony Lapoulia Anti Travis is
Speaker 2: good in this for me. The weakest link in this
Speaker 2: way for me this time was just Myers. I feel
Speaker 2: like I'm the the outsider on this, and that's fine,
Speaker 2: you know. I just I think people or can disagree
Speaker 2: and that's okay. But I think you guys are fans
Speaker 2: of that. I don't want to I don't want to
Speaker 2: piss on that. I don't want to shit on that.
Speaker 2: You know.
Speaker 8: I mean, I hear you like, I would never want
Speaker 8: to date this Charlie. You know now that I'm like,
Speaker 8: oh what every day Charlie. Charlie's an absolute mess and
Speaker 8: oh my god, he takes his ex girlfriends and puts
Speaker 8: their face up in public and then makes fun of
Speaker 8: them and accuses none of stealing his cat. Yeah, I
Speaker 8: hear you. I'm kind of two minds of it, which
Speaker 8: is like absolutely fair. And when he whenever he's like
Speaker 8: I'm a normal person, I definitely am rejecting that, like, no,
Speaker 8: you're not. I know, you're a total weirdo. But also
Speaker 8: his little bits of business are the movie to me
Speaker 8: in so many ways, you know, like there, I don't
Speaker 8: think this movie sticks in your brain without him being
Speaker 8: like hello, or the way he taps on a check
Speaker 8: or just like it's the way he fills a scene
Speaker 8: with little fidgety ways of pronouncing stuff. Let me ask
Speaker 8: you this one. What about the romantic element? Do you
Speaker 8: buy the romance between him and Nancy?
Speaker 2: No, I've never really bought any romantic element in any
Speaker 2: of his movie. To me, almost like a female lead
Speaker 2: in like Mike Myers movie is like a tier above
Speaker 2: and Adam Sandler female lead and Am Sandler movie, I
Speaker 2: think they have a little more to do, but not
Speaker 2: by much. And anytime there's a romance and I just
Speaker 2: and it gets more and more unbelievable as it goes along,
Speaker 2: especially in the love googroup. But no, I never really
Speaker 2: bought it. I think I don't know what it is,
Speaker 2: but I've never been able to buy it.
Speaker 9: Yeah, I'm okay with him as the romantically and I
Speaker 9: mean it follows such a typical romance trajectory through this
Speaker 9: whole movie, the whole like, Okay, they have their oh
Speaker 9: I'm sorry, guys, their meat cute and that spelt eat. Yeah,
Speaker 9: so sorry, they have their meat cute, the whole scene
Speaker 9: later on where he comes in and helps her out
Speaker 9: at the meet counter and everything. And I do like
Speaker 9: that old guy that's been in like American Graffiti and
Speaker 9: Jack who just always seems to hang out in San Francisco,
Speaker 9: especially when transis for Coupolo. There he's at the meet
Speaker 9: counter just trying to get his very thinly slice steak.
Speaker 11: You know.
Speaker 9: Yeah, I like that whole thing. And then there's like, oh,
Speaker 9: then there's the misunderstanding and listen, I'm sorry in those things.
Speaker 9: But of course, like if someone were to accuse me
Speaker 9: of being a murderer, I don't know if I would
Speaker 9: necessarily take them back as readily. But of course we're
Speaker 9: in fantasyland, we're in the movies. But yeah, I kind
Speaker 9: of see where what you're saying as far as like
Speaker 9: not buying it, but it just follows such a typical
Speaker 9: pattern that I'm like, Okay, yeah, now they're going to
Speaker 9: have to make up. Now they're going to have this part.
Speaker 9: So just you know, it went by the numbers for me.
Speaker 8: I mean, I think she's so charming.
Speaker 2: Oh she's adorable too. Oh my god.
Speaker 8: I know that they thought about casting Sharon Stone in
Speaker 8: this in two roles. And this is not a diss
Speaker 8: on Sharon Stone, who I think can be a great
Speaker 8: actress at all. But you need that soft adorableness. You
Speaker 8: need to believe that this girl would date this guy,
Speaker 8: which I believe that Harriet's weird enough that she's open
Speaker 8: to him, and she's into a guy who'd be kind
Speaker 8: of annoying. I believe that their weirdness works. But also,
Speaker 8: my boyfriend and I are like incredibly weird and dorky in
Speaker 8: ways that this is like when he did human blanket
Speaker 8: on her when she was mad at him, I was like,
Speaker 8: oh no, that's way too similar to my own relationship.
Speaker 8: I like a movie where the romance is about them
Speaker 8: goofing around, of being kids together, that they're on this wavelength.
Speaker 8: But yeah, I think if it was like she thinks
Speaker 8: he's sexy, absolutely not like if it's like I want
Speaker 8: this guy and we don't have this weird bonding childhood
Speaker 8: thing in common, I couldn't go Forrid either.
Speaker 2: I wish like Nancy Travis did like weirder stuff like this.
Speaker 2: I mean, I think the only other weird goofy thing
Speaker 2: she did was Anbernice on Duckman Like she never really
Speaker 2: she always seemed to just play Land characters. But I
Speaker 2: think she was way more than that. It's a shame
Speaker 2: she never really got to, you know, stretch a little more.
Speaker 8: Yeah, because she's up for it right, Like she can
Speaker 8: do funny but also seem like a human being in
Speaker 8: the same time.
Speaker 9: And it's very interesting to see her and her goofiness
Speaker 9: comparing to her sister Rose and her just I don't
Speaker 9: think it's goofy. I think it's just weird. And casting
Speaker 9: Amanda Plumber to play a weird person one hundred percent,
Speaker 9: I think she does it so well. But it was
Speaker 9: very interesting going through some of the deleted scenes last
Speaker 9: night and just being like, Okay, she's way more off
Speaker 9: the reservation in those deleted scenes than we see in
Speaker 9: the movie. And they just have to use her in
Speaker 9: the right amounts in this film or else it's going
Speaker 9: to tip way the other way, and you're going to
Speaker 9: be like, well, of course Nancy Travis is one hundred
Speaker 9: percent innocent. It's this crazy sister of hers. But luckily
Speaker 9: they don't show her being too crazy too often in
Speaker 9: the film, just a little off in that whole, like, well,
Speaker 9: I'm going to have to tell my sister about this thing,
Speaker 9: and it's like, what tell her about what? Yeah, I
Speaker 9: was getting a lot of single white female vibes when
Speaker 9: I was watching her performance.
Speaker 13: Yeah.
Speaker 8: They almost make her disappear from the movie at the end,
Speaker 8: so you forget that she's there. I don't remember her
Speaker 8: doing much at the wedding or anything. It's like she's
Speaker 8: in the montage and then she's gone, so that you're
Speaker 8: not like it's obviously that person. That person is obviously
Speaker 8: the crackpot. I was really caught up that this movie
Speaker 8: was talking about what is it like when your parents
Speaker 8: are getting into fake news. This movie came out before
Speaker 8: Fox News. Fox News wasn't a thing for like three
Speaker 8: more years. I think it started in ninety six and
Speaker 8: this is ninety three. But this is about your parents
Speaker 8: are conspiracy theorists, You too are a bit conspiracy Your
Speaker 8: mother calls Weekly World News the paper. I loved Weekly
Speaker 8: World News, by the way, as a kid, I read
Speaker 8: it religiously.
Speaker 9: Oh yeah, the ever evolving adventures of bat Boy and
Speaker 9: just what Elvis was up to. I mean, especially there
Speaker 9: was that summer where there are allowed of shark attacks,
Speaker 9: so reading all about the different shark attacks and Weekly
Speaker 9: World News was oh yeah, it was gold. The journalism
Speaker 9: in there was just incredible. I mean, and this is
Speaker 9: still like a few years before Men in Black where
Speaker 9: they're openly making fun of it as well, right, or
Speaker 9: was this right around the same time a few years
Speaker 9: before they were yeah, okay, yeah, so they would go
Speaker 9: and pick up the paper in that and be like, oh, yeah,
Speaker 9: here's all the facts are even like that TV show
Speaker 9: The Chronicle where it was all about like a weekly
Speaker 9: world News type newspaper, and yet of course all the
Speaker 9: stories are real. They're basically like X files type reporters.
Speaker 8: I mean, I wonder if that warped our brains.
Speaker 9: Yeah, it is very interesting the way that Stuart is
Speaker 9: there drawing on about the Pentaverate, just like he was
Speaker 9: talking about the ILLUMINATIU. I'm surprised he doesn't talk about
Speaker 9: the Rothschilds. Instead, it's all about Colonel Sanders instead. And
Speaker 9: Colonel Sanders.
Speaker 8: Just like you mentioned Lindon LaRouche.
Speaker 9: Yes, yeah, Colonel Sanders. Because Colonel Standers shows up in
Speaker 9: the Pentaverate several times. And there's even a scene at
Speaker 9: the wedding where they're dancing, and I swear there's a
Speaker 9: guy in the orchestra who looks exactly like Colonel Sanders,
Speaker 9: but they cut past it so quickly. I was like,
Speaker 9: I wonder if that was part of a bigger joke.
Speaker 1: Wow, have you.
Speaker 8: Guys ever met any Lindon Larusians.
Speaker 2: There was a guy when I lived in Bloomsburg. He
Speaker 2: used to stand in the corner and he would have
Speaker 2: like Lyndon LaRouche like pamphlets and he would just like
Speaker 2: shout conspiracy theories. He did this for like years. It
Speaker 2: was like every Saturday morning he would do this. But
Speaker 2: that was the only and this was like, this was
Speaker 2: like the early adds.
Speaker 8: Yeah, the early odds thing.
Speaker 2: Yeah, it's it. I guess that. Maybe is are there
Speaker 2: any Laruche sites still around? I guess there is, but
Speaker 2: maybe not as many. I don't know.
Speaker 8: I don't know. I remember meeting a Larucian when I
Speaker 8: first moved to LA and I didn't know what they were.
Speaker 8: And they had a bunch of like nice Larusians my
Speaker 8: age who were out in Santa Monica and they just
Speaker 8: acted normal. And one of them befriended me in a
Speaker 8: way where I had just moved to town and he
Speaker 8: was like, oh, you're going out of town for the weekend.
Speaker 8: I was, I just moved here and I was going
Speaker 8: to go back to back home for a weekend. He
Speaker 8: offered to pick me up from the airport, this guy
Speaker 8: who was a Lucian named Sky, and I let him
Speaker 8: pick me up from the airport because I didn't really
Speaker 8: know what I was getting in for. And then the
Speaker 8: way back he was telling me all about how mosquitoes
Speaker 8: are giving people HIV and telling me all these conspiracy
Speaker 8: theories and I was like, okay, and I ever talked
Speaker 8: to him again, but thank you for the ride.
Speaker 1: Sky.
Speaker 9: Oh why would you cut off the contact with this person?
Speaker 9: He sounds wonderful.
Speaker 8: Yeah, the things you do in you're any like early
Speaker 8: twenties and don't understand.
Speaker 9: One of my favorite cab rides was a guy who
Speaker 9: was telling me all about how we can teleport to
Speaker 9: Mars and that Obama had made a contract with the
Speaker 9: Martians that they wouldn't teleport down here and attack us.
Speaker 2: And the crazy thing was I.
Speaker 9: Was telling somebody about this and I was like, oh yeah,
Speaker 9: this was this absolute nutty cab driver.
Speaker 2: And then I went out and I.
Speaker 9: Like just googled it for shitts and giggles to see
Speaker 9: if somebody else had that same conspiracy theory. It was
Speaker 9: such a thing that they had to go. The freaking
Speaker 9: press person from the White House went in front of
Speaker 9: the whole core and was like, just so you know,
Speaker 9: President Obama doesn't teleport to Mars. And I'm like, oh
Speaker 9: my god, Like you had to address it.
Speaker 2: It was that much.
Speaker 9: These days, it's like, okay, yeah, you could that that
Speaker 9: crazy blond lady that's in there now. I'm like, yeah,
Speaker 9: come on out, tell me that Trump doesn't teleport. Tomorrow's
Speaker 9: he probably thinks he does.
Speaker 6: I mean it away.
Speaker 8: This movie's psychic about our country falling apart in terms
Speaker 8: of conspiratorial thinking. I mean, I wouldn't mind if the
Speaker 8: trade off was we get to hang out at cool
Speaker 8: coffee shops.
Speaker 12: Like that at night.
Speaker 9: But it's just amazing that he can make a living
Speaker 9: being a beat poet, because like I kept waiting for
Speaker 9: him to do like a day job, but he doesn't
Speaker 9: have a day job.
Speaker 2: I guess in the script they explained in a way
Speaker 2: that he works in a bookstore, but they don't really
Speaker 2: touch upon that in the movie.
Speaker 9: Yeah, no, no, because he's like ready to go and
Speaker 9: help her out whenever.
Speaker 2: He needs to.
Speaker 8: Didn't I hear that what's the famous bookstore in San Francisco? Powells?
Speaker 8: Oh yeah, yeah, that city Lights wouldn't let them film there.
Speaker 8: That maybe they meant to have him be because this
Speaker 8: is such a love letter San Francisco, that maybe they
Speaker 8: meant to have him work at city Lights and then
Speaker 8: city Lights so they didn't think there's anything funny about murder,
Speaker 8: so they wouldn't let them do it.
Speaker 9: Oh, Lawrence fur Lengetti, come on, get over yourself.
Speaker 2: Yeah.
Speaker 9: I think that was the opening scene, right, is when
Speaker 9: people are coming into city Lights and he's trying to
Speaker 9: do a poem or something, and everybody that comes in
Speaker 9: is like, where can I buy on the road by
Speaker 9: Jack Harrowac And he's like over here, so just keeps
Speaker 9: trying to go through that. Yeah, that was the only
Speaker 9: time where it's like, oh, he actually does have a job.
Speaker 2: All right.
Speaker 8: This really made me miss San Francisco, didn't it? This
Speaker 8: version of San Francisco that doesn't quite exist anymore.
Speaker 2: Was it affordable, even that version of San Francisco even then?
Speaker 8: Or I think I had like what two or three
Speaker 8: more years before it went totally off the rails. Wasn't
Speaker 8: tech just starting It's.
Speaker 2: A good question.
Speaker 9: Yeah, probably in nineteen ninety three. I mean, but already, like,
Speaker 9: wasn't Pacific Heights all about how tough it was to
Speaker 9: find an apartment in San Francisco? Yeah, I mean, you're right.
Speaker 8: I remember by the late nineties I had some friends
Speaker 8: who went there for college and they're like, no, it's
Speaker 8: too much. It felt like that was the first city
Speaker 8: to get too expensive.
Speaker 9: And yes, some of these locations, some of the beautiful,
Speaker 9: beautiful shots of the city. I mean, I love their
Speaker 9: breakup scene that takes place in when is that the
Speaker 9: I can't remember the Arches or whatever park that is
Speaker 9: where you can see the painted ladies and quite tower
Speaker 9: in the back, and it's just, oh, it's such a
Speaker 9: stunning shot.
Speaker 8: It really catches the vibe that I wanted my twenties
Speaker 8: to be like, which is hanging out at coffee shops
Speaker 8: with my friends. I mean this came out what the
Speaker 8: year before friends? Yeah, it came at the year before Friends.
Speaker 8: So there's like coffee shop twenty something culture that just
Speaker 8: felt so cool.
Speaker 9: With your giant cappuccino, giant cappuccino, giant apartments too. Everybody
Speaker 9: lives in these big, big apartments. I mean the one
Speaker 9: that Rose and Harriet are in, it just seems to
Speaker 9: go on forever. Some of the artwork on their walls,
Speaker 9: it's really interesting too, And I just I was so
Speaker 9: curious as far as, again more of like what they do.
Speaker 9: I know what Harriet does for a living, she's a butcher,
Speaker 9: but like, what does Rose do? I would love to
Speaker 9: know more about that. And there is again in the
Speaker 9: deleted scenes, stuff about her photography and that she's an artist.
Speaker 9: So I'm like, oh, okay, so that explained some of
Speaker 9: these art pieces I see on the walls behind them
Speaker 9: all the time.
Speaker 8: That makes sense.
Speaker 9: Yeah, apparently she does a lot of bondage photography. And
Speaker 9: there's even a scene where I think Lapagli comes in. Sorry,
Speaker 9: Tony comes in and she's completely covered in blood and
Speaker 9: she's wearing that same white outfit that we see her
Speaker 9: stalking him in on the rooftop at the end, and
Speaker 9: she's like doing a whole photo series and I'm like, okay,
Speaker 9: that's interesting.
Speaker 2: Again.
Speaker 9: It's like you think, well, yeah, this person's crazy, but
Speaker 9: then it's like, well, no, actually she's an artist, so
Speaker 9: maybe it's you know, she's just doing her art this way.
Speaker 2: I'm sorry they cut that gag, although I can I
Speaker 2: understand why they cut it because it kind of kills
Speaker 2: the momentum, but it was a pretty good gag, you know,
Speaker 2: Sorry to see it go.
Speaker 9: Yeah, well, yeah, a lot more to do in that
Speaker 9: final version with the Also, she is the one you're
Speaker 9: talking amy as far as what she does at the wedding.
Speaker 9: You get to see her in that tartan and everything.
Speaker 9: But there's also a moment where she goes up and
Speaker 9: takes a picture of Harriet, and there's this whole subplot
Speaker 9: in there about how Harriet and Rose's father was a
Speaker 9: photographer and took so many pictures of Harriet when she
Speaker 9: was growing up that she just is like, no more pictures.
Speaker 9: I will not post for a picture, ever, and so
Speaker 9: Rose comes up during the wedding and takes a photo
Speaker 9: of her and Charlie and Harriet's incensed, and then that
Speaker 9: becomes the photo. And I think we actually see that
Speaker 9: in the movie that the Piley has that he's showing
Speaker 9: around and has that photocopy of it and is showing
Speaker 9: it to people and they're like, oh, yeah, I remember her.
Speaker 9: That's the only photographic evidence they have, is that. And
Speaker 9: so you also get to see the Piley going to
Speaker 9: Rose and asking for photos and then she shows them
Speaker 9: his her art photo and he finally gets that photo
Speaker 9: apparently so he can make those copies of it.
Speaker 8: Oh that's interesting, because yeah, there's something very pre Internet
Speaker 8: about nobody knowing what this person looks like, the ability
Speaker 8: to disappear.
Speaker 9: This whole movie is set up in such a way
Speaker 9: that you can just take stuff out without any sort
Speaker 9: of real recompense. Like there scenes definitely will build on
Speaker 9: each other here and there, but like you know, you
Speaker 9: mentioned Phil Hartman as Vicky, that whole scene of them
Speaker 9: going to Alcatraz really could just be completely wiped out
Speaker 9: of this film, but it's one of the most delightful
Speaker 9: scenes that we have That's.
Speaker 2: What I was saying before. A lot of my favorite
Speaker 2: parts sire the smaller bits, you know, like the side bits,
Speaker 2: you know, and you can see that in like Mike
Speaker 2: Myers's career, like there's always small bits, but it became
Speaker 2: a certain point where the small bits started to repeat themselves.
Speaker 2: That's why I like the small bits in this movie.
Speaker 2: They're all fresh, you know, they're not you know, like
Speaker 2: not thirteen variations on a penis joke. You know it.
Speaker 2: There's a lot I like about this movie, and I
Speaker 2: especially love the small bits. And you know, you know
Speaker 2: what's funny. I don't know if you guys knew this.
Speaker 2: Mike Myers wanted to be a member of the Kids
Speaker 2: in the Hall? Did you manage that? Really?
Speaker 8: And no?
Speaker 2: Yeah, he he I was reading interview with this guy.
Speaker 2: He talked about it and he desperately wanted to be
Speaker 2: in the Kids in the Hall And it's hey, I
Speaker 2: don't know about you guys. She can't picture him as
Speaker 2: a member. I don't know if he was going to
Speaker 2: be like a sixth member or he'd like swap out
Speaker 2: like a Mark McKinney or a Bruce McCullough. I just
Speaker 2: can't picture him and the kids in the hall. You know,
Speaker 2: I don't know about you guys.
Speaker 8: It's hard. It's like part of me wants to say,
Speaker 8: because I'm picturing the Mike Myers that as I imagined
Speaker 8: him today, that he's not like a team player. Then
Speaker 8: I'm like, but he came out of Signate Live, obviously
Speaker 8: he can be a team player.
Speaker 2: Yeah, it's it's it's like unusual, just like it's like
Speaker 2: a weird alternate reality where he's like a member of
Speaker 2: the kids in the hall. I think about this a lot,
Speaker 2: you know.
Speaker 9: Yeah, to your point, Namy, it feels a lot of
Speaker 9: times like he's selfish when it comes to his comedy,
Speaker 9: but then he does get the hell out of the way,
Speaker 9: especially in the movie like this with Tony and Charlie's
Speaker 9: mother and like that whole scene could just be again
Speaker 9: completely dropped of her making out with Tony and you know,
Speaker 9: it's just him, Mike Meyers standing by watching this stuff,
Speaker 9: so it's not like he's even doing that. And I
Speaker 9: this got really old after a while in the movie Hello,
Speaker 9: It's like, no, we don't need to hear that one
Speaker 9: more time.
Speaker 8: There's even something generous in when he's like driving by
Speaker 8: the butcher shop and you see Harriet outside and like
Speaker 8: the Dutchman hat, the flying Dutchman hat. Like you could
Speaker 8: just take the female character and make her basic pretty,
Speaker 8: but he lets her be interesting too, And I think
Speaker 8: that is actually incredibly generous. It's not just like I
Speaker 8: found this hot lady. It's like I found this hot,
Speaker 8: weird lady.
Speaker 9: To have the little bits like you were talking about
Speaker 9: with the Charles Groden stuff, they Stephen Wright stuff, even
Speaker 9: Alan Arkin. Alan Arkin doesn't even need to be in
Speaker 9: this movie, but he's my favorite part of it.
Speaker 4: Here from the boys upstairs, you've been sticking your nose
Speaker 4: in a Ralph Elliott case. Yes, captain don't, Yes, Captain
Speaker 4: me stay out of this.
Speaker 2: This is strictly homicide. You, Captain, I got this friend.
Speaker 12: We all got these friends.
Speaker 2: I'm mourning you. Jidino, back off.
Speaker 4: Italian boy, keep away from this one.
Speaker 2: It's too big for you. What's the news, Oh you
Speaker 2: want to hear the news. Well, here's the news.
Speaker 4: It seems that the old lady that confessed to the
Speaker 4: murder of Ralph Elliott has.
Speaker 2: Also confessed to a couple of other murders.
Speaker 4: I knew she would, Yeah, right, Well, she's confessed to
Speaker 4: the murders of Abraham Lincoln, Warren g Harding.
Speaker 2: And Julius Caesar. She's a not case. I'm not case.
Speaker 2: Oh my god, I gotta go.
Speaker 1: You screwed this one up, pal, and you'll be writing
Speaker 1: parking tickets for the rest of your life.
Speaker 2: You got that, Captain, I want about you down.
Speaker 9: All of these side characters that we're talking about ultimately
Speaker 9: makes such a huge impact. I mean, this is one
Speaker 9: of those successful post UHF acting gigs by Michael Richards.
Speaker 9: He's only in the movie for five minutes, but god
Speaker 9: damn is it funny, and I just love the way
Speaker 9: that he misconstrues stuff and they just go on from there.
Speaker 8: Yeah, because I think the worst kind of comedy, which
Speaker 8: I think he's definitely guilty of, like in Oh for
Speaker 8: the Love Girl, for sure. Well, I mean, granted, I've
Speaker 8: only seen that movie once. Who knows, Maybe it's better
Speaker 8: than I remember, but I remember being so miserable. He
Speaker 8: has the ability to play a whole movie with that
Speaker 8: kind of anis stinker thing, you know, like ani s stinker.
Speaker 8: I'm walking through this world and everyone's laughing at me.
Speaker 8: I'm the center I'm the star. There is I think
Speaker 8: such a sharing bit here, you know, even when he
Speaker 8: is like going over the newspaper with like with Anthony
Speaker 8: Napagia and they're talking about how her ex husband was
Speaker 8: a crooner, like letting Anthony Paglia be the character who
Speaker 8: calls it a kroner. Just that tidy little bit of
Speaker 8: like verbal humor in here, him having a moment to
Speaker 8: be funny, Like it's smart. I love how this movie
Speaker 8: it plays with language, honestly, Like, I think part of
Speaker 8: why it's so quotable is that little attention to details,
Speaker 8: not just I have stupid teeth on. It's like I'm smitten,
Speaker 8: I'm in deep smit. You know that just sticks in
Speaker 8: your brain or I'm unrejecting you. The little things that
Speaker 8: just I don't know, they hooked into me.
Speaker 9: I mean, how stupid was that line from Stewardest film?
Speaker 9: Was it called up in the air? Just thinking about
Speaker 9: that today, Yeah, where he shows up and he talks about.
Speaker 4: You put the wrong emphastist on the wrong salable.
Speaker 9: I still quote that today, you know, all these years
Speaker 9: later and it's like, Okay, one of my favorite little bits.
Speaker 9: And he's in the movie for what five minutes if
Speaker 9: that view from the top that was an thank you,
Speaker 9: thank you.
Speaker 11: Yeah.
Speaker 9: Up in the air is a whole different thing, that's right.
Speaker 9: That's a whole George Clooney firing people thing, I believe, right.
Speaker 2: Oh, I was confusing on with the air up there.
Speaker 2: That Kevin Bacon basketball movie. Oh my god. Yeah no.
Speaker 9: I love the play of the language stuff as fantastic
Speaker 9: well as well. And it's really interesting too, because a
Speaker 9: lot of these scenes like reshot stuff. I was so
Speaker 9: surprised it took a lot for me to find the
Speaker 9: There is a I guess it's a four K blu
Speaker 9: ray of so I married an X murder that has
Speaker 9: about half an hour of deleted scenes.
Speaker 2: Dummy me.
Speaker 9: I didn't realize that I didn't have a four K player,
Speaker 9: so I had upgrade my entire system. Doing this episode
Speaker 9: has cost me a lot of money.
Speaker 8: Guys, upgraded your entiresis simably a four K of So
Speaker 8: I married an.
Speaker 9: X murderer just so I could see those deleted scenes
Speaker 9: and see that so many of those scenes were basically redone,
Speaker 9: like the whole thing of him with that giant cup
Speaker 9: of cappuccino that was a reshoot like there was a
Speaker 9: whole other version of that, and that's when he and
Speaker 9: the Paglia actually meet Debbie Mazar and her friend who
Speaker 9: would never see again in this version of the movie,
Speaker 9: and they're just like laughing their asses off about the
Speaker 9: whole like, oh, would you join me in a cup
Speaker 9: of cappuccino? We could both go swimming and hear hello,
Speaker 9: like those kind of stupid things. Okay, well, that was
Speaker 9: interesting that she showed up earlier, and then we had
Speaker 9: this whole thing of the cappuccino and then even like
Speaker 9: they're the very first date that Harriet and Charlie go
Speaker 9: on where he's talking about like I you know a
Speaker 9: lot of people say this, but I say breast size,
Speaker 9: Like again, that's all completely reshot. And I don't know
Speaker 9: if that's because of him and Tommy SHLAMI not getting
Speaker 9: along in this whole thing that you guys will hear
Speaker 9: about in the interview. And I think they even wrote
Speaker 9: about it in some of the articles. What's he called it,
Speaker 9: like lay down tracks, one Eyed Jacks or something like that,
Speaker 9: where it's like all comedy has to be shot head on,
Speaker 9: you kind of shoot comedy in three quarters. And I'm
Speaker 9: like Okay, that's a weird flex man. I've never heard
Speaker 9: that before.
Speaker 2: Like his rules were like you have to like let
Speaker 2: the joke breathe, you have to hit via indirectly. You
Speaker 2: can't do funny shots. It's like, where are you getting this?
Speaker 2: This is the and it was the craziest thing you have.
Speaker 2: The camera's on the star, I'm the star. It's like
Speaker 2: this very bizarre idea of filmmaking.
Speaker 8: It's two but it is weird when I think about
Speaker 8: it that when I picture so I'm Mary an axe murder.
Speaker 8: In my mind, I do picture a good looking movie,
Speaker 8: and I don't know if I'm seeing to see. I
Speaker 8: would say it's like a beautiful looking movie, but I
Speaker 8: picture shadows and production design in a way that I
Speaker 8: don't always picture with the comedy.
Speaker 9: No, these sets, like for their the parents' house or
Speaker 9: the apartments I was talking about, they all look real.
Speaker 9: They all looked very lived in, pretty dingy at times,
Speaker 9: which is a great thing because I hate movies where
Speaker 9: everything looks like it just got a fresh coat of paint. Yeah,
Speaker 9: everything looks really good, and especially some of the chachkes
Speaker 9: around the Mackenzie's house, where you've got like little Scottie
Speaker 9: Dogs and just all that, you know, his whole wall
Speaker 9: of Scottish fame and stuff. It's just like, yeah, this
Speaker 9: is great. You're doing such a good job with this.
Speaker 9: And even like those little site gags like of Charlie
Speaker 9: going into the bathroom and closing the door and there's
Speaker 9: the dart board with the Queen on it, and I'm like,
Speaker 9: that's nice.
Speaker 8: It feels thoughtful, doesn't it When you watch a move
Speaker 8: and you can feel that every scene was really combed
Speaker 8: over it and thought about, from the production design to
Speaker 8: the jokes to what the people are doing, and it
Speaker 8: doesn't happen in a lot of movies.
Speaker 1: I don't know.
Speaker 8: I think about this a lot, like I start a
Speaker 8: movie and do I trust it or not? And trust
Speaker 8: it comes from kind of immediately getting that sense of
Speaker 8: like they map this out, somebody really planned this, and
Speaker 8: that doesn't mean there can't be happy accidents and they
Speaker 8: can choose to use them in the editing room, but
Speaker 8: you feel craft like it doesn't feel phoned in. And
Speaker 8: something about the dartboard of Queen Elizabeth makes me feel
Speaker 8: that I believe this this movie.
Speaker 2: Mike and I have discussed this. I just want to
Speaker 2: get your take on it. Amy, This has bothered me
Speaker 2: for years. You've seen that the one sheet to this movie.
Speaker 2: Clearly there's supposed to be a joke there where Nancy
Speaker 2: Travis is holding an axe because behind Mike's Mike Myers's
Speaker 2: back there's flowers, and clearly there's supposed to be an
Speaker 2: act behind Nancy Travis's back. Has this bothered you as
Speaker 2: much as it's bothered me that this one sheet is
Speaker 2: like a like a half step of a joke.
Speaker 8: I think I've hallucinated the X. I think I have
Speaker 8: Mandela affected that ax in my memory because I think
Speaker 8: it should be when as there, I just put the
Speaker 8: ax there.
Speaker 9: Mike thought that I was photo shopping and axe in
Speaker 9: her hand, but no, I actually found a version of
Speaker 9: the poster that has I found some weird versions of
Speaker 9: this poster. There's also one that was very Missus Robinson
Speaker 9: where it was like Nancy Travis's well a leg that's
Speaker 9: supposed to be Nancy Travis like framing the shot and
Speaker 9: Mike Myers in the back and it's totally a body
Speaker 9: double with Mike Myers's head. Just paste it onto it
Speaker 9: and I think she's got a garter in front that
Speaker 9: you can see, and then a butcher's cleaver in the garter,
Speaker 9: so like he doesn't see it, but he still has
Speaker 9: that kind of noise look on his face. And it's like,
Speaker 9: all right, yeah, now that you brought that up. Every
Speaker 9: time I look at like the wark blue ray of
Speaker 9: that I have, and I'm like, this doesn't look right
Speaker 9: because she's not holding something behind her back. There's no
Speaker 9: symmetry in this image.
Speaker 8: Why would they have taken it out? It just feels
Speaker 8: like it should be there.
Speaker 2: I guess because she's not the murderer. And they're like, well,
Speaker 2: that's false advertising. Like that's my only take on it.
Speaker 2: You know, it should be there. That's the joke, you know.
Speaker 2: But I think about this too much, like it just
Speaker 2: eats at me whenever I think about this movie that
Speaker 2: one shoots.
Speaker 8: Well, if we're going to be like really getting into
Speaker 8: the details, what do you think the show adds to
Speaker 8: the title? Like, and I like this though, I'm just
Speaker 8: wondering why it's not I married an AX murderer. It's
Speaker 8: so I married an X murder.
Speaker 2: Because it's like a casual conversation, like, so I married
Speaker 2: an axe murderer. That's how whites are good.
Speaker 9: There's that that recent TCM book called but have you
Speaker 9: read the book? And the butt is very subtle on there,
Speaker 9: but I'm like, oh, that's nice that it's not have
Speaker 9: you read the book? It's yes, like the yes is implied,
Speaker 9: but have you read the book? So I married an
Speaker 9: ax murderer thing, yeah, which kind of I guess fits
Speaker 9: also with all of the Jewish people that were supposed
Speaker 9: to be playing this role originally, between like Woody Allen,
Speaker 9: Gary Shanling, Albert Brooks. Who else did we mention, Well,
Speaker 9: Chevy Chase. I don't think really counts as far as
Speaker 9: that goes. But just like it was so New York.
Speaker 9: It was such a New York story, and then when
Speaker 9: Myers gets his hands on it, it's like, yeah, let's
Speaker 9: move to San Francisco. And then it becomes a love
Speaker 9: letter to San Francisco. And I don't think it really
Speaker 9: lost anything in that. If anything, it's like, well, this
Speaker 9: is a whole different scene. This is a whole new
Speaker 9: MILLIU that will support coffee shops, so will support beat
Speaker 9: poetry in here, poetry slams. Yeah, I kind of forgot
Speaker 9: about poetry slams. Scot Those were so annoying.
Speaker 8: I mean, it feels so much more special. I think
Speaker 8: being a San Francisco movie and being a Scottish movie, Like,
Speaker 8: there's no real reason for this movie to be as
Speaker 8: Scottish as it is, because it's not like bagpipes save
Speaker 8: his life or anything. Wearing a cult capes him from
Speaker 8: Like I don't wearing a cult like catches him when
Speaker 8: he off the roof, like you know it poofs up
Speaker 8: like nothing like that. The Scottish doesn't actually factor and
Speaker 8: it's just a thing that runs through it. And my
Speaker 8: family's a little Scottish, so that means a ton to
Speaker 8: be to have that much Scottish on it. There's not
Speaker 8: that much Scottish in many American movies, Irish, Italian. The
Speaker 8: Scottish feels special. I say this as a person whose mom,
Speaker 8: like used to do a little sword dancing on the
Speaker 8: cross swords. Nice is nice Scottish representation.
Speaker 4: Welcome to all things Scottish. Our slogan is if it's
Speaker 4: not Scottish.
Speaker 6: Just clap.
Speaker 9: Even some of the jokes that he's doing, like with
Speaker 9: where he's asking her to scratch us back and he's like, oh, prosidio, prosidio,
Speaker 9: and you know, and he's like doing the whole neighborhoods
Speaker 9: of San Francisco in order to tell her where to scratch.
Speaker 9: I'm like, that's nice, you know, just to bring that
Speaker 9: San Francisco into it. Mike Myers's own scottishness definitely plays
Speaker 9: into the scottishness of the film, you know, he just
Speaker 9: kind of added that whole thing. But I think I've
Speaker 9: really worked and I also really think that the double character.
Speaker 9: I think that the double character of him works better
Speaker 9: in this movie than it does in a lot of
Speaker 9: other movies, because it makes more sense that Mike Myers's
Speaker 9: dad is going to look a lot like him, as
Speaker 9: opposed to looking around the pentavert and being like, why
Speaker 9: did all these guys look like Mike Myers.
Speaker 8: That's true, and it looks good too. This The texture
Speaker 8: of the skin on the dad's jowls very convincing. They
Speaker 8: didn't just give him a big red beard. It looks
Speaker 8: advanced for nineteen ninety three to my eyes.
Speaker 2: Well, and the split.
Speaker 9: Screen effects look really good too. We are not that
Speaker 9: far away from some really bad split screens that we
Speaker 9: had in the eighties with like you know, Bette Midler
Speaker 9: and Lily Tomlin where it's just like, oh, look at
Speaker 9: that person across the very obvious line that's in the
Speaker 9: middle of the screen.
Speaker 2: You know. Here it's like.
Speaker 9: Good use of body doubles. You know, when he's saying
Speaker 9: goodbye and you get his dad in the distance and
Speaker 9: his dad's just doing the ah go on with you
Speaker 9: kind of thing. Yeah, that's really nice that we're we
Speaker 9: know when to use the body doubles. The body doubles
Speaker 9: look good. And then even when his dad comes in,
Speaker 9: when he's not wearing pants and he's just wearing his
Speaker 9: shorts and his like suspender socks and stuff, he walks
Speaker 9: right in. There's Mike Myers on screen. There's Mike Myers
Speaker 9: again on screen, and I don't see like, oh, here's
Speaker 9: this big blurry line that's separating two of them.
Speaker 1: Yeah.
Speaker 8: I think it's rare to see a comedy that wasn't
Speaker 8: designed to be like a gigantic hit and wasn't designed
Speaker 8: by you know, modern day Adam McKay or somebody working
Speaker 8: with like a budget and a sense of I've have
Speaker 8: Oscar nominations and something to prove. But a comedy that
Speaker 8: I think is made on a fairly humble scale with
Speaker 8: a lot of ambition in that sense, and it is
Speaker 8: kind of nodding to the great comedies, even as it's
Speaker 8: being silly and dumb and stupid to have them walk
Speaker 8: by the Golden gate Bridge and do the anti Hall scene.
Speaker 8: But just in San Francisco. You know, I was even
Speaker 8: thinking of the Graduate a little bit watching this movie.
Speaker 8: That's it's so interesting to me to hear that they
Speaker 8: had a version of that that name check the poster,
Speaker 8: because that's also a movie about like young San Francisco
Speaker 8: people marrying, maybe a bit fast, reckless living. It feels
Speaker 8: like this movie is steeped in movies that you wouldn't
Speaker 8: say in the same breath with it.
Speaker 9: The Graduate comes up a bunch in Wayne's world too.
Speaker 8: Oh right, that ending I forgot.
Speaker 9: I was thinking of it too, when he's driving and
Speaker 9: he's got that whatever type of car that is, because
Speaker 9: it reminded me a little bit of when Benjamin is
Speaker 9: driving down to you know, try to rescue Elane and
Speaker 9: if you've got the you know, the Simon and Garfunk
Speaker 9: call on the soundtrack and stuff, and you've got to
Speaker 9: hear there's the moment when he's driving and I think
Speaker 9: it's when she goes to lean in and kiss him
Speaker 9: and he almost drives off the road. I'm just like,
Speaker 9: I wonder if that's the same car, because it's a
Speaker 9: sports car.
Speaker 2: It's red.
Speaker 9: But I have no idea when it comes to cars
Speaker 9: that if it's the same or not. As I say that,
Speaker 9: the Laws do a way better version of There She Goes,
Speaker 9: which I think is their song than the Boo Radley's
Speaker 9: not a big fan of that Boo Radley's cover at
Speaker 9: the beginning.
Speaker 8: Okay, but what about the spin doctors?
Speaker 9: To hear this doctors on ironically, I mean it's kind
Speaker 9: of like hearing smash Mouth on ironically and in the
Speaker 9: Shrek films. But yeah, that wasn't bad. I mean, this
Speaker 9: was such a nineteen ninety three picture. I was just like, yep,
Speaker 9: top hits of the day, Yep.
Speaker 8: Yeah, it feels so of its moment in a way
Speaker 8: that I respect. It feels like a tiny little time stamp,
Speaker 8: which I think either producer Carrie Woods, I think he
Speaker 8: was really good at that. He did Heathers that feels
Speaker 8: very then Swingers, Kids, Threesome. These all feel like movies
Speaker 8: that just captured that moment in which they were made
Speaker 8: in a way that's really great.
Speaker 2: Usually you watch a movie where it's very much of
Speaker 2: its time, it's disgusting or laughable. This was like, wah,
Speaker 2: it's like, oh that's nice. I wish I could go
Speaker 2: back like there was. It was genuinely like, oh, why
Speaker 2: can't we be there now?
Speaker 11: You know?
Speaker 2: But I thought it was just me hotly.
Speaker 8: No, I felt it too. I want to be in
Speaker 8: the coffee shop with the cappuccino people don't even drink cappuccinos,
Speaker 8: I think, as much anymore as all Latte is now.
Speaker 9: Well, just think the movie Singles came out the year
Speaker 9: prior to this, you know where it's like, I'm not
Speaker 9: really rushing out to see Singles again with the whole
Speaker 9: like all those relationships. I mean, the grunge scene is
Speaker 9: so major in there. I mean, isn't Eddie Vedder and
Speaker 9: some of the guys from Pearl Jam or Temple the
Speaker 9: Dog in the movie with them with Matt Dillon playing
Speaker 9: like a grunge god, I'm like, oh my goodness, so
Speaker 9: that too, his little camp in Burton.
Speaker 8: I mean, I think that's why some of these movies
Speaker 8: are so embedded in my soul is because I wasn't
Speaker 8: old enough to live them. I was just old enough
Speaker 8: to hope I'd get to grow up to be in
Speaker 8: that world, and then I didn't get to be. It's
Speaker 8: just mad about it. Some movies like that mean a
Speaker 8: lot to me because I thought I would get to
Speaker 8: grow up to be rallity bites are clueless and it
Speaker 8: I dismissed it, and that's so irritating that.
Speaker 9: World had moved on by then. Of course, being the
Speaker 9: film guy that I am, I'm going to notice things
Speaker 9: like the way that the doors and Harriet's apartment. There's
Speaker 9: a couple of doors that she stands behind, and then
Speaker 9: also Rose stands behind. It's kind of nice to obfuscate
Speaker 9: who this person is that's on the other side of
Speaker 9: the door, because they're very distorted and you can't really
Speaker 9: see who they are.
Speaker 2: But I'm like, oh, well, that's kind of nice.
Speaker 9: So we're constantly, you know, who is this person? Is
Speaker 9: there this other person? I think maybe that's why I
Speaker 9: was getting the single white femaleness of it, but I
Speaker 9: kind of, you know, like the Rose character is such
Speaker 9: an interesting one because it's like you have to just
Speaker 9: use the right amount of her. And I did notice too.
Speaker 9: Talking about the deleted scenes, there's that montage of Charlie
Speaker 9: and Harriet kind of falling in love more. And you
Speaker 9: can bet your bottom dollar all of those things from
Speaker 9: the montage we're all actual scenes on one time. A
Speaker 9: lot of them take place over like one or two scenes,
Speaker 9: but yeah, they were all part of bigger things that
Speaker 9: we don't see anymore, and I think we're actually better
Speaker 9: off for it.
Speaker 2: I miss Amanda Flo like she was like everywhere around
Speaker 2: that time, like, and I missed her intensity, and I
Speaker 2: wish she was still working, you know, or working at
Speaker 2: the capacity she was around this time. I mean, how
Speaker 2: long after was full Fiction? Was that just a year after?
Speaker 2: Two years the next year, Yeah, it's a shame. And
Speaker 2: then it was two years after that she was in
Speaker 2: Butterfly Kisses, which I think broke my brain for a
Speaker 2: little while. And I miss her a lot, because, yeah,
Speaker 2: she was showing up, like you said, all over the place.
Speaker 2: She was in Free Jack as that nut. Yeah it
Speaker 2: wasn't free Jack, yeah, tidy little roll, but there she is.
Speaker 2: And the same thing with that Abu Poculia. I used
Speaker 2: to see him all the time, him or his brother,
Speaker 2: and I don't think I see either one of them anymore.
Speaker 8: I get really sad every time I see Phil Hartman
Speaker 8: show up because he feels like such a loss from
Speaker 8: that period. I feel like there was so much for
Speaker 8: Phil Hartman we didn't get, you know, like, I don't
Speaker 8: know what Phil Hartman if he had done his own
Speaker 8: Chevy Chase career, what it would have been like if
Speaker 8: he had gotten to be more sent He was always
Speaker 8: popping up, But what would be like? What would Phil
Speaker 8: Hartman's opus have been?
Speaker 11: You know?
Speaker 8: It just it feels like one of the bigger comedy
Speaker 8: losses one.
Speaker 9: Hundred percent, because he was always there to support other people.
Speaker 9: You know, he'd show up in those tiny rolls here
Speaker 9: and there. I'm trying to remember what when I just
Speaker 9: saw him show up, Oh, Fletch Lives. He just is there,
Speaker 9: you know, working at the chemical plant that's shipping off
Speaker 9: all those chemicals to be sent to Fletch's ant's place
Speaker 9: that he just inherited. He's in the movie for again,
Speaker 9: five minutes at most, but he's fantastic every time he
Speaker 9: shows up in anything like even that. I'm sure, Mike,
Speaker 9: you're familiar with that movie Pandemonium, the one with Paul
Speaker 9: Rubins and Carol Kine. Yeah, he's in there for like
Speaker 9: five minutes. But he's fantastic, just the reporter.
Speaker 2: He's even in the Gong Show movie. Like he has
Speaker 2: a very small part in the Gong.
Speaker 9: Show movie because it was all about the groundlings, right,
Speaker 9: wasn't he part?
Speaker 2: Yeah?
Speaker 9: Which is all I want to say, San Francisco stuff,
Speaker 9: So that makes total that's right?
Speaker 2: Yeah.
Speaker 8: Yeah, I mean he's one of those people that I
Speaker 8: could also really see of having his dramatic career, Like
Speaker 8: what would he have done if he had gotten to
Speaker 8: do a punch dung glove? Like what would that have been?
Speaker 1: Can you imagine?
Speaker 9: Or non cut gems starring Phil Hartman.
Speaker 2: A buddy of mine, said that if he lived, he
Speaker 2: probably would have had Bob Odenkirk's career.
Speaker 8: Oh I could see that.
Speaker 11: Yeah.
Speaker 8: Oh It's so sad that I was at camp when
Speaker 8: he died and I didn't know he died for years
Speaker 8: because I was, you know, like girl scout camp and
Speaker 8: my parents didn't write me a letter letting me know,
Speaker 8: so I didn't know that he had died. I think
Speaker 8: I found out like four years later. It was really confusing,
Speaker 8: Its like where is he pre Internet. Where is that guy?
Speaker 9: It is with a heavy heart that I write to
Speaker 9: you today at Cape Wakanaka to tell you the sad
Speaker 9: news of the passing of one of our great comedy geniuses,
Speaker 9: Phil Hartman.
Speaker 2: When Robin Williams died, my father actually called me at work.
Speaker 2: Let me know, someone should have wrote your letter. Someone
Speaker 2: should have wrote your letter, Mamie. Let you know, Yeah, my.
Speaker 8: Parents should have written me a letter. And then the
Speaker 8: camp counsels would be like, why is that girl right?
Speaker 9: We can't have you written to her every time a
Speaker 9: well known comedian dies, she's just gonna cry her eyes
Speaker 9: out again. All right, We're going to take a break
Speaker 9: and we'll be back with a pair of interviews with
Speaker 9: the producers of So I Married an Axe Murderer, Carrie
Speaker 9: Woods and Rob Reed, And we'll be back with that
Speaker 9: right after these brief messages.
Speaker 7: Join me Jamie Benning on the Filmermentaries podcast, particularly if
Speaker 7: you enjoy stories like designer Nilo Rhodis jamiro convincing George
Speaker 7: Lucas to push him around to help gain the support
Speaker 7: of his crew on the Ailing Howard.
Speaker 14: The Ducklam the door opens its George, everybody gas George
Speaker 14: makes a bee line to me, I'm literally back against
Speaker 14: the wall.
Speaker 7: Or here puppeteer Tim Rose's emotional story behind that iconic
Speaker 7: admurl acbar shot in Return of the Jedi.
Speaker 9: I believe it or something to be proud of, but
Speaker 9: not to Celburg.
Speaker 7: Or how Star was. Editor Paul Hirsch tackled cutting so
Speaker 7: many successful films.
Speaker 9: The thing that I learned from working with the Palmer
Speaker 9: is that tension depends on a clock.
Speaker 2: You need to have the sense that time is running out.
Speaker 7: Maybe Oscar winning sound designer Mark Manginie's insightful chat about
Speaker 7: his work on Blade Runner twenty forty nine.
Speaker 15: Not a single sound from the original Blade Runner in
Speaker 15: the new film, A great deal of inspiration.
Speaker 7: That's the film you Menary's podcast with me Jamie Benning.
Speaker 9: I'm so curious how you got into movie making.
Speaker 1: I graduated law school in the University of Southern California.
Speaker 1: I was in LA recognizing that I didn't want to
Speaker 1: become a lawyer, and I loved movies. And in LA,
Speaker 1: if you throw a rock, you'll hit somebody that's in
Speaker 1: the film business. And a lot of people in my
Speaker 1: law goal class were related to film people I was
Speaker 1: told that working at a term an agency is where
Speaker 1: you can learn the most coming up. So I ended
Speaker 1: up giving a job at the William Morris agency. I
Speaker 1: was in the Mail and the Williamore's agency, and then
Speaker 1: I became an agent.
Speaker 2: And then when.
Speaker 1: John Peters and Peter Bluber took over as the chairman
Speaker 1: of Sony, we were friends, we had worked together, and
Speaker 1: they hired me as one of the first vice presidents
Speaker 1: they had in the corporate group. And then after about
Speaker 1: two years of being corporate executive, it wasn't really what
Speaker 1: I thought it was going to be. I thought I
Speaker 1: was going to have a lot more involvement in the
Speaker 1: making of films that it wasn't. So I asked them
Speaker 1: if I transfer my deal into a producing deal where
Speaker 1: I had a good friend called Rob Freed, who had
Speaker 1: a producing deal and we were going to become partners.
Speaker 1: Because my deal it was I had more overhead, I
Speaker 1: had the ability to hire a bunch of people et ce.
Speaker 1: So we joined forces and had a company and under
Speaker 1: which the first movie was So I married an XE Murder.
Speaker 9: How did that project come to you? How did you
Speaker 9: find that one.
Speaker 1: Rob Freed, my partner, had that project. When we partnered,
Speaker 1: there was a writer called Robbie Fox who was the
Speaker 1: original who was the writer of So I married an
Speaker 1: Axe Murder who had a relationship with Rob my partner,
Speaker 1: and gave him the script. Rob liked it and it
Speaker 1: was in development a tri star for a bunch of years.
Speaker 1: In fact, they think when I got there, Cherry Chase
Speaker 1: was attached. And I had been a big fan of
Speaker 1: Mike Myers from the time that he was on Fan
Speaker 1: out Live and he was represented by a good friend
Speaker 1: of mine at the next Girl friend of mine, and
Speaker 1: he had just done Wayne's World, though he was a
Speaker 1: gigamic star, and my friend really liked the script of
Speaker 1: Ax Murder and asked if she could give it to Mike,
Speaker 1: which he did. He really loved it. He asked if
Speaker 1: he could do some rewrites, and he did an extensive
Speaker 1: amount of rewrites.
Speaker 6: Though he didn't get a.
Speaker 1: Writing credit, he did a tremendous amount of work. The
Speaker 1: whole Scottish thing was him and a lot of the
Speaker 1: kind of comedy stuff that was in there was more him.
Speaker 1: The original concept was Robbie Fox, and then so Mike
Speaker 1: agreed to do it if he could do the rewrite
Speaker 1: the studio was thrilled because he had just come up
Speaker 1: the biggest comedy, Wayne's World with the year before. And yeah,
Speaker 1: so we got a green light with Mike to do
Speaker 1: the movie.
Speaker 2: This was maybe three.
Speaker 9: You're right there on the cusp if not have already
Speaker 9: started with like independent film and things like kids and
Speaker 9: threesome and things to do in Denver when you're dead.
Speaker 9: I guess there was Wingsworld, and I guess that was
Speaker 9: a pretty good darn tine for comedies as well.
Speaker 1: It was a good time for comedy. My interest in
Speaker 1: it was that I just thought Mike Myers was a genius.
Speaker 1: In fact, the side story to this whole thing is
Speaker 1: that we wanted to do mister McGoo and Mister Magoo
Speaker 1: was owned by a company in Japan called Toha, which
Speaker 1: was a huge entertainment company in Japan. They owned the
Speaker 1: rights to a bunch of American characters like mister Magoo.
Speaker 1: And I mentioned to Mike in his trailer one day
Speaker 1: that we wanted He goes, oh, I love Magoo. I'll
Speaker 1: write that and play it. So I thought, oh my god,
Speaker 1: it's perfect. Mike Mahers will write mister McGoo and play it.
Speaker 1: I go back to the studio. They had to make
Speaker 1: a deal with tell Hold, and they didn't want to
Speaker 1: do it because they weren't liking the dailies of Soy Maren,
Speaker 1: an expert. The studio weren't happy with what they were seeing.
Speaker 1: They didn't like Mike because he was a perfectionist, and
Speaker 1: you know, we had a lot of creative arguments with them,
Speaker 1: so they didn't want to do it. They didn't want
Speaker 1: to do Mister Magoo, which kind of pisses me off
Speaker 1: because I probably would be doing Magoo six had they
Speaker 1: said yes. But the only good that came out of
Speaker 1: it is that when we had lunch with the guy
Speaker 1: who represented them to tell him we weren't gonna be
Speaker 1: able to make a deal on Mister Magoo, he said,
Speaker 1: we jump got another property that became available because the director,
Speaker 1: who never wanted to option it to an American company
Speaker 1: just died. And I said, what's that? And he said Godzilla.
Speaker 1: I said, okay, forget it that done. We're doing Godfilla. Yeah,
Speaker 1: no Magoo, but Godzilla thought that those things happened back then. Really,
Speaker 1: the rest of the independent movies, other than Threesome, which
Speaker 1: happened at TriStar, how is friends with the director, and
Speaker 1: they made the movie independently and they needed a distributor,
Speaker 1: and I said, look, I loved it. I said, let
Speaker 1: me show it to my people at TriStar. So I
Speaker 1: didn't even show it to the executive and I showed
Speaker 1: it to the marketing department. They loved it. When we
Speaker 1: cost like a million dollars, they loved it. They thought
Speaker 1: they could do a lot with it. They convinced the
Speaker 1: studio to pick it up to buy it, which they
Speaker 1: did for virtually nothing, and it was the most profitable
Speaker 1: movie of the year. The movie ended up making like
Speaker 1: twenty six million dollars or something, but they didn't spend
Speaker 1: anything on it. So, yeah, that's the only independent movie
Speaker 1: that had anything to do with at TriStar. I didn't
Speaker 1: really get into it until I made the deal with Mirrimax. Yeah,
Speaker 1: that's when I got more involved in those kinds of films,
Speaker 1: the first one being Kids.
Speaker 9: Right, So you worked quite a few times with Harmony Kareen.
Speaker 1: Kids was the first. We made Gummo, then we made
Speaker 1: Julian donkey Boy, then we did it. Yeah, we did
Speaker 1: four full movies together, his first four movies together. When
Speaker 1: I met him on Kids, who was seventeen years old.
Speaker 9: Going back to X Murderer, you said that the studio
Speaker 9: wasn't happy, and I'm curious what they thought they were
Speaker 9: getting what they signed up for.
Speaker 1: I don't have any idea. I can tell you one
Speaker 1: story that was incredible. Before Nanty Travis was in the movie,
Speaker 1: we had a meeting with Sharon Stone, who loved the script,
Speaker 1: loved Mike Myers. We had a meeting with her at
Speaker 1: the Four Seasons Hotel. She just finished Basic in Think.
Speaker 9: But it hadn't come out yet.
Speaker 1: It was the same studio that was making till I
Speaker 1: married an expert, but they obviously didn't know what they
Speaker 1: had because Sharon wanted to do it. And the funniest
Speaker 1: thing is when Sharon sat next to Mike in the hotel,
Speaker 1: he was sorry, man, he was terrified of her, just
Speaker 1: because she was Sharon Stone and he was Mike Royers.
Speaker 1: And you could see his nervousness was palpable. It was
Speaker 1: so perfect for the part. Try Star started to negotiate
Speaker 1: a deal with her, and they were few hundred thousand
Speaker 1: dollars apart, which in retrospect, knowing that they had basic
Speaker 1: instinct on their hands and that she was going to
Speaker 1: be a breakout star. We told them this right there.
Speaker 1: They should have closed the deal before that movie came out,
Speaker 1: because once that movie came out, she was a giant
Speaker 1: star and everybody wanted her for everything, and her price went.
Speaker 1: It was just the wall timing to be messing around.
Speaker 1: Although I don't think bad they closed her deal. She
Speaker 1: would have done the movie anyway, Build One Space againstant
Speaker 1: came out, she was a huge cream, real star and
Speaker 1: she was getting auper. He's for everything, and I'm make
Speaker 1: sure she would have wanted a Gee show and married
Speaker 1: a NAT's Murder, but yeah, that could have been the cast.
Speaker 1: But Nancy's great, Nancy's robed and wife. She was amazing though,
Speaker 1: But it was a good front in her Yeah, it
Speaker 1: was just funny then that apping that way, Well, what
Speaker 1: was the original script like before Mike? We wrote it
Speaker 1: less cameos, the Scottish guy, the Steven Wright character, the
Speaker 1: Phil Hartman that was all Mike. So it was less
Speaker 1: of that kind of stuff. The poetry that was all Mike.
Speaker 1: I mean, it's shocking that he didn't get issued screenplayed credit,
Speaker 1: but that was a writer's guild call, wasn't our call,
Speaker 1: And I don't care.
Speaker 16: It's fair, but the Kladi's build very strict about protecting
Speaker 16: the original screamwriter. I understand, so he didn't get a credit,
Speaker 16: but he got in my mind he wrote at least
Speaker 16: fifty percent of the strip. Tommy Schlami, who went on
Speaker 16: to be a huge television director responsible for many of
Speaker 16: the West Winds.
Speaker 2: How did he come to the project?
Speaker 1: He read the script, he loved it. Tommy is an
Speaker 1: incredibly personable guy, like a really good guy. Can't remember
Speaker 1: what he did before at the quarter attention, but we
Speaker 1: all had meetings with him and loved him, and he
Speaker 1: can't not like Tommy Fammi couldn't be a nicer guy.
Speaker 1: Mike liked him. We all liked him, so he began
Speaker 1: to direct them.
Speaker 2: And how was the actual shoot itself?
Speaker 1: It was hard because it was six days. We wanted
Speaker 1: to keep the budget down, so we were pretty much
Speaker 1: shooting six days a week. It also was hard on
Speaker 1: the days when Mike had to play his Scottish grandfather
Speaker 1: or uncle like remember it was he was in makeup
Speaker 1: for a long time in those days, and that was
Speaker 1: like a four or five hour makeup session.
Speaker 6: So those were hard.
Speaker 1: But sixth day weeks are hard, and we had a
Speaker 1: bunch of them in a row and it was rough.
Speaker 1: But other than that, it was just to shoot. San
Speaker 1: Francisco is beautiful and they were working if the most
Speaker 1: of the time we were there said we really didn't
Speaker 1: have a chance to But other than that, it was
Speaker 1: was really it was a nice shoot.
Speaker 9: With the studio or even done in your neck a
Speaker 9: little bit. Did the movie change at all or did
Speaker 9: it come out the way that Mike and Robbie wrote it.
Speaker 1: No, it didn't change much. The studio wasn't Tri Star
Speaker 1: Studios at the time. Mike Manivoy was the chairman of
Speaker 1: the studio, was the chairman of UA, so he came
Speaker 1: from the school of leaving directors alone. He wasn't Harvey
Speaker 1: Wanston who'd go after the movie was done and started
Speaker 1: cutting it away. That's not who Mike met was. Mike
Speaker 1: Medaway is very respectful of his filmmakers, and they saw
Speaker 1: the movie, they tested it, and they put it out
Speaker 1: as best they could. What's odd to me is that
Speaker 1: years later the movie didn't do great and not after
Speaker 1: Wayne's World and with the odds and this happens to
Speaker 1: it very often. This will Happen to You is like
Speaker 1: years later people going, oh, that was like the funny
Speaker 1: is I was my favorite and all that kind of stuff.
Speaker 1: No one heard about it when it came out.
Speaker 6: I guess the.
Speaker 1: Press campaign wasn't good enough for Mike Myers became famous
Speaker 1: bland characters or that not right then his first big
Speaker 1: hit movie, He's playing Wayne, a beloved character from the show.
Speaker 1: This was the first time that Mike Maris was Mike Meyer,
Speaker 1: and I'm not sure the public was ready for it,
Speaker 1: and it was a hard.
Speaker 2: Thing for them to promote.
Speaker 1: And even further on in his career, his big hits
Speaker 1: was Austin Power, where he's again playing a character. So's
Speaker 1: it's a tough thing for a comic who becomes famous
Speaker 1: playing characters, and then all of a sudden he's playing
Speaker 1: himself in a romantic comedy where no one's ever seen
Speaker 1: him be romantic. He never had a romantic thing to do,
Speaker 1: and that live ever and obviously in Wayne's world, but
Speaker 1: there was no romance of any reality. So it was
Speaker 1: a hard thing. Not from the play. I think he
Speaker 1: was great in it, but I think for the audience
Speaker 1: to accept I think was in your shit.
Speaker 9: I've always been curious about the poster of the film
Speaker 9: with the big hearts and Mike Myers holding the flowers
Speaker 9: behind his back she's supposed to be holding.
Speaker 1: Can I tell you something? Yeah?
Speaker 6: Please look.
Speaker 3: When you are or even not when you're especially when
Speaker 3: you're a new producer and you have the zero leverage,
Speaker 3: you don't have anything to do with the poster the studio.
Speaker 3: There are poster.
Speaker 1: Companies that charge a lot of money, and the studio
Speaker 1: paised them a lot of money to come up with
Speaker 1: the poster, and they had six or seven posters that
Speaker 1: they showed us. And it's always compromising down now. When
Speaker 1: I became a little bit more in my career where
Speaker 1: I had some poster and the trailers, I could then
Speaker 1: say five, I don't like the six, let me feed
Speaker 1: ten more or twelve more, and you want you then
Speaker 1: have something to say on this movie. I didn't. And
Speaker 1: the studio, they believe that there are every studio think
Speaker 1: that they're the marketing geniuses. They don't really are not
Speaker 1: interested in hearing from the direct news or the producers
Speaker 1: unless you're Audiet Wassese or Steven Spielberg. But they feel
Speaker 1: like that's what we do.
Speaker 6: We do the marketing.
Speaker 17: We're the marketing geniuses, and you just make movies. So
Speaker 17: that's the poster. I think we all we're not into it.
Speaker 17: But I wasn't into the poster for kids. The American
Speaker 17: poster for kids that Harvey did, I thought was horrible.
Speaker 17: The poster for kids.
Speaker 13: That was great was the French poster with the boys
Speaker 13: just walking down the boulevard. I don't know if you
Speaker 13: ever saw that poster, but if you google the French
Speaker 13: poster for kids, it's beautiful.
Speaker 1: And that's the one we wanted to use. And Harvey
Speaker 1: put together this. He didn't understand him, he truthfully, veriusly,
Speaker 1: he didn't really The movie threw him off. But yeah,
Speaker 1: so he came up with that poster, which was it
Speaker 1: looked like a bunch of like lucky corns or something.
Speaker 2: I don't know what that was.
Speaker 1: We hated it, but again, fighting with Harvey's not easy,
Speaker 1: and it was what it was, but became what it became.
Speaker 1: But he hated it. Harvey was already he had no
Speaker 1: connection to that movie. It was the same year as
Speaker 1: sling Blade came out, and Harvey was all about Academy Awards.
Speaker 1: There was no way Kids was winning any Academy Awards.
Speaker 1: Oh no, this isn't it's this is Swinger. He did
Speaker 1: Waders is the same thing. He knew swingers were in
Speaker 1: the Academy and it would be go oping the same nabe.
Speaker 1: And he didn't pay attention to Swing. Again, he didn't
Speaker 1: get it. He didn't know that it was a commercial moodleeue,
Speaker 1: and so he opened it with like almost no promotion
Speaker 1: or anything. And I was losing my learning because I
Speaker 1: thought it was an undelievably commercial But even though there
Speaker 1: were no stars wing it, and Harvey was a starfucker,
Speaker 1: so he put all of this energy into sling Blade
Speaker 1: was incredible.
Speaker 5: I think he did get a nomination, but it didn't
Speaker 5: do anything really at the box office. It didn't do
Speaker 5: anything until after it left the box office and then
Speaker 5: everybody had advanced to see it.
Speaker 1: But it was at the asperg. He'd released with kids
Speaker 1: was a different thing. He didn't have any feeling for
Speaker 1: those kids. He didn't even know what they were. He
Speaker 1: was like, we were at the Independent Spirit Awards where
Speaker 1: we had gotten nominated for a lot of stuff, and
Speaker 1: he was there. I don't know what the other movie
Speaker 1: had there, but he ignored us like we had a table.
Speaker 1: These kids were like, they were basically street bids and harm.
Speaker 1: You didn't speak to them, so we ignored us that.
Speaker 1: I mean, we were there with Chloe and every DFL,
Speaker 1: but even think anything of them because they weren't stars yet.
Speaker 1: But yeah, anyway, so that's a different topic. All right,
Speaker 1: where are we? Are We done?
Speaker 2: I thought you were good.
Speaker 9: Unless you've got any other Ax murderer stories that you
Speaker 9: wanted to share.
Speaker 1: Well, I have another one. A great month we were
Speaker 1: coming up to on Monday shooting the Steing where Mike
Speaker 1: Myers meets Nancy Travis in the butcher shop and it's
Speaker 1: loved first sight. This was going to be the first
Speaker 1: So it was on Monday, and we had the weekend off,
Speaker 1: which means we only had a five day week, which
Speaker 1: was unusual. So we had the weekend off and Mike
Speaker 1: was like just working like crazy and habit and I
Speaker 1: said to him on Friday and I said, listen, let's
Speaker 1: go to the movies tomorrow, go to China Town and
Speaker 1: just have a day off. You got a rest. I
Speaker 1: was like the Mike Myers handler because we really got along.
Speaker 1: Mike was very high strung. He needed sort of one
Speaker 1: on one attention. But in any event, I said, yeah,
Speaker 1: let's go to the movies tomorrow, blah blah. I'll pick
Speaker 1: you up and around noon and then we'll go to
Speaker 1: a did okay great? I come to his hotel, we
Speaker 1: might open the door. He's still in his underwear in
Speaker 1: its T shirt. His hair is like total bedheaded out.
Speaker 1: He obviously either just woke up or it certainly wasn't
Speaker 1: planning or going anywhere. I come into the room and
Speaker 1: they're like eight or nine not it was just DVDs
Speaker 1: or I think it was still VHS back then on
Speaker 1: the floor in front of the television and they go, Mike,
Speaker 1: what do you do? He goes, listen. I don't think
Speaker 1: we have the theme right for meeting her on Monday.
Speaker 1: So I got all these movies where it loved first
Speaker 1: sight with the two actors, and I think we need
Speaker 1: to watch them and see what they're doing that we
Speaker 1: are not. I'm like, but this was the kind of
Speaker 1: perfectionist that Mike was, and I think burned off a
Speaker 1: lot of people. He was two intense. As far as
Speaker 1: I was concerned, it was great because it was still
Speaker 1: gonna say, predaced by Gary Woods, like I love that
Speaker 1: kind of perfectionist intensity. So we did that. We were
Speaker 1: working on it and Mike said, listen, I worked with
Speaker 1: a lighter at Dinna Live who's perfect to help us
Speaker 1: put this together. If we could only fly him up
Speaker 1: here tomorrow, which was Sunday, and if he and I
Speaker 1: work together, it'll take a day and we'll get this right.
Speaker 1: I said, Okay, what's his name. We'll get in touch
Speaker 1: with Jay or whatever he goes. It's Conan O'Brien. The
Speaker 1: next thing, Conan O'Brien was on a plane and came
Speaker 1: up and helped us write that scene. That's pure Mike Myers.
Speaker 1: Not only did he work his ass off, he could
Speaker 1: spot like he knew having worked with Conan on Santa
Speaker 1: Live is a writer that Conan was a genius. Anyway,
Speaker 1: that's my last story. It could easily come up with more,
Speaker 1: but not right now.
Speaker 2: Sure was, thank you so much for your time. This
Speaker 2: is great talking with you.
Speaker 1: We'll fame here.
Speaker 12: Pleasure candy coded cannon lifting news left to trump the stream.
Speaker 2: Stay tuned.
Speaker 15: Wanted to find what's wrong and what's right, what's obscuring,
Speaker 15: what's ub scene and the fat fat who's you have
Speaker 15: a chance that this pants slip right down the scene
Speaker 15: by again my break, God's say, I'm gonna make my
Speaker 15: break plan. Yes, I'm maybe thirty old man by the
Speaker 15: time I can beat down this studio scene.
Speaker 9: Well, I'm so curious how you got into show business,
Speaker 9: coming in through the business angle of it, and it's
Speaker 9: not usually how I talk with people. So I'm so
Speaker 9: curious what that experience was like.
Speaker 6: So I graduated from business school in the eighties and
Speaker 6: at that time, the idea of spreadsheet analysis. Financial analysis
Speaker 6: in Hollywood was a novel idea. At that time. Hollywood
Speaker 6: was still operating in the footprint of Irving Thalberg finding
Speaker 6: some young male who had his finger on the pulse
Speaker 6: of other young males, and that's how they would make
Speaker 6: their decision of what movies to make. Columbia Pictures at
Speaker 6: the time put together a team of MBAs and they
Speaker 6: decided that they were going to compute the calculus of
Speaker 6: running a Hollywood studio at the time that had recently
Speaker 6: been purchased by Coca Cola, and I think Coca Cola
Speaker 6: was more thinking that way. So I joined this analytics team.
Speaker 6: Theres a group of us that were really breaking everything
Speaker 6: that the studio did down into cash and optimizing it
Speaker 6: and figuring out present values of future cash flows of
Speaker 6: all the deals that they were doing. And then ultimately
Speaker 6: it dovetailed into the film selection process figuring out what
Speaker 6: genres of films and costs of films and TI films
Speaker 6: generated a higher rate of return. And also what was
Speaker 6: going on in the eighties was this idea of bicycling
Speaker 6: films in distribution where you would start in the box office,
Speaker 6: but then go to a home video and then cable,
Speaker 6: and then network, and then syndication and then international. So
Speaker 6: you started to get to a place where you weren't
Speaker 6: solely reliant on box office performance and you could actually
Speaker 6: hedge your financial bet. So I joined that team and
Speaker 6: it worked, and the rest of Hollywood became intrigued. Two
Speaker 6: of these people that are working at Columbia Pictures with
Speaker 6: MBAs that are transforming the way the business is run.
Speaker 6: The entire team of us, so it was a handful
Speaker 6: of us became hot, if you will, in Hollywood, which
Speaker 6: is all about heat and steam, and so they sought
Speaker 6: us out to help influence the other studios. And it
Speaker 6: was just a matter of time because the New York Times,
Speaker 6: I think in nineteen eighty seven and wrote an article
Speaker 6: about us the MBA is of Colombia and how they're
Speaker 6: changing the business. And so that then every agent, the
Speaker 6: agencies wanted to meet this group, and the other studios
Speaker 6: wanted to meet this group. So Hollywood is all about that.
Speaker 6: Who's talking about who and who's hot, so it almost
Speaker 6: doesn't matter what you do. If you're hot, they liked you,
Speaker 6: or it did then at least, so I met with
Speaker 6: a lot of the studios and turns out that I
Speaker 6: also could talk and not just do this analytic and
Speaker 6: so that introduced me to other types of opportunities, and
Speaker 6: I eventually got a chance to be an actual vice
Speaker 6: president of production without ever having read a script. That's Hollywood,
Speaker 6: or at least it was. But the just by total coincidence,
Speaker 6: the first group of films that I was associated with
Speaker 6: were successful. It is just random, really, so that further
Speaker 6: the attention within the community, and one thing led to another,
Speaker 6: So that's how I got in. It was an accident.
Speaker 6: It wasn't like most of the people in the business
Speaker 6: who grew up wanting to be in the business and
Speaker 6: went to film school and learned how to make films
Speaker 6: or tell stories. For me, it was a series of
Speaker 6: coincidences and fortunate opportunities that led to being in the
Speaker 6: actual business of filmmaking.
Speaker 9: What were those that group of films that you were
Speaker 9: associated with.
Speaker 6: It was right out of the gate. It was Hoosier's
Speaker 6: and RoboCop and Mississippi Burning and Bull Durham and Colors
Speaker 6: and it was just boom. They were all sort of
Speaker 6: mid budget films, but they all made money and they
Speaker 6: were all notable.
Speaker 9: Those are all just top tier idols that you're saying.
Speaker 6: Yeah, they were, but it wasn't because of anything I did.
Speaker 2: It was luck.
Speaker 9: Would you say that you transitioned into more of a
Speaker 9: creative role then as you started to move into producing things.
Speaker 6: Yeah, So then I took a bunch of course is
Speaker 6: at UCLA and I realized so for two reasons, one
Speaker 6: of the creative is much more interesting than the business
Speaker 6: side of Hollywood, and two, from an entrepreneurial standpoint, is
Speaker 6: far more fragmented. That each film is like a little startup.
Speaker 6: So that was appealing to me as well. So I
Speaker 6: then enrolled in courses at UCLA Film School to learn
Speaker 6: the screenwriting and physical production, and because I realized this
Speaker 6: could actually work out for me, and I want to
Speaker 6: make sure I know what I'm talking about. So I
Speaker 6: took these courses at the same time that I was
Speaker 6: actually working on these films. Great learning experience, learning on
Speaker 6: the job, and getting quite lucky. And I ended up
Speaker 6: with a fairly senior role at Columbia Pictures, and it
Speaker 6: was very fortunate. I worked hard, but it was mostly luck.
Speaker 9: I imagine you're still keeping your accounting hat on or
Speaker 9: your business hat on, so you can still maybe choose
Speaker 9: the projects that you think are going to make money.
Speaker 6: There was an element of that, but turns out at
Speaker 6: that time the best risk return genre at that time
Speaker 6: were what we called family comedies. These PG rated comedies
Speaker 6: that did not have huge stars but were moderately budgeted
Speaker 6: seemed to have the greatest return on investment. So this
Speaker 6: was the area, but mostly no, it was the deal structures.
Speaker 6: It was like the advances that you could get from
Speaker 6: companies like HBO or the video distributors or the international
Speaker 6: to the combined with these off balance sheet financing deals.
Speaker 6: We did a series of deals where funded by like
Speaker 6: Merrill Leinch, where people could invest one third of the
Speaker 6: budget of the film in exchange for a calculated percentage
Speaker 6: of the profits, and so from a studio perspective, you
Speaker 6: could mitigate a lot of the risk of making the film,
Speaker 6: and combining that with an HBO deal and a home
Speaker 6: video deal and an international deal, you could actually enter
Speaker 6: into the production of a film that you distributed with
Speaker 6: little to no actual risk and retaining most of the upside.
Speaker 6: So it was that understanding combined with fundamental filmmaking, and
Speaker 6: then over time I found my obsession became much more
Speaker 6: about the fundamentals of actual film production, screenwriting and cinematography
Speaker 6: and lighting and editing and acting like the actual craft itself.
Speaker 6: And even to this day, when I watch a film,
Speaker 6: and I watch many, it's very hard for me to
Speaker 6: find a film that I've not seen at this point.
Speaker 6: But really what I'm mostly focused on is the actual
Speaker 6: craft of it. And so that was just part of
Speaker 6: that experience, or I guess singular obsession with the process
Speaker 6: of making the.
Speaker 9: Film was that still the era of we can make
Speaker 9: a poster and sell the poster and thus sell the
Speaker 9: film like that kind of Roger Korman a school of thought.
Speaker 6: He played a different game. He would actually sell the
Speaker 6: entire film or the motion rights to the film. He
Speaker 6: wouldn't parse it out. I was really still dealing with
Speaker 6: the student level of economics, and he real a true,
Speaker 6: genuine independent. His whole thesis was he could make the
Speaker 6: movie for less than a million dollars, and if it
Speaker 6: was reasonably well made, you would hire talented Yet he
Speaker 6: had a good eye for young filmmakers and a recognizable face.
Speaker 6: I could sell the entire film for two million dollars
Speaker 6: to a distributor, and he could make a million dollars,
Speaker 6: and that was his business thesis. And that's just a
Speaker 6: whole different economic model at that time.
Speaker 9: The model that you were talking about with the whole
Speaker 9: idea of the comes out theatrically, then moves over to
Speaker 9: VHS or DVD if there's those steps. And that's what
Speaker 9: I grew up with. So it's so unusual for me
Speaker 9: now where it's oh, Mickey seventeen just came out and
Speaker 9: in two weeks it'll be on streaming, and it's just
Speaker 9: such a different mindset that we have today.
Speaker 2: Now.
Speaker 6: I just went to lunch with an old friend who's
Speaker 6: still a talent agent in the movie business. We went
Speaker 6: to a restaurant here that was loaded with Hollywood people
Speaker 6: that I hadn't seen in more than ten years years,
Speaker 6: and so I got an update and that basically the
Speaker 6: economic structure has pivoted quite a bit since the days
Speaker 6: that I was very active. The bundamental principles are still there,
Speaker 6: but the economics are different and streaming is obviously dominant,
Speaker 6: and the upside has changed quite a bit. So it's
Speaker 6: still an active, vibrant business. It's just a different business today.
Speaker 9: So I knew though I married an AX murderer is
Speaker 9: over thirty years old. But can you walk me through
Speaker 9: a little bit of the timeline, because did you do
Speaker 9: this after Rudy? Because I could never tell with release
Speaker 9: states and stuff.
Speaker 6: There concurrent those are two scripts that I developed when
Speaker 6: I first So I had this nice job at Columbia
Speaker 6: Pictures as an executive, but Sony bought the company and
Speaker 6: it was a public company, so it was a windfall
Speaker 6: for me because they bought everybody's stopped options. So I thought, no,
Speaker 6: this is a chance for me to not be an employee,
Speaker 6: and that I was able to get an actual deal
Speaker 6: with the studio as a producer. So that's an interesting
Speaker 6: thing when they do it a little nowadays, but they
Speaker 6: used to do it a lot then where an executive
Speaker 6: would leave their role as an executive and make a
Speaker 6: producer deal with the studio paid for your overhead and
Speaker 6: your employees and your office and some of your screenplays
Speaker 6: in exchange for an opportunity to look at your projects first,
Speaker 6: and if they didn't like the project, you were free
Speaker 6: to sell it elsewhere. And the two first projects were
Speaker 6: Rudy and Expert Rudy because I had worked on Hoosiers
Speaker 6: an Axverter because it was loosely based on my personal life.
Speaker 6: Axvert was based on my relationship with my still wife.
Speaker 9: I take it that's where you met, mister Travis.
Speaker 6: Actually I was dating. I met her while I was
Speaker 6: an executive at Columbia, and sometime after that I called
Speaker 6: her and we went on a date and we've been
Speaker 6: together since that day. But because I was not really
Speaker 6: in the I didn't grow up in the film business,
Speaker 6: and I wasn't I certainly wouldn't describe myself as an artist,
Speaker 6: dating an actress was a unique I grew up in
Speaker 6: a fairly religious, conservative home, and so we looked at
Speaker 6: the world extremely differently. Expansive was the word she used.
Speaker 6: That I need to become more expensive in the early
Speaker 6: days of our relationship open up, but it was that
Speaker 6: was the challenge with us. But yet we were obviously
Speaker 6: doing well as a couple, and when we got to
Speaker 6: that point where maybe we need to either commit or
Speaker 6: not commit, I was afraid to commit. And so from
Speaker 6: that came this idea of what are you afraid of?
Speaker 6: Fear of marriage itself. Mike Myers always said that the
Speaker 6: film should have been called Fear of Marriage. If it
Speaker 6: were called for a marriage or it would have been a
Speaker 6: commercial hit because it was called So I Married an accident,
Speaker 6: or people thought it was like a horror thing or
Speaker 6: a horror spool or something. So it was not a
Speaker 6: commercial hit in the theaters. It was very sicks full
Speaker 6: after that, but its theatrical run was not successful. And
Speaker 6: even to this day, he's upset, Mike to this day.
Speaker 6: If you get to interview him, ask him, he blames
Speaker 6: me that we didn't change the title, and he's right
Speaker 6: because the very first film, very first script that I,
Speaker 6: as a young executive, brought in developed and got made
Speaker 6: into a movie was called Throw Mama from the Train,
Speaker 6: and that was a very big hit. And my boss
Speaker 6: at the time was a guy, a great guy named
Speaker 6: Mike Metavoy. When I became a producer, Mike was the
Speaker 6: head of the studio at TriStar. So Mike and I
Speaker 6: had this successful experience of throwing Mama from the train
Speaker 6: with this weird title. When Mike aldre to the movie
Speaker 6: the number one thing on his list, he said, I
Speaker 6: need to do these things to commit to your movie.
Speaker 6: Number one on the list was changed the title. We
Speaker 6: never did change the title because Mike and I had
Speaker 6: this successful experience, so we thought, so I married an
Speaker 6: activert it would be. It wasn't. And Mike is still
Speaker 6: even to this day, I think he was right in retest.
Speaker 6: I think Fear of Marriage would have been a better title,
Speaker 6: and that was the one he wanted. And we made
Speaker 6: a mistake, Mike and I and Mike met a boy
Speaker 6: and I and didn't do what Mike said, and I
Speaker 6: think we paid the price. But that the root of it,
Speaker 6: this idea that if you get if you commit to marriage,
Speaker 6: somehow you'll die.
Speaker 9: How do you find the script and really say, Okay,
Speaker 9: this is going to be it, this is going to
Speaker 9: be the next thing I do.
Speaker 6: When I was an executive at Columbia Pictures, there was
Speaker 6: a young writer named Robbie Fox, who I'm still very
Speaker 6: close friends with to this day, who I met with
Speaker 6: and I had talked to him about this issue that
Speaker 6: I had that I'm marrying on dating an actress and
Speaker 6: it does it I don't know that I can live with.
Speaker 6: But and he thought that was funny, and so he
Speaker 6: wrote a treatment of this idea and that a fear
Speaker 6: of commitment and it could lead to this. And I know,
Speaker 6: even to this day I see him a lot, and
Speaker 6: he remembers it slightly differently, but that's how I remember it.
Speaker 6: And he wrote this treatment and I was in a
Speaker 6: position to buy the treatment, so I did, and I
Speaker 6: paid him to write the script. He wrote the script.
Speaker 6: It was pretty good script, and we were going to
Speaker 6: actually make it with Gary Shandling. But my boss at
Speaker 6: the time was a woman named don Steele, and she
Speaker 6: had said she would make the movie commit to the
Speaker 6: green light in the movie with Gary, but then changed
Speaker 6: her mind at the last minute. Shortly there after, Sony
Speaker 6: bought the company, I converted to producer and was able
Speaker 6: to bring that script with me. She still was there,
Speaker 6: wouldn't make it with Gary, but there were other actors
Speaker 6: she was interested in. She then got fired actually, and
Speaker 6: they replaced her with other executives and the project went
Speaker 6: to Mike Meta Boy, but Gary Shandling was long gone,
Speaker 6: so together we did this search. We met with many actors,
Speaker 6: but Mike was the best. Yeh dud Wayne's world. He
Speaker 6: was catastic on Saturday Night Line. I thought it was genius.
Speaker 6: I still I really think that Mike Myers is one
Speaker 6: of the very unique rare talents that you come across.
Speaker 6: He's a comedian actor, but he himself does not present
Speaker 6: organically funded. His understanding of comedy is almost academic and intellectual,
Speaker 6: so he's able to create comedic situations and comedic setups
Speaker 6: that it requires a very rare brain to do what
Speaker 6: he does. He had very specific ideas of what works
Speaker 6: and what doesn't work in film comedy, and it's a
Speaker 6: really a very impressive student of comedy, going all the
Speaker 6: way back to Chapelin and Silent films and even the
Speaker 6: current films, and had very specific ideas on what would
Speaker 6: work and what wouldn't work. In almost every case he
Speaker 6: was right.
Speaker 9: We talked about that list of demands, what other things
Speaker 9: were on that list?
Speaker 6: He wanted the father that he hadded a character of
Speaker 6: the father. He wrote that character, and that he played
Speaker 6: the character, and that he have the freedom to do
Speaker 6: a rewrite himself, and a lot of that, like all
Speaker 6: that Scotted AGAs and the scottis all that is, Mike.
Speaker 6: The original script that was written by Robbie Fox, I
Speaker 6: would say it was more of a It had like
Speaker 6: a paranoia field, like an almost Jewish comedy feel. In fact,
Speaker 6: Robbie Fox and I flew to New York to Michael's
Speaker 6: Bar where every Monday night Woody Allen used to play clarinet.
Speaker 6: We went watched and went up to him after and
Speaker 6: tried to get Woody Allen to play the part. It
Speaker 6: was more of that kind of paranoia comedy. We tried
Speaker 6: very hard to get Billy Crystal. We ended up landing
Speaker 6: on Gary Shamley. It's just a different type of comedy, Mike.
Speaker 6: We wrote it so it was less about paranoia and
Speaker 6: more about fear of commitment. So that was an on
Speaker 6: the list as well. I may even have that was
Speaker 6: somewhere that we wrote. I met with him at a
Speaker 6: hotel and sat down with him and had lunch, and
Speaker 6: I wrote this list of ten things down and didn't
Speaker 6: delivered on nine out of ten. The one that we
Speaker 6: didn't deliver on we should have, which is the title.
Speaker 6: There was another thing on the list was the San
Speaker 6: Francisco component that he really wanted it to be, that
Speaker 6: coffee house culture. It wasn't that it was a New
Speaker 6: York comedy.
Speaker 9: I wonder if that adds to the almost hitchcock nature,
Speaker 9: and I'm sure you're familiar with that with throw Mama from.
Speaker 6: The Train exactly. In fact, to make for Mamma from
Speaker 6: the Train, there was an absolutely brilliant comedic writer, one
Speaker 6: of the best writers I've ever met, named Stu Silver
Speaker 6: still writes. But he wrote that script on speck and
Speaker 6: I was in a position to buy it. His manager
Speaker 6: presented to me an amazing producer named Larry Bresner, since
Speaker 6: passed away, but was a talent manager who managed Billy
Speaker 6: Bristol and Robin Williams and Woody Allen and many others.
Speaker 6: Just wanted a legend in Hollywood. Represented Stu Silver, and
Speaker 6: he brought me in the script and I remember reading
Speaker 6: it on an airplane to New York and laughing loud
Speaker 6: on the plane and people were looking at me. Tromona
Speaker 6: was a really funny strip, but it was too close
Speaker 6: to Strangers on the Train. Our lawyers at the company said,
Speaker 6: you can't make this movie without the rights to Strangers
Speaker 6: on the Train. And some months after that, Warner Brothers
Speaker 6: contacted us and said that they wanted to do a
Speaker 6: sequel to the movie Arthur, which we had the rights.
Speaker 6: So I proposed the trade. We'll give you the rights
Speaker 6: to make a sequel to Arthur, which they did, if
Speaker 6: you give us the right to make this movie, which
Speaker 6: is loosely based on Strangers on the Train Chris Cross.
Speaker 6: And so we made throw Mano, which was a hit,
Speaker 6: and they made Arthur two, which was no.
Speaker 9: It was forever before Arthur iiO came out, though, wasn't it.
Speaker 6: Yeah, but they still wanted the rights. The movies are
Speaker 6: hard to come together. There's so many component pieces to
Speaker 6: it that you think it gonna happen quickly. The Godzilla
Speaker 6: rights took nine years.
Speaker 9: Even imagine the red tape.
Speaker 2: You had to go through with the Japanese producer, not just.
Speaker 6: The producers, the creator, the original Godzilla creator was alive.
Speaker 6: Then I had to play golf with him. But yeah,
Speaker 6: so you never know with films. He could sometimes it
Speaker 6: happened quickly and sometimes they take decades.
Speaker 2: How did Tommy SCHLAMI come to the project.
Speaker 6: Billy Crystal, who I had done throwm from the Train
Speaker 6: with and was thinking about doing so. I married an
Speaker 6: axe Nurder but didn't had done an HBO comedy special
Speaker 6: with him. Tommy directed an HBO comedy special with Billy,
Speaker 6: and Billy told me I remember exactly. I said, what
Speaker 6: do you think about Tommy? He said, he's got he's
Speaker 6: got a funny bull. Those is exactly what he said.
Speaker 6: He's got a good funny bull. And we knew already
Speaker 6: that he was a pretty good filmmaker. He had made
Speaker 6: a film called Miss Firecracker, which was good fundamental filmmaking.
Speaker 6: Turned out not to be a great match with Mike.
Speaker 6: He was actually too much in the filmmaker. Mike was
Speaker 6: really just about the comedy. Depart for comedy was the joke.
Speaker 6: So everything had You had to set up the joke,
Speaker 6: prepare the joke, deliver the joke, and hit the reaction
Speaker 6: to the joke.
Speaker 2: So it was all about.
Speaker 6: He had this phrase, lay down tracks, one eyed Jack,
Speaker 6: lay down tracks, one eye Jacks. And what he meant
Speaker 6: by that was if there were tracks, In other words,
Speaker 6: if there was a dollar, then the camera was not going.
Speaker 2: To catch two eyes.
Speaker 6: It was only going to catch one of them. Lay
Speaker 6: down tracks one eyed Jacks. And he believed that when
Speaker 6: the punchline in a movie is delivered, the camera has
Speaker 6: to stop and you need to see the face straight
Speaker 6: on both eyes to deliver the punchline, and then you
Speaker 6: need a reaction shot. But if we're moving the camera
Speaker 6: and you're just catching the side of the face when
Speaker 6: the joke is delivered, he believed the joke is not optimized.
Speaker 6: Tommy did not agree. Tommy was more of a filmmaker.
Speaker 6: He wanted the camera to move around with dark lights,
Speaker 6: and so he was less concerned about the comedy and
Speaker 6: more concerned about the storytelling and the visualization of the film,
Speaker 6: And so they were not a good fit. It was
Speaker 6: a mistake I made in Parent Tommy with Mike.
Speaker 9: So was it always a given that Nancy would be
Speaker 9: the main female lead.
Speaker 6: Sharon Stone wanted it very much at the time Mike
Speaker 6: and I had dinner with her. No, No, she had
Speaker 6: an audition and the studio had to approve of it.
Speaker 6: Of course, Mike Myers was the head of the studio,
Speaker 6: but his executives who were someone named Mark Blatt who
Speaker 6: was still very active, and Stacy Snyder, who's still also
Speaker 6: very active. They were the senior executives that worked for Mike,
Speaker 6: but they were difficult and approving. They liked Mike, but
Speaker 6: they really wanted to be careful that we were casting
Speaker 6: the girlfriend of the producer. But they ultimately did and
Speaker 6: Nancy did a great job. Worked out really well.
Speaker 2: How was that working with your girlfriend?
Speaker 6: It wasn't easy, but we got through it and we
Speaker 6: got engaged.
Speaker 9: After that, so there was some success then. Yeah, and
Speaker 9: you guys are still together now. Yes, Ah, that's amazing,
Speaker 9: that's great.
Speaker 2: Yeah.
Speaker 9: The cast for that movie is just phenomena. Alan Arkin
Speaker 9: and Lapaglea. The way that they go back and forth,
Speaker 9: that is some of my favorite stuff in the whole movie.
Speaker 6: Yeah, I love that scene two words therapy.
Speaker 2: I loved that.
Speaker 6: But also there were all these cameos that were great.
Speaker 6: Phil Hartman in particular, and Michael Richards and Stephen Wright
Speaker 6: and Charles Groden. Yep, we worked hard on that movie.
Speaker 6: We put a lot into that.
Speaker 9: What do you remember about the making of the film.
Speaker 6: Well, the obviously the notable thing was there was some
Speaker 6: tension between the director and the lead actor, so that
Speaker 6: was a lot to manage. At the end, it worked out.
Speaker 6: We reached compromises, but it was a lot of stress
Speaker 6: during the making of the film, and then we did
Speaker 6: some re editing and reshooting, not with Tom. The scores
Speaker 6: at the end were extremely high when we did the
Speaker 6: audience testing, exceptionally high, so audiences liked it very much,
Speaker 6: but we just didn't have the great title, I think,
Speaker 6: and so they didn't quite know how to market it,
Speaker 6: and it ended up not being a huge box office hit.
Speaker 6: But I also remember Mike. He bought me these street
Speaker 6: hockey equipment, like these rollerblades and a stick because he
Speaker 6: was always looking for a friend to play hockey with,
Speaker 6: which I don't have to play hockey, and he's great
Speaker 6: at it, so I would do it just so that
Speaker 6: he could remember that very well. And Anthony and I
Speaker 6: played video games constantly. I remember that very well too,
Speaker 6: and we became very close friends. Even to this day,
Speaker 6: he lives in the neighborhood. We see each other quite
Speaker 6: a bit. We stayed friends. I also remember going to
Speaker 6: a Toronto Maple Leafs game with Mike and walking in
Speaker 6: in the entire crowd stopped He's so beloved there that
Speaker 6: they almost stopped the game to all so that he
Speaker 6: was I remember that very well in the making of
Speaker 6: the film as well, and of course just living in
Speaker 6: San Francisco at that time. It's really San Francisco is
Speaker 6: still a beautiful city, but in the nineties, San Francisco
Speaker 6: is like, in some ways the best city in America.
Speaker 6: And I just loved Nancy and I loved a few
Speaker 6: months living there.
Speaker 2: Did I read write that the ending was changed for
Speaker 2: the film.
Speaker 6: It wasn't rewritten it. We just reshot it.
Speaker 2: That's all, Okay.
Speaker 9: What was the original supposed to be saying?
Speaker 6: It was just we shot it better.
Speaker 9: I thought maybe she was supposed to be an ex
Speaker 9: murderer rather than Amanda Plumber.
Speaker 6: No, Amanda Plumber was great in the movie. There was
Speaker 6: some discussion it was an actress Inlita da Vidovitch who
Speaker 6: looks like Nance, and that would have been a very
Speaker 6: different movie in some ways interesting as well. Amanda was
Speaker 6: the way she performed it almost as to tell you
Speaker 6: know that she's so extravagant. We knew that was going
Speaker 6: to be the ending, I would say for those that
Speaker 6: haven't seen it, but Gooding most people on your podcasts
Speaker 6: have seen the movie we were contemplating.
Speaker 9: Happily ever after, I went to see it at the theater,
Speaker 9: and I remember having a fantastic time when I saw
Speaker 9: it all the way back in ninety three, still of
Speaker 9: it today. I didn't get why people weren't flocking to
Speaker 9: this movie. It was incredible.
Speaker 6: Who knows, but Mike may have been right. It might
Speaker 6: have been the title.
Speaker 9: Can you tell me about the posters? Because the poster
Speaker 9: always looked a little strange to me, where he's got
Speaker 9: the flowers behind his back and it looks like she
Speaker 9: should be holding the naxe, but she isn't.
Speaker 6: I think the studio didn't know where to go with it,
Speaker 6: so they just try to make some sort of pseudo
Speaker 6: hitchcocky and murder thriller comedy, and it just seemed like
Speaker 6: it fell in between. But if they had just gone
Speaker 6: more in the direction of a romantic comedy of some
Speaker 6: sort of edge to it, downplayed the murder element, up
Speaker 6: played the comedy of it in the relationship, I think
Speaker 6: they probably would have had a big hit, because instead
Speaker 6: it scored very hot with audiences, So I would have
Speaker 6: had led had they been able to open.
Speaker 9: It You've produced so many different things over the years.
Speaker 2: I'm curious.
Speaker 9: Are there things about projects that attract you in nately
Speaker 9: or were you obvious looking for a new challenge.
Speaker 6: I just was responding to things that were inspiring at
Speaker 6: the time. When I first started, I said, I didn't
Speaker 6: really know much about movie making at all, so I
Speaker 6: tended to gravitate towards stories that I could relate to.
Speaker 6: So I worked on a lot of sports movies. So
Speaker 6: that's why it's like Hoosiers in Bull, Durham and Hateman
Speaker 6: Out and Rudy. You know, I understood sports very well.
Speaker 6: And then as I evolved, I learned more and more
Speaker 6: about actual filmmaking, and I felt more comfortable hiring young
Speaker 6: filmmakers and guiding them something like Boumdack Saints or even Collateral,
Speaker 6: where you know, the greater appreciation for screenwriting and directing,
Speaker 6: And had I kept going, what would have been more
Speaker 6: of that? I think it was really more just a
Speaker 6: reflection of my evolution as a filmmaker.
Speaker 9: Collateral is another one that I just cannot say enough
Speaker 9: nice things about, just so well made and what a
Speaker 9: great turn for Tom Cruise in that movie. Definitely one
Speaker 9: of the best times he's played a villain.
Speaker 6: It was supposed to be Russell Crowe and we developed
Speaker 6: the script at the time. This is right around the
Speaker 6: time that I decided to leave Hollywood, but I was
Speaker 6: partnered with a writer, director Frank Darabumm, and we were
Speaker 6: going to form like an imagined pictures of partnership together,
Speaker 6: and this was the second film that we did together.
Speaker 6: Frank rewrote that script and his rewrite was really beautiful,
Speaker 6: and Russell prow read it and wanted to do it.
Speaker 6: And it was a New York Brooklyn cab and there
Speaker 6: really isn't a cab culture in LA, but there's a
Speaker 6: really great cab culture in New York, and Russell would
Speaker 6: have been amazing. But we struggled to find a director
Speaker 6: it or with Russell for various reasons. So Michael Mann
Speaker 6: stepped up and said, look, I love the script, but
Speaker 6: I got two problems. One is I got to reconcile
Speaker 6: some differences with Russell. They had made The Insider together,
Speaker 6: which is a spectacular movie, but I guess they just
Speaker 6: had to sit down and iron at something out. But
Speaker 6: the bigger issue was he did not want to do
Speaker 6: a New York cab movie. He said I've always wanted
Speaker 6: to do a movie about the LA culture, and I
Speaker 6: can use this to tell the story of La at night.
Speaker 6: And Russell said, no, this is a New York cab movie,
Speaker 6: so that couldn't get reconciled. So ultimately we had to
Speaker 6: pick one, and we went with Michael, and within a
Speaker 6: couple of days Tom was it. And he worked really aggressively.
Speaker 6: He really studied really hard. He actually dressed up as
Speaker 6: a post office delivery person in disguise in parts of
Speaker 6: LA so that he could interact with people in La
Speaker 6: so he could understand a little bit of what Michael
Speaker 6: wanted to deliver about LA culture in parts of the
Speaker 6: city that Tom was less familiar with. That's how committed
Speaker 6: he was. He dyed his hair and it was a
Speaker 6: villain roll, and I thought he did a brilliant job.
Speaker 6: I really liked him and working with him his commitment
Speaker 6: was enviable and oppressive. But of course, the big discovery
Speaker 6: there was Jamie Popp. I mean, at that time we
Speaker 6: all knew him as a comedian and he got an
Speaker 6: Oscar nomination for it. And that was also the first
Speaker 6: studio movie shot on video, and that was an enormous
Speaker 6: video camera but the way he had done the lights,
Speaker 6: so these little blue lights in the cab, so because
Speaker 6: he was very concerned about the way the video camera
Speaker 6: would pick it up. But you look at it now
Speaker 6: and it's just beautiful. It was very impressive. It's work
Speaker 6: I think from not just Michael Mahnhole crew.
Speaker 9: You mentioned leaving Hollywood. I'm curious what you were working
Speaker 9: on these days.
Speaker 6: Actually, I didn't really start as a filmmate. I was
Speaker 6: really interested in many things, and I just fell into
Speaker 6: the film business having come out of business school. But
Speaker 6: I was interested in enterprises in general and business building,
Speaker 6: and there were a lot of things that were interesting
Speaker 6: me besides film. And around that time I started getting
Speaker 6: very involved in various Internet ventures, and a couple of
Speaker 6: them became fairly significant and more fruitful for me than
Speaker 6: felt making. Even though the filmmaking was going pretty well,
Speaker 6: the technology of it was really exciting. I found that
Speaker 6: by the time Collateral came out, I was spending fifty
Speaker 6: percent of my time on two Internet ventures and fifty
Speaker 6: percent of my time films, and those ventures just tended
Speaker 6: to evolve and grow. But that's not what I do today.
Speaker 6: Sometime around that time I went to an investor conference
Speaker 6: at the actual Internet conference, and I met a CEO
Speaker 6: of a stem cell biotech company that was developing something
Speaker 6: called telomeres. And those are little fragments of protein that
Speaker 6: are attached to chromosomes, and every time the cell divides,
Speaker 6: they shrink a little. And when these telomeres become little steps,
Speaker 6: the cell becomes what's called SINSI, meaning it alive but
Speaker 6: non functional. And that's part of what contributes to the
Speaker 6: process of metabolic agent. And I said, wait a minute,
Speaker 6: you're saying that science is going to figure out a
Speaker 6: way to stop the aging process. The science of telomeres
Speaker 6: over the years led to various problems for why it's
Speaker 6: not applicable for humans. This was twenty five years ago,
Speaker 6: but those science has pivoted from that to something else
Speaker 6: called the curtuins, which are genes that they think get
Speaker 6: activated when you drink red wine. To remember that craze
Speaker 6: in the two thousands about if you drink red wine,
Speaker 6: your age slower. But what happened around twenty ten is
Speaker 6: the discovery of a coenzyme that's found in all living
Speaker 6: cells called nicotinamide adine di nucleotide NAD. And this NAD
Speaker 6: is a co enzyme that works with other enzymes in
Speaker 6: the cell for all Metapolitan processes, but like energy, metabolism
Speaker 6: and repair of cell damage are the two notable ones,
Speaker 6: and that does work. So there was a company down
Speaker 6: in Orange County that had a large patent portfolio of
Speaker 6: R and D company and had done a lot of
Speaker 6: research on molecules that elevate this coenzyme called NAD. So
Speaker 6: I got involved in this company and waiting on the
Speaker 6: board of this company, and today I run that company,
Speaker 6: and that company is called Niagen Bioscience. We sell a
Speaker 6: product called true Nigen, and we also sell something called
Speaker 6: Nigen IV, which is like this. A lot of people
Speaker 6: get these IV of NAD or injections of NAD. It's
Speaker 6: very popular in Hollywood, very anti aging. They end with
Speaker 6: athletes and biohackers and things. And this is a very exciting,
Speaker 6: cutting edge area of scientific research that we develop. We
Speaker 6: sell that product. We're also developing drugs for age related
Speaker 6: diseases like Parkinson's disease. And this is a very exciting
Speaker 6: thing for me. I enjoy it a lot. It's very
Speaker 6: different than filmmaking. I love film still, but this is
Speaker 6: something that I find very inspiring. We can impact the
Speaker 6: way that human body ages, and we have real material science,
Speaker 6: like published clinical studies that show how it works and
Speaker 6: that it works, and it's become quite clopable. The product
Speaker 6: is called true Nigen if you wanted to buy it
Speaker 6: on Amazon. But also these health clinics or anti aging
Speaker 6: clinics are all make this thing available, these NIGE and ivs,
Speaker 6: and it's quite popular and I enjoy it very much.
Speaker 6: It's very stimulating, it has a great scientific component and
Speaker 6: impact people's lives a very dramatic and significant way. So
Speaker 6: that's what I've been doing now for ten years.
Speaker 9: That's fantastic. I will definitely be looking that up.
Speaker 2: Rob. Thank you so much much for your time. This
Speaker 2: was great talking with you.
Speaker 6: That is my pleasure.
Speaker 2: All Right, we are back.
Speaker 9: And we were talking about so I married an axe murderer,
Speaker 9: and yeah, you talked about that alternate world where what
Speaker 9: would have happened if Bill Hartman had lived. I would
Speaker 9: have loved to have known an alternate world where this
Speaker 9: was a hit, and maybe we actually got more Mike
Speaker 9: Myers Sons prosthetics for a while and just actually had
Speaker 9: him show up like a normal person, like going back
Speaker 9: to the Pentaborat the main character that he plays in there,
Speaker 9: the Reporter character. I wish it would have just been
Speaker 9: Mike Myers as the Reporter character, rather than Mike Myers
Speaker 9: under a shit ton of makeup as the Reporter character.
Speaker 9: And though there are moments in the movie, in that
Speaker 9: movie and or sorry of the series, I should say
Speaker 9: where like you were saying with Stuart Mackenzie, I couldn't
Speaker 9: see Mike Myers in the person at all. Like the
Speaker 9: makeup was done so well. He plays a very, very
Speaker 9: very old man, and I think very old man is
Speaker 9: probably the worst makeup to do. You can look really
Speaker 9: bad if you're in poor age makeup. But he looks fantastic,
Speaker 9: better than I think he does is any other role
Speaker 9: in that particular show. And yeah, kind of it's like
Speaker 9: for me, like he's great when he's hidden in makeup,
Speaker 9: or he's for me really good when he's not a
Speaker 9: makeup at all. But we just barely get those times
Speaker 9: to not have him in makeup or wigs or funny
Speaker 9: glasses earning of those things. I would love to see
Speaker 9: more of that.
Speaker 2: When I was watching upin Tavert, the one thing I
Speaker 2: kept running into my mind, it's like, who does he
Speaker 2: remind me of? And then it hit me, it reminds
Speaker 2: me of Bob Hope in the seventies. It was a
Speaker 2: period where he just kept going to what was popular
Speaker 2: and what he would what people liked liked years ago,
Speaker 2: and he keeps hitting it to diminishing returns, and watching this,
Speaker 2: it just seemed like, Okay, well this work Land did
Speaker 2: Austin powers, let me just keep doing it. People likes
Speaker 2: this and there's like a degree of desperation and there's
Speaker 2: like a degree of like you know, creative bankruptcy attached
Speaker 2: the pentabor where it's like, come on, man, you there's
Speaker 2: something there, like why haven't you grown? This is the
Speaker 2: same stuff, you know, like I know you're better than this,
Speaker 2: you know, but it's just in And I'll tell it.
Speaker 2: That was a series that was a series. It didn't
Speaker 2: need to be a series, you know, it's it. But
Speaker 2: I mean this, like I said, I have like a
Speaker 2: love hate relationship with Mike Myers, and like whatever he
Speaker 2: does new, I gotta I gotta sit and watch it.
Speaker 2: And I sat and watch the paver It it was
Speaker 2: not good.
Speaker 8: You know, that's fascinating, Like the way you're describing it,
Speaker 8: and I haven't seen the Pentavern, but it almost feels
Speaker 8: like it speaks to whether he doesn't trust himself or
Speaker 8: he doesn't trust us. He doesn't trust us to like
Speaker 8: him if he's not a makeup, or he doesn't trust
Speaker 8: himself not to be funny if he's not a makeup
Speaker 8: I won't Maybe if this had been a hit, maybe
Speaker 8: he would have felt like there was that trust.
Speaker 9: That's what I think too, because like now you can't
Speaker 9: see him where he's not under a ton of stuff.
Speaker 9: Like I think a lot of people were like, oh,
Speaker 9: look at who is this guy when he was in
Speaker 9: Inglorious Bastards. Though with that, I was just like, wow,
Speaker 9: that is really bad. That does not look good at all.
Speaker 9: And then you get just like slight makeup stuff with
Speaker 9: things like Bohemian Rhapsody, which yeah, there's the irony of
Speaker 9: him talking about Bohemian rhapsoy to the song and how
Speaker 9: he helped make a repopular again with Wayne's World. But
Speaker 9: it was so such a stretch. It was like, really
Speaker 9: do we have to do? You know, you come to
Speaker 9: something like The Cat in the Hat where it's just like,
Speaker 9: all right, we're gonna put this guy in the most
Speaker 9: makeup he's ever been in in his life, and it
Speaker 9: is just going to turn out to be one of
Speaker 9: the worst things that they've ever done.
Speaker 2: I've grown to love the cat because Holy because here's why.
Speaker 2: Because the behind the scenes story is so fascinating to me.
Speaker 2: And also the fact that he just clearly the whole
Speaker 2: movie was a penance for him. It's because you did
Speaker 2: not use rockets, so you're sentenced to do this movie
Speaker 2: for imagine entertainment. And the fact that he was just
Speaker 2: miserable on the set and every shot of him is
Speaker 2: just like he's shot alone. Whenever he's talking to somebody's
Speaker 2: talking to the camera, they cut to like Dakota Fanning
Speaker 2: and the other kid or any other almost any other character.
Speaker 2: He's like in a vacuum in this movie. And on
Speaker 2: top of it's like a seventy six minute movie, it's
Speaker 2: really short, and there's a wealth of deleted scenes where's
Speaker 2: mostly just Thing one and Thing two pissing on things.
Speaker 2: And this movie has become like endlessly fascinating me because
Speaker 2: it's so like he didn't want to do it, and
Speaker 2: it's like so ill conceived that I just it turned
Speaker 2: around and I just now I fucking love it.
Speaker 9: You know, you might be the other person I've ever
Speaker 9: heard say nice things about that movie.
Speaker 8: Do you think he'll have maybe a Jim carreysh resurrection
Speaker 8: where he figures out, Hey, I'll be the villain in
Speaker 8: a kid's movie and I'll do a really good job.
Speaker 2: I would love it. I mean, I would love any
Speaker 2: kind of comeback. I like I said, I have like
Speaker 2: a weird love hate relationship with him. Anything he does,
Speaker 2: I'm just ready to see, you know. And I would
Speaker 2: love for him to have a career come back. Maybe
Speaker 2: one day he will, I hope. So you know, no,
Speaker 2: I have nothing but respect for this guy. And I
Speaker 2: know a lot of people, like we were saying before,
Speaker 2: like they were laying and wait for this movie and
Speaker 2: just wanted to take him down so much because of
Speaker 2: the popularity of Wayne's world. And how dare this How
Speaker 2: did this guy come off of Saturday Night Live and
Speaker 2: think he can take the comedy world by storm? I
Speaker 2: think if this was made twenty years after, after nineteen
Speaker 2: ninety three, when it was very common for people to
Speaker 2: go from Saturday Night Live to movies maybe even back again,
Speaker 2: two varying degrees of success, But you know, Wayne's World
Speaker 2: was such a fluke at the time. It was like,
Speaker 2: I think the only popular SNL movie that had come
Speaker 2: out since The Blues Brothers and everything else, I mean,
Speaker 2: unless you count Spinal Tap, but everything else was just like, no,
Speaker 2: we don't want this. You know, this is not a
Speaker 2: Superstar or the Ladies Man or Knight at the Roxbury.
Speaker 2: I mean, Wayne's World was like a real thing, and
Speaker 2: then it's just like, oh, it put this guy on
Speaker 2: the map, and then sure enough, we're going to try
Speaker 2: to take him down, especially because he didn't have the protection.
Speaker 2: He wasn't playing a character other than his father. He
Speaker 2: was playing probably as close to Mike Myers as where
Speaker 2: ever going to get.
Speaker 8: You're right, and this is also coming out i think
Speaker 8: the same year as Wayne's World too, so it's like
Speaker 8: back to back Wayne's World, then Wayne's World two, and
Speaker 8: this that same year, and with him being the type
Speaker 8: of person who's comedy I think embedded itself so deeply
Speaker 8: in other people in the culture, like a pod person
Speaker 8: like me. I mean, I imagine being at five year old,
Speaker 8: forty five year old, fifty five year old movie critic.
Speaker 8: Your teenagers are talking like this guy all the time.
Speaker 8: Who you find kind of annoying. You're like, bring him down.
Speaker 8: I'm over it. I'm not doing it, you know, like
Speaker 8: because he made us all talk like him.
Speaker 9: Yeah, we were just talking about that on a recent
Speaker 9: episode of James Bond podcast. I do and everybody's doing
Speaker 9: their Awestoin Powers. I'm just like, I never really did
Speaker 9: Austin Powers. I was much more doctor evil guy.
Speaker 2: You know.
Speaker 9: I could do the whole, you know, meat helmets speech
Speaker 9: kind of thing. But I was never the big fan
Speaker 9: of Austin Powers as much as the other guy, because
Speaker 9: I thought they was great at that and then all
Speaker 9: only to find that that was kind of a ripoff
Speaker 9: impersonation that he was doing of Dana Carvey doing Michael. Yeah,
Speaker 9: that's kind of sad. I kind of bummed that he
Speaker 9: took that without asking Dana Carvey if it was all right.
Speaker 8: Isn't that fascinating? Yeah, that it was like Dana Carvey,
Speaker 8: who will put the finger to the side of his mouth.
Speaker 9: Because Lauren would his chow his cuticles or whatever. And
Speaker 9: then the whole idea too, of this not having any
Speaker 9: sort of special features for the DVD or anything, that
Speaker 9: I had to buy this four K to see these things,
Speaker 9: and there's no setup, nothing that as far as like,
Speaker 9: oh well this comes at this point, it's just like boom.
Speaker 9: They take twenty seven thirty minutes of cut scenes and
Speaker 9: they just squash them all together, throw them onto this
Speaker 9: disc and that's it. You know, Like there's no commentary,
Speaker 9: no making out of nothing. But at least we got
Speaker 9: to see those so to see where those came in.
Speaker 9: And like you get to see the death of Ralph.
Speaker 9: Trying to remember who played Ralph in that one, but
Speaker 9: like so you get a little bit of Ralph. You
Speaker 9: get to see his ass crack like crazy because he's
Speaker 9: a plumber, and you get to see Rose or somebody
Speaker 9: kill him. And then yeah, there's other stuff in there,
Speaker 9: like the like I'm talking about, the whole photograph thing
Speaker 9: and and all of those. There's a little bit more
Speaker 9: when it comes to they actually meet before the Hagas scene,
Speaker 9: and I think that might replace the Haga scene where
Speaker 9: the first time he meets Harriet, she is not in
Speaker 9: the store. He's ringing the bell. She's not in the store.
Speaker 9: She comes running in all out of breath, hearing a
Speaker 9: piece of meat and saying that she had a shoplifter
Speaker 9: and so he makes this whole joke about it, like, oh,
Speaker 9: she cut this piece of meat off of the shoplifter
Speaker 9: and that's like his penance or whatever. But she's like, no,
Speaker 9: he was trying to steal meat. And I'm like, that's
Speaker 9: such a weird, weird flex but okay, really played more
Speaker 9: into that whole international meat market thing that they talk
Speaker 9: a little bit about, like that's why she's got the hagis.
Speaker 9: But this was some sort of like Icelandic venison or
Speaker 9: something that this guy stole. So yeah, it was It
Speaker 9: was weird to see some of those scenes and to
Speaker 9: see the replays of some of those scenes where you're
Speaker 9: just like, okay, they had to redo this whole thing,
Speaker 9: Like even like the Russian Sailors, that's completely different in
Speaker 9: these elited scenes. It's just a whole different take of it.
Speaker 8: Really, does she say something different? I don't speak that.
Speaker 8: I don't really speak Gresha, but I thought she called
Speaker 8: them little boys or little mean boys or something.
Speaker 2: Was it like linear? Did it? Like what did it
Speaker 2: like play out kind of like the way the scenes
Speaker 2: play on the movie.
Speaker 9: That was one nice thing where you're like, Okay, I
Speaker 9: can see where this was supposed to be and I
Speaker 9: remember this from reading the script. Weird people in the
Speaker 9: coffee Shop. There's a guy named Sack who's just a
Speaker 9: person that lives on a sack. There was a guy
Speaker 9: named Gus, who I guess is like his mentor, and
Speaker 9: he's and I can't remember who the actor is that
Speaker 9: played him, and I tried to look him up last
Speaker 9: night just to make sure I didn't say the wrong person,
Speaker 9: but I couldn't find who it was. Yeah, there's a
Speaker 9: part where Charlie's like workshopping a home about Harriet the Butcher,
Speaker 9: and he's like.
Speaker 2: Oh, how how is it?
Speaker 9: And he's like, oh, yeah, it's fantastic. And then later
Speaker 9: on Harriet is talking with this guy and he's just
Speaker 9: talking about how Charlie's not that talented him, Like, go, okay,
Speaker 9: there's a lot more about the smoothie. You actually get
Speaker 9: to see the smoothie being made. There's all the stuff
Speaker 9: about the photographs that Rose takes. Of course, there's this
Speaker 9: stuff about the father that I mentioned.
Speaker 2: There's also a Bart sequence. Did they shoot that?
Speaker 9: I think there is a Bart sequence, because yeah, they
Speaker 9: do talk about that, but I'm trying to remember what
Speaker 9: happens in that one.
Speaker 2: It's like a bit where like she keeps getting closer
Speaker 2: and closer to push him off the some way. No,
Speaker 2: it's not okay, okay, because the gag similar to the
Speaker 2: gag in Austin Powers where the guy keeps getting closer
Speaker 2: and closer, but then when they pull back you realize
Speaker 2: he's really really far away them guys. It's basically that
Speaker 2: he kind of cannibalized that scene for Austin Powers. He
Speaker 2: later used that yeah, oh.
Speaker 8: Yeah, and Austin Powers is a whole thing about my
Speaker 8: girlfriend is a femba who wants to kill me. He's
Speaker 8: really got a complex. I mean, what do you think
Speaker 8: is the most quotable line for you personally? Because I
Speaker 8: know mine. Mine is just clearly a hard hearted, harbing
Speaker 8: gerve hagas. I love that line.
Speaker 2: I would probably say.
Speaker 1: Hey, Isan, what you sprew up one more time?
Speaker 2: I'm gonna kick your spaghetti bending buck back to Milan
Speaker 2: not now?
Speaker 1: Not now?
Speaker 4: Was it too much with the ethnic slurs.
Speaker 12: So it was fine.
Speaker 1: It was not paisand pie zaw.
Speaker 9: With the mispronunciation of Milan. I cut out the Paisan
Speaker 9: part of it at least, But yeah, mine.
Speaker 2: Is I'm gonna butcher as Charles Growen's line, he goes, No,
Speaker 2: I really like you doing that. I'd say, I think
Speaker 2: I'm saying that wrong.
Speaker 6: Would you mind not doing that?
Speaker 2: I'm just bother you. No, it's one of my favorite things.
Speaker 2: Oh it is so good. Oh my god, he's awesome.
Speaker 8: And I think the one that probably just absorbed into
Speaker 8: my life the most was the way he breaks things
Speaker 8: into syllables, because I know I said so love ed forever,
Speaker 8: and I think I still talk like that, So love Ed.
Speaker 2: Yeah.
Speaker 9: There's even a part two where they stop for gas,
Speaker 9: and it feels like it's going to play into something
Speaker 9: bigger because he gets out and goes into the gas
Speaker 9: station to pay for gas. You see her take the
Speaker 9: keys out of the car, and then you see her
Speaker 9: outside of the car and she's like, I'm going to
Speaker 9: go in for a snack.
Speaker 2: What do you want?
Speaker 9: He asked for like beef Boleignier's or all this kind
Speaker 9: of stuff, and he's like, oh, actually just a bag
Speaker 9: of chips will do. So he goes, she goes in,
Speaker 9: and then they cut too later, so the whole thing
Speaker 9: of her taking the keys never pays off, And then
Speaker 9: they cut to later her looking behind her while they're
Speaker 9: driving away and he's like, what's going on. She's like, oh,
Speaker 9: I was afraid maybe the gas station attendant was chasing
Speaker 9: us since I didn't pay pay for the gas, And
Speaker 9: I was like, what the hell, Like, what is this
Speaker 9: supposed to be showing, like how unpredictable she is. It's
Speaker 9: so character that I'm like, that doesn't make any sense
Speaker 9: at on. There is nothing in these deleted scenes where
Speaker 9: I was like, oh, that should have been in there,
Speaker 9: that really needed to be, because I mean, the whole
Speaker 9: movie ends with a different ending where it's actually so
Speaker 9: they have a kid at the end of the film,
Speaker 9: and he is just a little kid, kind of looks
Speaker 9: like the kid from Jerry Maguire a little bit, and
Speaker 9: he's got thick glasses, and so I'm like, oh, so
Speaker 9: he takes after the grandfather. He takes after Stuart, and
Speaker 9: I guess he's Stuart Junior or Stuart the.
Speaker 2: Second kind of thing.
Speaker 9: But they never again in these deleted scenes, they never
Speaker 9: say who this kid is. So I'm like, Okay, I
Speaker 9: think he's supposed to be Harriet and Charlie's kid. And
Speaker 9: then after Charlie does his poem at the coffee shop
Speaker 9: at the end, his dad steps up and does a
Speaker 9: whole poem all about Heat, and I'm like, okay, I'm
Speaker 9: glad they cut that too.
Speaker 8: Aw justice for Heed.
Speaker 9: Yeah, and he like changes his hair so he's got dreadlocks.
Speaker 2: What about that article? Like the article, may it seem
Speaker 2: like Heath goes up and does like beat poetry.
Speaker 9: No, it's a picture of Heed on the screen. You
Speaker 9: know how Charlie like will show those pictures of Harriet
Speaker 9: or Sherry or anything. Yeah, it's a picture of Heed
Speaker 9: because they show him coming in and like looking at
Speaker 9: the camera and they stop it and then they use
Speaker 9: that photo of him up there like he's recording something.
Speaker 8: So I mean, if anybody in this movie is going
Speaker 8: to be an AX murderer, it's Heed, right.
Speaker 1: Yeah.
Speaker 8: Heat is definitely the one with the who is justified
Speaker 8: and growing up with rage issues of course.
Speaker 9: Yeah, no, that would be awful to have Stewart as
Speaker 9: a father and just constantly making size and fun of
Speaker 9: the size of my head.
Speaker 8: Yeah, you birth my fault.
Speaker 1: I didn't pick it all.
Speaker 9: Right, Let's go ahead and take another break and play
Speaker 9: preview for next week's show right after these brief.
Speaker 14: Messages, today's my birthday nice to be very.
Speaker 2: Nice to see you all. Listen.
Speaker 6: I got a very funny story.
Speaker 1: I gotta tell it.
Speaker 14: Have you ever been to an army hospital?
Speaker 9: When you see it live, there's more effect than a protest.
Speaker 2: Thirty I want at sixteen.
Speaker 15: I'm a very frank person, George.
Speaker 6: I'll lay it right on the line. Your script, although
Speaker 6: it is an excellent one, does not have the ingredients
Speaker 6: for a commercial success. You see, I must present the
Speaker 6: project to my investors, and that project must reach certain requirements.
Speaker 7: I mean like writhing love Garden.
Speaker 11: That's it.
Speaker 14: You've got to wait till she says something.
Speaker 2: Can you just answer and you play it by year?
Speaker 11: That's our Do you like it here? Please don't kill
Speaker 11: this hair.
Speaker 1: You know you're better than him. I need him for.
Speaker 11: My bread and butter. If it wasn't for him, I'd
Speaker 11: still be out on the streets.
Speaker 2: Please please have mercy.
Speaker 12: On his soul.
Speaker 11: Right, you must be number thirteen Business thirteen.
Speaker 2: Wore you O?
Speaker 11: No one? I don't think exist.
Speaker 7: I don't understand.
Speaker 11: Could you try?
Speaker 2: That's right?
Speaker 9: We will be back next week with a look at
Speaker 9: a bunch of rare, underseen or lost movies for May,
Speaker 9: and we are starting off with one called there is
Speaker 9: No thirteen. So until we go, I want to thank
Speaker 9: my co host this week. So Amy, what are you
Speaker 9: up to these days?
Speaker 1: Oh?
Speaker 8: Well, I'm the film coaduct the Los Angeles Times and
Speaker 8: I co host the podcast Unspooled with Paul Shecher, who
Speaker 8: I'm sure people out there know and love for How
Speaker 8: did this get made? And unspool As our podcast, we
Speaker 8: were going through the best movies of all time. We
Speaker 8: did AFI Top one hundred was season one and now
Speaker 8: Who We're doing a lot of our curiosity, but also
Speaker 8: the Letterbox Top two hundred and fifty. So we just
Speaker 8: did Train Spawning. I was just seventy four on the
Speaker 8: Letterbox Top two hundred and fifty movies with the most
Speaker 8: fans and.
Speaker 2: Mike, how about yourself? I don't know if you guys
Speaker 2: have ever heard this anecdote about an alpie spherus. Apparently
Speaker 2: there was they butted heads on Wayne's World and they
Speaker 2: he basically barred her from doing Wayne's World too, because
Speaker 2: like apparently he wanted to take out the head banging
Speaker 2: Saint Wayne's World and Penelopie Sphrus like went over his
Speaker 2: head and kept it in And there was other things
Speaker 2: she kept in and they had a very contentious relationship.
Speaker 2: Now I heard the story, and I can't track down
Speaker 2: the source, so this may be apocryp full. Apparently, she
Speaker 2: was at a screening of Austin Powers, and I don't
Speaker 2: know if she was at the screening alone. I don't
Speaker 2: know if there was people with her when she saw
Speaker 2: the movie. But when the movie ended, during the closing credits,
Speaker 2: she just screamed at the closing credits, all is forgiven, Mike,
Speaker 2: all is forgiven. So I don't know if that's true
Speaker 2: or not, but I just I always love that story
Speaker 2: and I just wanted to tell that story on a podcast.
Speaker 2: So thank you for indulging me.
Speaker 9: Well, yeah, I probably should have said that when we
Speaker 9: were looking for interviews for this show, so I reached
Speaker 9: out to Tommy Shlami, who has publicly gone on the
Speaker 9: record talking about how much he really disliked working.
Speaker 2: On this movie.
Speaker 9: I think it's at emmy Legends dot com. I'll also
Speaker 9: link to a video in the show notes that he
Speaker 9: is not shy about that.
Speaker 18: I literally was going into this believing that this guy,
Speaker 18: who I still think is an enormous talent and actually
Speaker 18: a really gifted actor was going to branch out in
Speaker 18: this movie. It was going to try you know, I
Speaker 18: thought this movie was for thirty year old men or
Speaker 18: older people about their phobia of commitment. This was not
Speaker 18: about anybody who was necessarily was Wayne's world. It wasn't
Speaker 18: for twelve year olds or thirteen years It was a
Speaker 18: more adult but still staying in the vein of you
Speaker 18: know that Peter Sellers could have played this role, that
Speaker 18: could have you know that there would have been a
Speaker 18: somewhat adult comedy. But still we blow the envelope up
Speaker 18: and not. I think once he became the Scottish father,
Speaker 18: and once that process started working, and once he became
Speaker 18: much less secure about the film, I was trying to make.
Speaker 18: The tendency to sort of want to go back to
Speaker 18: his audience, and the tendency for me to push this
Speaker 18: to be a more mature film just was in absolute
Speaker 18: direct conflict with one another. So the perception therefore that
Speaker 18: I would kill all of his comedic instincts. He wasn't
Speaker 18: completely off base about that. You know, I might not
Speaker 18: have been the best director at that moment.
Speaker 2: Pulled that off.
Speaker 9: And then talking with Robbie Fox, the screenwriter who kind
Speaker 9: of gave me a no, I don't want to talk
Speaker 9: about this, but then like reached out to me later
Speaker 9: on like, well, maybe I do, And then he called
Speaker 9: me and left a message no, I don't want to
Speaker 9: talk about and then he called me again and we
Speaker 9: talked for like an hour, and at the end I
Speaker 9: was like, so, are you ready to go on record
Speaker 9: and talk about this stuff? He's like, oh, yeah, yeah,
Speaker 9: that sounds great, and then literally five minutes later texted
Speaker 9: me and said, you know what, No, I don't want
Speaker 9: to be that guy. I don't want to be I'm like, fuck,
Speaker 9: would you make up your mind?
Speaker 2: I love hearing Mike Meyer's stories and I love telling
Speaker 2: Mike Meyers stories, but if I could make my small plugs.
Speaker 2: I'm in Shock Cinema number sixty five. I will be
Speaker 2: in Shock Cinema number sixty six. I'm hoping this time
Speaker 2: I can someone will talk to me and tell me
Speaker 2: about their acting careers. Also, I'm in Robin Bushy's a
Speaker 2: Sonic Sewer. It's a music theme follow up to his
Speaker 2: magazine Cinema Sewer. I'm writing about I'm defending basically the
Speaker 2: career of Darryl Dragon, aka The Captain from Captain of Tanil.
Speaker 2: So if you're into music and into the Captain Danil,
Speaker 2: please check out Rob Bushy Sonic Sewer.
Speaker 9: I'll tell you my first forty five I ever owned
Speaker 9: was Level Keep Us Together.
Speaker 2: I think it's a better song than people are ready
Speaker 2: to admit. I enjoy that song. Yeah.
Speaker 9: Well, thank you so much y'all for being on the show.
Speaker 9: Thanks to everybody for listening. If you want to hear
Speaker 9: more of me shooting off my mouth, check out some
Speaker 9: of the other shows that I work on. They are
Speaker 9: all available at Wirdingwaymedia dot com. Thanks especially to our
Speaker 9: Patreon community. If you want to join the community, visit
Speaker 9: patreon dot com slash Projection Booth. Every donation we get
Speaker 9: helps the projection Booth take over the world.
Speaker 10: There's there's no raising the scanty.
Speaker 2: Speed and that they.
Speaker 10: There's guy thinking about the second scant say there's speed
Speaker 10: like very there she called that doesn't else but a
Speaker 10: scant to say, let's be that baby. There's gay said.
Speaker 3: The dog.
Speaker 12: Scan say.
Speaker 10: Let's be that baby.
Speaker 4: Harriet Harry It hard hearted, Harbinger of hagis beautiful, the
Speaker 4: Muse bella Coast butcher untrusted in.
Speaker 2: Un on love ed.
Speaker 4: He wants you back, He screams into the night air,
Speaker 4: like a fireman going to a window that has no
Speaker 4: fire except the passion of his heart.
Speaker 11: I am lonely.
Speaker 2: It's really hard.
Speaker 4: This poem sucks