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Speaker 1: Hey there, Chuck.

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Speaker 2: Here a longtime listener coming at you from the class

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of nineteen eighty six. Welcoming you to the Shirley You

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Can't Be Serious Podcast. So brace yourselves as Dean Jason

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are about to drop some knowledge, blow your mind, and

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maybe even spike the football.

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Speaker 1: Wow. Now, Jason, it says here, by the time the

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average American is fifty, it's got five pounds of undigested

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red meat in his bowels.

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Speaker 3: Why are you telling me this? What makes you think

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I have any interest in that at all?

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Speaker 1: Oh? Have you a lot of red meat? Welcome back

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to the Shirley You Can Be Serious Podcast? Everybody? What

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season are we in?

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Speaker 3: You will not believe it? We are starting our fifth season. No,

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I am serious because we are doing our fifth season.

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Speaker 1: Cannot believe it. People listen to the show after five years,

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I can't believe it.

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Speaker 3: Today we are talking about the biggest movie of nineteen

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eighty four, the biggest, the biggest, and one of the

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biggest movies of nineteen eighty seven, and we're comparing them

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against themselves. But they're basically garbon copies of each other.

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Speaker 1: Yeah, this is one of those episodes, like we typically

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we hold off our judgment until the very end. Is

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kind of a little teaser for our audience, right, we

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want people to want to know which movie we're going

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to pick in this one. I'm not going to be

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able to keep my opinion to myself during this process.

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But as I was watching the second one, the William

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Goldman quote kept popping into my head of all sequels

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are whores.

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Speaker 3: So you may love part love Part two.

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Speaker 1: You may hate Part two. I don't know, you know,

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but it will be fun to discuss these two very

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similar but also very distinct movies.

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Speaker 3: Okay, so we're talking about Beverly Hills Cop versus Beverly

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Hills Cop Part two. Yeah, we're gonna be doing the

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freaking Neutron dance. We're gonna be doing shakedown. It's gonna

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be awesome.

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Speaker 1: Yep, I got my keyboard here. I'm ready to pound

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out some Max l F on that note. By the way,

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next few episodes after this, we're going to be comparing

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the Beverly Hills Cop soundtrack to the Miami Vice soundtrack,

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So be sure and hit follow on your podcast app

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so that you will catch those episodes. And then we

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also need to give a shout out to our executive

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producer of this show, Miss Carrie Ahearn. Carrie, thank you

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so much. Carrie signed up on our Patreon page to

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be one of our patreons. If you would like to

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sign up on our Patreon page, you just go to

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patreon dot com Surely Podcast and for as little as

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five bucks a month, you get access to all of

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our one hit wonders and you helped to support the

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podcast that Jason and I spend hours and hours on

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and we have a lot of fun, but we we

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love the appreciation and we love the family that is

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our Patreon family.

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Speaker 3: We create some one hit wonder episodes over there that

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we really think are some of our best work.

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Speaker 1: Absolutely, And we also want to give a shout out

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to a listener who contacted us by email, mister Chuck Bryan. Yeah.

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Speaker 3: I was talking to Chuck and we were emailing back

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and forth a little bit and just kind of asked

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him how he found us, and it was really fun

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to interact with him.

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Speaker 1: Yeah, he was a big fan of the run DMC

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versus Beastie Boys episode. Shout out to our co host

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on those episodes, def Dave, but he said he loved

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the way that we give the whole treatment. Like, he

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didn't have run DMC in his rotation on his playlist,

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but after our episode, it became a part of what

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he listened to.

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Speaker 3: That's really cool. We love when we get feedback like that.

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Speaker 1: Yeah, well, love it all. Right, let's jump into Beverly Hills.

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Speaker 2: Cop.

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Speaker 1: Do you want to be the limon twaste? Yeah? Sure,

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if it's no bother now, Okay, So, if you have

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been a listener of our podcast, you have heard the

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story of Don Simpson and Jerry Brookheimer when we did

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our Top Gun episode, and you have also heard the

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story of Tony Scott when we did our Top Gun episodes.

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If you have not listened to those episodes yet, please

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go back and listen to them. I mean, it involves

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a dead naked doctor in a pool house owned by

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Don Simpson as just one of the many stories that

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are involved in the making of that movie. And we've

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also told the story of Eddie Murphy because we covered

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in our very first season, we covered Trading Places versus

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coming to America, and so we talked about Eddie and

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his journey to become who he was. Trading Places was

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one of his first movies with forty eight hours, and

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then this one was quick on the heels, right.

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Speaker 3: I don't want to interrupt your flow here, but Eddie

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Murphy's nineteen eighties was amazing.

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Speaker 1: Yeah.

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Speaker 3: Now his nineteen nineties is a different story, but just

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listen to his eighties. Okay, forty eight hours, Trading Places,

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Beverly Hills Cop, The Golden Child, Beverly Hills Cop Part two,

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Raw Coming to America, and Harlem Knights.

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Speaker 1: It's not too bad.

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Speaker 3: I mean, that's that's smoking right there.

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Speaker 1: Yeah, And it's the you know when he's in the

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hotel and he's talking about the article that he's going

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to write, Michael Jackson sitting on Top of the World. Yeah, yeah,

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Well Playboy had done an article on Eddie Murphy in

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nineteen eighty three called Eddie Murphy on Top of the World.

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I'm guessing that that's where he got the idea for

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the title, and I'm also guessing that he probably improved

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most of that scene. But we'll get to that in

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a little bit. Okay, you can go and hear the

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stories of Don Simpson, Jerry Brookheimer, Tony Scott, Eddie Murphy

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on our past episodes of Top Gun at Trading places

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and coming to America. So who have I not told you.

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Speaker 3: A story about Marty Brest? Martin Brest that is correct. Well,

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actually we did talk about him just a touch when.

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Speaker 1: We did War Games, yes, and that is definitely a

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big part of his whole story. But this is a

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guy that we haven't really dived deeply into. I haven't

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dived dove dove divt. We haven't gone down the Martin

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breast hole yet. And this episode will be the one

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I'll check that. Yeah. So Marty Brest was raised in

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New York, grew up watching The Honeymooners on TV, which

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comes into play a little bit later on. Ultimately he

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goes to film school and in nineteen seventy two he

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does his student film which is called hot Dogs for

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Go GOM. All right, yeah, do you know this. I'm

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more familiar with Hot Dog of the movie, but keep going. Okay, yes,

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I know a little different. So this movie involves this

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photographer who is going to blow up the head of

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the Statue of Liberty so that he can catch it

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on film and become famous. Okay, And it's the loosely

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based on the Hindenburg disaster. Right yeah, Okay.

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Speaker 3: The actor that is playing the part of the photographer

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in this movie is an unknown Danny DeVito. What now,

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here's the other part. The only three actors in the

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movie are Danny DeVito, Martin Brest, who's playing a part

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in his own movie, and a young woman named Rea Pearlman.

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Stop nineteen seventy two. Danny DeVito and Rea Pearlman didn't

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get married to nineteen eighty two. This is probably where

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they met is on Marty Brest student film when he

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was at the AFI Conservatory. All right, for those of

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you don't realize who Rea Pearlman is, she plays Carla

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on Cheers. Yes, and was married to Danny DeVito for

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a really long time.

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Speaker 1: Yeah really, I think they separated in maybe twenty seventeen,

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not too long ago. Yeah. He does another film, just

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another kind of low budget student type film called Hot

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Tomorrows in nineteen seventy seven, right after he graduates with

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his MFA from the AFI Conservatory. And interestingly, that same year,

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Michael Eisner hits up this writer named Danillo Bach about

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doing this movie that he's had an idea for. Now

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there's a little bit of you know, where did the

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story really come from? Right? So don Simpson says the

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Beverly Hills cop story idea originated from when I was

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driving my old Beater car in Beverly Hills and I

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got pulled over by the Beverly Hills p D and

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they kind of hassled me, And I thought, well, what

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if a cop came in here and he just happened

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to be in a beat up car. So that's part

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one of maybe the origin story. And then the other

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one is Michael Eisner, and he actually was living in

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Beverly Hills at that point and was a big wig

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in Paramount and he his home had gotten broke into.

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He and his wife had a home invasion, and the

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Beverly Hills PD were like, on, like, We're in the

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door within like three minutes. Like it was ridiculous how

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fast they got there. Right, So a little bit of

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apprehension at outsiders and a really really dedicated team to

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its citizens. Right.

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Speaker 3: So here's the thing I heard this story as well.

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I don't believe Don Simpson for one second, right, Don Simpson,

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because I heard him also say that he and Bruckheimer

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went into Eisner's office and they were reading upside down

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the scripts on top of the desk.

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Speaker 1: It's the same story with it was Jeffrey Katzenberg instead

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of okay, okay, yeah, yeah, Katsburg and yes they saw it.

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But what he said, what his statement was, Hey, that's

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my story, that's our script. We should be the ones

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that are producing that. And Katzenberg was like, well, okay,

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go do it, yeah, take it right. So hey, I'm sorry.

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Speaker 3: One more thing I wanted to mention to you before

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we got off With Marty Brest. He actually appears in

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Beverly Hills cop Okay. He is the hotel clerk at

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the very end when Axel Folly is got his arm

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in as sling and he's like, excuse me, sir, do

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you sell those Beverly Hills robes? I guess are? Those

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are ninety five dollars each. He's a money is no object.

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I'll take this one was for you, Billy. That's Marty Brest.

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Speaker 1: Well perfect And if you okay now that you know that,

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when you guys, when our audience when they go back

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and watch the film, look at that guy, and then

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go back and look at the statue in the art

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gallery when actual Foley first comes in, there's this weird

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table where these heads are spinning around on a table. Yeah,

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may Or d is like standing up and he's got

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a chain around his neck. Yes, he also looks exactly

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like Marty. So anyway, Don Simpson and Jerry Bruckheimer have

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got this script there trying to get it done. They

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actually see Eddie Murphy at some point on the studio

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a lot and they talk to him about this and

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he's like, I would love to do that movie. Now.

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Of course, this is the movie comes out in eighty four,

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so this had to be happening around eighty one eighty two.

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I mean, Eddie Murphy is still doing Saturday Night Live. Sure,

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maybe he's gotten started doing forty eight Hours or Trading

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Places or something like that, but he's still pretty much

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a new actor on the scene, right. But they love

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the idea of Eddie Murphy being this out of town

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who comes to Beverly Hills.

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Speaker 3: So here's the thing. Dan Boch, when he wrote the

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script originally he had in his mind guys like Al Pacino,

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James Kahn, Clint Eastwood.

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Speaker 1: Yeah, I mean started writing it in seventy seven, so

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at that point those were the guys who would you

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would pick for something like that.

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Speaker 3: Well, and then get this name, Richard Pryor.

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Speaker 1: Now that one's that's a little different.

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Speaker 3: That's interesting, right, right.

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Speaker 1: Well, ultimately by this time they get the script to

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another guy because they're thinking, hey, we want to add

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some comedy to this thing. The one that Bach had

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written was a very straight piece. They've got Eddie Murphy

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that they think is going to be a part of this,

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so they think, well, we've got to put some humor

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in this. So they get another guy named Daniel Petrie.

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He hadn't done much at that point, but he was

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a guy who's a little bit better at comedy writing,

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and he later would do several of these kind of movies.

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Did Turner and Hoots later on too? Yeah? Yeah, okay.

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So during this time also Marty Brest is trying to

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get work as a director, right, actually directs Saturday Night

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Live episode in nineteen eighty he, as I said, did

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the Hot Tomorrow's. But in seventy nine he did this

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movie called Going in Style. Have you seen this thing? No? Okay,

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So it's got George Burns, it's got Lee Strasburg, who

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we talked about, remember, talked about both in our Godfather

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to episode and more recently when we did our our

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Five Minutes of Fire episodes. He was the teacher of

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Jim James Dean. Yeah, Marlon Brando disowned him, but James

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Dean said, yes, Strasburg was my teacher, right. So it's

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got George Burns, it's got Lee Strasburg, and it's got

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Ed Norton from The Honeymooners, And it's about these old

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guys who sit around in the park and suddenly decide,

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I'm tired of just sitting here listening to these crappy kids.

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I want to go do something adventurous. And they decide

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to go rob a bank. I'm pretty sure I've seen

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this movie. I think I saw it when I was

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a little kid. I was a big George Burns fan.

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But their plan is to put on the Groucho Marx

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glasses and that's going to be their disguise. Okay, yeah,

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And George Burns puts it on at something at some point,

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and Lee Strasburg's just like, Roy, what are you doing?

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He's like, dang, so you can recognize me. So anyway,

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he's done this and then he gets his big break.

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He gets tapped to direct Matthew Broderick's big new movie

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that they've been working hard on called Wargames right right,

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damn it, I pissed on his park plug. If I

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thought it's doing it good, let the boy in there.

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Speaker 3: Major.

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Speaker 1: Well, he gets going on that. He spends a couple

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of years developing this thing, right, and then while they're

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in the midst of shooting, like he's shot multiple scenes

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and weeks with Matthew Broderick and with Ali Sheety and

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we kind of talked about this in the Wargames episode,

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all of a sudden he gets fired, right, just kind

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of out of the blue, kind of out of the blue,

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like he was having disagreements with one of the producers

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and he got fired. He had to take the kids

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aside and say, listen, guys, I'm afraid I don't think

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I'm gonna be your director anymore. And like they were

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in tears. They didn't know how to react when John

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Batham came in, but we didn't really delve into what

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happened there. So he had gotten fired, which of listening

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to him talk, he's upset about, like he's like, this

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doesn't happen in Hollywood. I've had my first big movie

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opportunity and I got fired, And what that means is

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I'm probably never going to direct another movie again, and

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so I've just spent the last ten years of my

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life preparing for something that I'm not going to be

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able to do. It was so bad. He would be

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walking along the sidewalk. He would see somebody he knew

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walking the other direction toward him, thinking that he hadn't

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seen them, and get on the other side of the

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street so they didn't have to talk to him. OU

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really bad shape, right, right, And so he's down to

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five hundred dollars oh his rent is four hundred and

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fifty dollars oh Man and Jerry Bruckheimer is calling him

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up saying I want you to direct this movie. And

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so of course he says no, right what No? He

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said no?

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Speaker 3: He said no, like multiple times he said no.

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Speaker 1: And over They're like, we love your work, we want

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you to come do this. He's like, this is not

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the kind of director. I don't do action movies. I

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don't know how to do action movies. I'm not the

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right guy for you. Like his focus is character development, right,

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he is like a channeling and actor through the actor. Right.

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He is a guy who is focused on character, not

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on action. And so he thought he was ill equipped

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for it, and so literally he's he doesn't know what

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he's going to do. After he pays his rent and

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is down to fifty bucks and they're calling him again

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and he's saying no, no, and they're on the phone pressuring.

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He's like, I'm not gonna get Jerry's like, I'm not

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getting off the phone with you until you say yes,

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and he's like, hold on. And Jerry has no idea

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what he's doing. You know, he's doing flipping a coin.

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He flipped a coin. He said to himself, heads, I

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do it, tails, I don't do it. Flip the coin.

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It was heads, uh huh. He said, okay, I'll do it.

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I don't even know how you, as a director who

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realizes that your career is probably over, can say no

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to Eddie Murphy, Jerry Brookhimer, and Donald Simpson in this time.

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Speaker 3: How could you?

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Speaker 1: It's a paramount movie.

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Speaker 3: How could you turn down anything? At that point, Hey,

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Cinemax wants you to make an after dark movie. Whatever, dude,

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sounds good, you know.

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Speaker 1: Yeah, exactly. Now a couple of other players come in

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at this point. We've got Mickey Rourke and we've got

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Sylvester Stallone, Right, what do you can tell me?

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Speaker 3: Well, so here's the deal. So they were worried about

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whether Eddie Murphy could carry a lead role in a movie, right,

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and they were looking for somebody who could play that

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sort of Detroit guy. Again. At this time, they're still

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deciding is this an straight action movie, is this a comedy?

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Is this a mixture? Well, after they see Diner, they

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are introduced to Mickey Rourke.

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Speaker 1: Right.

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Speaker 3: The story is is that Don Simpson cut his picture

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out of like a newspaper and holds it up and says,

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isn't this guy great? Like Mickey Rourke's face?

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Speaker 1: Right?

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Speaker 3: Of course, this is way before he injects it with

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a billion things of botox.

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Speaker 1: And whatever hgh will change the face.

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Speaker 3: But I mean, so Mickey Rourke was we talked about

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him in Rubblefish, right, Yeah, so this is right after

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rum Fish.

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Speaker 1: My sister in law taught him how to drive a motor.

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Speaker 3: That's right, that's right, And so they they sign him

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to a like a hold contract. So they're like, hey,

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Mickey Rourke, we want you for this movie. It's not

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quite ready for you, we're not ready to shoot yet,

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but we want to pay you.

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Speaker 1: Four hundred thousand dollars bucks to hold. Just don't make

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a movie.

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Speaker 3: Right, just sit there and pay. We're gonna pay you

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to sit on your butt. Well, time goes on and

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that contract expires.

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Speaker 1: Yeah, Daniel Petrie was reworking in the script at this point.

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They were expecting him to be done, and he didn't

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get done.

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Speaker 3: So here's the interesting thing to me when I think

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about Mickey Rourke being in this picture, or the guy

356
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we're going to talk about next, When you look at

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the actor that they cast to be Michael Tandino, I

358
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don't buy him an Axel Foley as childhood bros.

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Speaker 1: No.

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Speaker 3: Are they both good actors and talented people, Of course

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they are, But I see that guy who played Michael

362
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Tandino and Mickey Rourke a lot better together.

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Speaker 1: They look like they could be brothers. Right.

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Speaker 3: So so anyway, there are some leftover pieces from the

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casting process, which we'll talk about in a minute. So

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Mickey Rourke's contract expires, he leaves. Okay, now they're going

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to go full court press after Eddie Murphy right well

368
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behind Simpson and Bruckheimer's back. The studio offered the picture

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to Sylvester Stallone, and they thought, there's no way he's

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going to do this. Comedy's not his.

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Speaker 1: Thing, right, So he says, yes, he wants to change

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the name from Axel Foley to Axel Colbretti.

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Speaker 3: Yes, and we actually get Cobretty a couple of years later,

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known as the movie Cobra.

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Speaker 1: Yeah. So what Sylvester Stallone did was he takes the

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script and he's like, let me work with this. He

377
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wasn't really into the comedy part of things, and he

378
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tried to rework the Axual dialogue to sound more like

379
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he talked, and he injected it full of action sequences

380
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because that's his bread and butter, right, sure, And so

381
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what their initial budget for the movie was was fourteen

382
00:18:59,480 --> 00:19:03,119
million dollars. By the time they got Sylvester Stallone script back,

383
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it's a twenty million dollar or more script. And keep

384
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in mind, Simpson and Bruckheimer don't want him anyway, right,

385
00:19:11,519 --> 00:19:13,000
they want Eddie Murphy. Right.

386
00:19:13,599 --> 00:19:16,160
Speaker 3: So here's the interesting thing. One of the final climax

387
00:19:16,240 --> 00:19:21,680
sequences is Stallone as Axual Cobretti in a Lamborghini going

388
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head to head with a locomotive like a like a train,

389
00:19:24,960 --> 00:19:28,680
some sort of train sequence. Okay, and they're like a

390
00:19:28,759 --> 00:19:32,880
Lamborghini and a train. We can't afford this? What right,

391
00:19:32,920 --> 00:19:34,920
we can't afford the Lamborghini right right?

392
00:19:34,960 --> 00:19:37,000
Speaker 1: Well, I mean it's paramount. They could have afforded it

393
00:19:37,079 --> 00:19:42,119
if they wanted to. But Simpson and Bruckheimer are like, guys,

394
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you don't want to risk this much money right on

395
00:19:44,519 --> 00:19:47,880
an unknown concept. Here, go back to the fourteen million

396
00:19:48,000 --> 00:19:50,240
save yourself. All you have to do is go to

397
00:19:50,279 --> 00:19:53,319
Stallone and say, I'm sorry, we're only going to give

398
00:19:53,319 --> 00:19:55,519
you fourteen million dollars to make this movie. And he'll bail.

399
00:19:55,640 --> 00:19:57,000
And they're like, we don't want him to bail. And

400
00:19:57,039 --> 00:20:00,200
they're like, well do it. And so Barry Diller, one

401
00:20:00,200 --> 00:20:02,200
of the producers, he goes, He looks at the windows.

402
00:20:02,200 --> 00:20:04,799
He's like, tell Stallone that we're not gonna do it

403
00:20:04,839 --> 00:20:07,319
with him, and they and Stallone is out. Now.

404
00:20:07,400 --> 00:20:08,839
Speaker 3: I did hear that there was a kind of a

405
00:20:08,880 --> 00:20:11,799
behind the scenes story where there wasn't any orange juice

406
00:20:11,839 --> 00:20:13,200
in Stallone's dressing room.

407
00:20:13,240 --> 00:20:14,440
Speaker 1: I heard that too.

408
00:20:15,680 --> 00:20:17,000
Speaker 3: And he lost his mind.

409
00:20:17,240 --> 00:20:19,920
Speaker 1: Yeah, I know, I get the impression that Stallone may

410
00:20:19,960 --> 00:20:21,160
be a bit of a prima donna.

411
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Speaker 3: Well hold that thought, because Eddie Murphy goes full blown

412
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Prima Donna in part two.

413
00:20:25,680 --> 00:20:31,079
Speaker 1: So right, right, So ultimately Stallone is out, Eddie Murphy

414
00:20:31,119 --> 00:20:33,440
is in. And basically what they did with Stallone is

415
00:20:33,480 --> 00:20:36,279
they said, whatever elements that you put into the script

416
00:20:36,319 --> 00:20:39,000
that you have, you obviously can keep those, We're not

417
00:20:39,039 --> 00:20:41,200
going to use those. And so that's how we get

418
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the movie Cobra.

419
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Speaker 3: Cobra starring Semester Stallone and Bridget Nielsen. Yes, good disease

420
00:20:51,000 --> 00:20:54,880
on the Cure, which I mean she shows her face

421
00:20:54,920 --> 00:20:55,720
here in just a little bit.

422
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Speaker 1: So Eddie Murphy's back in. They've got a comedy script

423
00:21:00,079 --> 00:21:02,240
and they've got a director. Now they just have to

424
00:21:02,279 --> 00:21:03,559
cast the rest of the.

425
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Speaker 3: Movie, right, Okay, so let's talk about the cast. Okay, Yes,

426
00:21:06,680 --> 00:21:08,839
For people who didn't grow up in the eighties, I

427
00:21:08,839 --> 00:21:12,799
don't think it's really possible to explain how big of

428
00:21:12,880 --> 00:21:16,279
a superstar Eddie Murphy was at this moment in time.

429
00:21:16,440 --> 00:21:19,119
Speaker 1: Trading Places had come out in eighty three, summer of

430
00:21:19,160 --> 00:21:22,839
eighty three. Sure, forty eight Hours had come out eighty two,

431
00:21:23,079 --> 00:21:26,079
so he had had two successful movies back.

432
00:21:25,920 --> 00:21:28,240
Speaker 3: To back, well plus Saturday Night Live.

433
00:21:28,480 --> 00:21:31,640
Speaker 1: Right obviously that, yes, he's in a better position than

434
00:21:31,680 --> 00:21:34,680
Bruce Willis was when he signed up for Diehard. No

435
00:21:34,720 --> 00:21:37,559
doubt he's he's looking pretty at this point, twenty.

436
00:21:37,359 --> 00:21:37,920
Speaker 3: Four years old.

437
00:21:37,920 --> 00:21:41,000
Speaker 1: When he does Beverly Hills Cop twenty four, that would

438
00:21:41,039 --> 00:21:43,519
be so crazy. You know, this is the cleanest and

439
00:21:43,720 --> 00:21:45,880
nicest police car I've ever been in my life.

440
00:21:47,119 --> 00:21:49,680
Speaker 3: This things nice to my parder. And so we'll talk

441
00:21:49,680 --> 00:21:51,839
about the results of this movie here in a little bit.

442
00:21:51,880 --> 00:21:55,440
But basically, once Beverly Hills Cop is released, Eddie Murphy's

443
00:21:55,640 --> 00:21:59,000
probably the second most famous person in the world.

444
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Speaker 1: On top of the world.

445
00:22:00,920 --> 00:22:04,880
Speaker 3: Michael Jackson's probably number one at this moment, right, So

446
00:22:05,319 --> 00:22:09,759
Eddie Murphy goes super sonic after this movie. Yeah, So

447
00:22:09,839 --> 00:22:12,599
let's talk about through the cast here. So Lisa Albacher

448
00:22:12,640 --> 00:22:14,039
plays Janette Yep.

449
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Speaker 1: Is this your car?

450
00:22:15,640 --> 00:22:18,319
Speaker 2: Oh No? In Beverly Hills, we just take whichever cars clubs.

451
00:22:18,680 --> 00:22:23,480
Speaker 3: I know her as seeger or Cigar from Officer and

452
00:22:23,480 --> 00:22:24,000
a Gentleman.

453
00:22:24,240 --> 00:22:25,079
Speaker 1: Never seen the movie.

454
00:22:25,640 --> 00:22:29,519
Speaker 3: She so, yeah, she plays one of the cadets in Gentlemen.

455
00:22:30,039 --> 00:22:32,680
She's great. I think she looks wonderful in this movie.

456
00:22:32,880 --> 00:22:34,400
She's not a standard beauty.

457
00:22:35,039 --> 00:22:38,359
Speaker 1: She said. They spent two days doing and redoing her

458
00:22:38,400 --> 00:22:40,359
hair to get the right hair, and you go back

459
00:22:40,400 --> 00:22:42,160
and look at that and you're like, oh, that's the

460
00:22:42,160 --> 00:22:43,119
style of ladies.

461
00:22:43,440 --> 00:22:44,559
Speaker 3: Frosted fluffy.

462
00:22:44,559 --> 00:22:48,920
Speaker 1: Look. She was actually hired to be Stallone's love interests. Yeah, yeah,

463
00:22:48,960 --> 00:22:52,440
because Stallone had changed that part. It was initially supposed

464
00:22:52,480 --> 00:22:55,319
to be a platonic relationship and then Stallone changed it

465
00:22:55,359 --> 00:22:56,920
to be a love interest. Yes.

466
00:22:57,079 --> 00:23:00,400
Speaker 3: You also have in this movie have Stephen Berkhoff as

467
00:23:00,480 --> 00:23:01,240
Victor Maitland.

468
00:23:01,440 --> 00:23:01,839
Speaker 1: Yeah.

469
00:23:02,240 --> 00:23:05,960
Speaker 2: My advice to you is crawl back to your little

470
00:23:06,000 --> 00:23:09,079
stone in Detroit before you get squashed.

471
00:23:10,559 --> 00:23:14,839
Speaker 3: Okay, this guy played a awesome bad guy in the eighties.

472
00:23:14,920 --> 00:23:19,000
Speaker 1: He's like, he's like the precursor to Hans Kruber, Right,

473
00:23:19,119 --> 00:23:23,440
he really is. Yeah, he's got that cold European disdain

474
00:23:23,720 --> 00:23:27,200
that you just loathe him. It's fantastic.

475
00:23:27,279 --> 00:23:29,079
Speaker 3: It is so Listen to this run that he has

476
00:23:29,119 --> 00:23:31,799
in the eighties. Okay, he does Octopusy in eighty three,

477
00:23:32,279 --> 00:23:34,440
he does Beverly Hills cop in eighty four, he does

478
00:23:34,559 --> 00:23:37,680
Rambo in eighty five, he does Under the Cherry Moon

479
00:23:37,720 --> 00:23:38,319
in eighty six.

480
00:23:39,920 --> 00:23:42,200
Speaker 1: Oh my god, he.

481
00:23:42,359 --> 00:23:47,359
Speaker 3: Becomes Prince's bad guy. Okay, now then when they're hiring,

482
00:23:47,519 --> 00:23:50,440
they need they need Rosewood and they need Taggarts.

483
00:23:50,559 --> 00:23:53,960
Speaker 1: Yeah, we're more likely to believe an important local businessman

484
00:23:54,400 --> 00:23:57,240
than a foul mouth jerk from out of town. Foul mouth,

485
00:23:58,200 --> 00:23:58,680
you man.

486
00:23:58,839 --> 00:24:01,119
Speaker 3: They audition a bunch of different guys and they're looking

487
00:24:01,160 --> 00:24:02,319
for that right combination.

488
00:24:02,680 --> 00:24:05,000
Speaker 1: Yeah. Now keep in mind Marty Breast is in this,

489
00:24:05,319 --> 00:24:08,599
and Marty Brest grew up on the Honeymooners. Right. He said,

490
00:24:08,759 --> 00:24:11,640
I also loved Laurel and Hardy, Like you've got this

491
00:24:11,880 --> 00:24:16,720
combination that they antagonize each other, right, John Aston said

492
00:24:16,799 --> 00:24:19,680
he had. It was his fifth callback. Like he was like,

493
00:24:19,720 --> 00:24:21,519
they keep calling me back and with a different actor,

494
00:24:21,559 --> 00:24:23,240
and with a different actor, and with a different actor.

495
00:24:23,559 --> 00:24:26,920
On the fifth callback, I come in and they put

496
00:24:26,960 --> 00:24:30,200
me with this kid, Judge Reinhold. Right now. By the way,

497
00:24:30,279 --> 00:24:34,680
Judge Reinhold came from Amy Heckerling. Marty Brest and Amy

498
00:24:34,680 --> 00:24:37,519
Heckerling were friends, and he called her up and is like,

499
00:24:37,559 --> 00:24:40,079
I'm looking for a very straight laced guy who could

500
00:24:40,079 --> 00:24:42,279
still do comedy. And she's like, I've got the perfect

501
00:24:42,319 --> 00:24:45,119
guy for you, because she had just done Fast Times

502
00:24:45,119 --> 00:24:48,839
at Richemont High with Reinhold, right, and So when John

503
00:24:48,880 --> 00:24:51,079
aston gets paired up with Judge Reinhold, they're standing in

504
00:24:51,160 --> 00:24:53,279
the hall, they're talking. They're like, do we do improv

505
00:24:53,359 --> 00:24:55,440
some stuff? Do we stick to the script? What do

506
00:24:55,519 --> 00:24:57,680
we do? And Jude Reinhold is like, do you know

507
00:24:57,799 --> 00:25:00,119
what the movie's about? And John Asten's like, no, I've

508
00:25:00,160 --> 00:25:02,519
only ever gotten this scene. This is the only scene

509
00:25:02,519 --> 00:25:05,000
that I know, right, And so then Jedge Reinhold is like,

510
00:25:05,000 --> 00:25:07,359
oh my gosh, you've got to know, and he tells it.

511
00:25:07,359 --> 00:25:09,759
He goes through the whole plot line of the movie

512
00:25:09,759 --> 00:25:12,240
with him, and John Asks' is like, okay, well let's

513
00:25:12,279 --> 00:25:14,240
just get in there and let's just let's improv of

514
00:25:14,279 --> 00:25:16,400
each other knowing this and see what we can do.

515
00:25:16,480 --> 00:25:17,839
And that's what got them both apart.

516
00:25:18,039 --> 00:25:18,559
Speaker 3: Wow.

517
00:25:19,839 --> 00:25:22,079
Speaker 1: You know it says here that by the time the

518
00:25:22,279 --> 00:25:26,960
average American is fifty, he's got five pounds of undigested

519
00:25:27,000 --> 00:25:30,160
red meat in his bowels. Why are you telling me this?

520
00:25:31,079 --> 00:25:33,039
What makes you think I have any interest in that

521
00:25:33,119 --> 00:25:35,680
at all? Well, you eat a lot of red meat.

522
00:25:35,920 --> 00:25:36,359
I love it.

523
00:25:36,440 --> 00:25:40,319
Speaker 3: Then you have Ronnie Cox, who plays Lieutenant Andrew Bogomil

524
00:25:40,680 --> 00:25:41,480
one last.

525
00:25:41,240 --> 00:25:46,759
Speaker 1: Time, what are you doing? I'm on vacation, vacation. Ronnie

526
00:25:46,759 --> 00:25:49,640
Cox just turned the page on what he was going

527
00:25:49,680 --> 00:25:52,519
to get cast as, because he had come from Deliverance

528
00:25:52,519 --> 00:25:56,319
where he's the victim, you know, with the dislocated arm

529
00:25:56,359 --> 00:25:59,119
over his shoulder and Deliverance, and then he comes in

530
00:25:59,240 --> 00:26:02,480
as the hard and knows chief of police right by

531
00:26:02,599 --> 00:26:05,960
the book, by the book, Yeah, fantastic job. And then

532
00:26:06,039 --> 00:26:07,960
and then of course he goes on to be more

533
00:26:08,119 --> 00:26:11,480
villainous characters as time goes on after this, right.

534
00:26:11,400 --> 00:26:14,720
Speaker 3: I having total recall RoboCop. Yeah, he has a nice

535
00:26:14,720 --> 00:26:17,039
little run himself, you know. Okay, I want to talk

536
00:26:17,079 --> 00:26:20,519
about Paul Riser as Jeffrey Yep, kind of before he

537
00:26:20,599 --> 00:26:24,400
blows up. Sure, yeah, right before Aliens yep, where he

538
00:26:24,440 --> 00:26:27,039
plays Burke on Nelly You're right to the wall Burke

539
00:26:27,240 --> 00:26:29,400
and then Matt about you. I mean, Paul Ryser does

540
00:26:29,599 --> 00:26:30,640
a bunch of stuff in The Lady.

541
00:26:31,079 --> 00:26:34,599
Speaker 1: Yeah. Yeah, and he's a great actor. His his comedy

542
00:26:34,599 --> 00:26:36,640
in this this is Not My Lot.

543
00:26:39,759 --> 00:26:43,599
Speaker 3: You have Jonathan Banks who plays like the second Battie.

544
00:26:43,640 --> 00:26:47,079
He's the man who recks the buffet at the Harrow Club.

545
00:26:47,440 --> 00:26:50,279
Speaker 1: Yeah, he's he's fantastic. He's fantastic as a bad guy,

546
00:26:50,519 --> 00:26:53,799
and he was one of my favorite characters in Breaking Back.

547
00:26:53,839 --> 00:26:56,640
He's Mike and breaking bad and he is phenomenal. Yeah,

548
00:26:56,640 --> 00:26:56,960
that's right.

549
00:26:57,039 --> 00:26:59,200
Speaker 3: Now, let's talk about Bronson Pinchot for a second.

550
00:27:00,240 --> 00:27:04,960
Speaker 2: Summers that mister Ahman Folly is here, just ax ach

551
00:27:05,079 --> 00:27:10,160
Well Axel Folly is here to see her is older Quints.

552
00:27:10,559 --> 00:27:15,200
Speaker 1: So Bronson Pinchot had been in nothing except risky business

553
00:27:15,440 --> 00:27:18,960
as one of Tom Cruise's buddy high school buddies Joel's friends.

554
00:27:19,640 --> 00:27:22,960
Starts the brothel with him, right right, But Marty Brest

555
00:27:22,960 --> 00:27:25,960
knows him somehow. They're talking like in the living room,

556
00:27:26,039 --> 00:27:28,680
you know, of one of their houses or whatever, and

557
00:27:28,960 --> 00:27:31,359
Bronson Pinchot is like, I don't want to play this part,

558
00:27:31,519 --> 00:27:33,559
and and Marty Brest is like, okay, he's good, but

559
00:27:33,839 --> 00:27:35,799
if I did, if I did play this part, right,

560
00:27:36,319 --> 00:27:40,039
He's like, you know how when you walk into like

561
00:27:40,160 --> 00:27:43,519
the retail stores, like there are these guys who just

562
00:27:43,599 --> 00:27:47,000
have this accent and you have no idea what I mean?

563
00:27:47,119 --> 00:27:51,480
Is he French? Is he ISRAELI? Is he rocking? What is?

564
00:27:52,000 --> 00:27:54,319
And he says it and he goes into the accent

565
00:27:54,680 --> 00:27:59,400
of surgeon. Yeah, Marty Brest says, he just falls on

566
00:27:59,440 --> 00:28:02,839
the floor in hysterics at this accent that he's doing,

567
00:28:02,920 --> 00:28:05,759
like he's he can't control his laughter, and then gets

568
00:28:05,799 --> 00:28:09,079
on his knees and says, please, please, you have to

569
00:28:09,119 --> 00:28:12,559
be in my movie as this part and Bronson Pincho's like,

570
00:28:12,599 --> 00:28:15,279
I have a Hollywood director on his knees begging me.

571
00:28:15,599 --> 00:28:17,359
I have to say yes, right right right yeah. And

572
00:28:17,400 --> 00:28:19,599
of course then he takes that accent and makes it

573
00:28:19,640 --> 00:28:21,480
his character in Perfect Strangers.

574
00:28:21,960 --> 00:28:22,680
Speaker 3: Yeah that's right.

575
00:28:22,839 --> 00:28:22,960
Speaker 1: Yea.

576
00:28:23,240 --> 00:28:25,519
Speaker 3: So he doesn't come back in part two, does come

577
00:28:25,559 --> 00:28:26,400
back in part three?

578
00:28:26,920 --> 00:28:28,119
Speaker 1: I have not seen Part three.

579
00:28:28,440 --> 00:28:31,279
Speaker 3: Part three is horrible. He's actually like an arms dealer

580
00:28:31,319 --> 00:28:34,880
in Part three, it's the most stupidest crap.

581
00:28:35,160 --> 00:28:36,119
Speaker 1: Yeah, that's bad.

582
00:28:36,160 --> 00:28:37,480
Speaker 3: Now, I do know that he shows up again in

583
00:28:37,519 --> 00:28:39,720
part four. I saw him in the trailer. Okay, so

584
00:28:40,200 --> 00:28:42,200
we do have surge coming in part four.

585
00:28:42,400 --> 00:28:46,400
Speaker 1: I'm excited. Okay. I like Bronson Pincho's. I watch every

586
00:28:46,400 --> 00:28:47,680
episode of Perfect Strangers.

587
00:28:48,000 --> 00:28:50,319
Speaker 3: Really yeah, okay, good, all right. I want to talk

588
00:28:50,359 --> 00:28:55,160
about briefly. Damon Waynes shows up as Banana man.

589
00:28:55,519 --> 00:28:59,039
Speaker 1: You go and take dam Banana. I can remember seeing

590
00:28:59,119 --> 00:29:02,000
Damon Wayne's on talk show like David Letterman or something

591
00:29:02,039 --> 00:29:04,599
about that, talking about that being his very first part

592
00:29:05,039 --> 00:29:07,720
and how the part was just supposed to be a throwaway,

593
00:29:07,720 --> 00:29:10,960
but he decided to give him the effeminate touch and

594
00:29:11,000 --> 00:29:12,160
that nailed to gut him.

595
00:29:12,160 --> 00:29:15,319
Speaker 3: The part Damon Wayns with hair I don't remember. I

596
00:29:15,359 --> 00:29:17,240
think that's the only time I've ever seen.

597
00:29:17,119 --> 00:29:18,920
Speaker 1: Him with her. Yeah, it was receding, but it was

598
00:29:18,960 --> 00:29:20,319
on its way out. And if you don't know who

599
00:29:20,359 --> 00:29:22,880
Damon Wayns is. He goes on with his brothers to

600
00:29:23,160 --> 00:29:26,960
produce Living Color the series. Yeah, yes, of course put

601
00:29:26,960 --> 00:29:29,000
the end in there. Don't let me get it, don't

602
00:29:29,039 --> 00:29:34,960
don't be okay. So yeah, they do in Living Color

603
00:29:34,960 --> 00:29:38,079
together and he becomes a blank man and major pain

604
00:29:38,240 --> 00:29:40,039
and all this other He's hilarious.

605
00:29:40,279 --> 00:29:43,119
Speaker 3: My Wife and Kids is such a funny show. Yeah, okay,

606
00:29:43,319 --> 00:29:46,279
But I do want to talk to you about Gilbert R.

607
00:29:46,480 --> 00:29:49,359
Speaker 1: Hill. It blew me away when I learned this guy's story.

608
00:29:49,440 --> 00:29:51,559
Speaker 3: This is the guy who plays Inspector Todd.

609
00:29:51,759 --> 00:29:54,480
Speaker 1: As I was watching part two and he was I'm like,

610
00:29:54,559 --> 00:29:57,640
that guy is so freaking good. I can't believe he's

611
00:29:57,640 --> 00:30:00,960
not in more stuff. Like he's such a good gripy

612
00:30:01,200 --> 00:30:04,440
angry police chief. He's the guy that sets the stage

613
00:30:04,519 --> 00:30:06,680
for all other hateful police.

614
00:30:06,480 --> 00:30:08,400
Speaker 3: Chiefs, right, not Effanfolian here.

615
00:30:08,599 --> 00:30:08,880
Speaker 1: Yeah.

616
00:30:09,079 --> 00:30:13,839
Speaker 3: So he was an actual cop, yeah, homicide. He joined

617
00:30:13,839 --> 00:30:16,759
the Detroit Police Department in nineteen fifty nine. By the

618
00:30:16,839 --> 00:30:19,799
eighties he was head of homicide. By nineteen ninety seven

619
00:30:20,000 --> 00:30:22,400
he was the president of the city council. He ran

620
00:30:22,400 --> 00:30:24,960
for mayor. Yeah, in two thousand and one. He lost.

621
00:30:25,160 --> 00:30:28,440
But this guy is like a cop and politician in Detroit.

622
00:30:28,599 --> 00:30:31,160
Speaker 1: Well, And the way he got his part was Marty

623
00:30:31,160 --> 00:30:35,559
Brest was in Detroit scouting out places to shoot, right,

624
00:30:35,720 --> 00:30:37,440
and he's like, of course, we have to go to

625
00:30:37,759 --> 00:30:41,240
the police station to see what a Detroit police station

626
00:30:41,400 --> 00:30:45,559
looks like. And Gilbert Hill is there and he starts

627
00:30:45,599 --> 00:30:49,240
talking to him about his life as a homicide detective.

628
00:30:49,880 --> 00:30:52,559
And as they're talking, he's like, I just love the

629
00:30:52,559 --> 00:30:55,799
way that this guy sounds and speaks. And he says,

630
00:30:56,440 --> 00:30:58,640
would you be interested in reading for the part? And

631
00:30:59,000 --> 00:31:01,000
Gilbert Hill is like, sure, why not?

632
00:31:01,759 --> 00:31:04,799
Speaker 3: I heard him talk about the only major difference between

633
00:31:04,920 --> 00:31:08,240
him his actual self, and Inspector Todd Yeah, is that

634
00:31:08,319 --> 00:31:10,519
he said, I'm not a foul mouthed as Inspector Todd

635
00:31:10,559 --> 00:31:13,319
is he likes to drop the f bom.

636
00:31:13,680 --> 00:31:17,160
Speaker 1: Yeah, it's so freaking good and yeah you as you mentioned,

637
00:31:17,160 --> 00:31:21,039
he has a lot of political success later on, and

638
00:31:21,119 --> 00:31:23,160
he says, I owed it all to that movie. I

639
00:31:23,160 --> 00:31:25,079
wowed all to getting cast in Beverly Hills Cop.

640
00:31:25,240 --> 00:31:27,519
Speaker 3: Yeah. I did want to mention this little nugget. When

641
00:31:27,599 --> 00:31:32,400
Judge Reinhold first met Don Simpson. Yeah, when he like

642
00:31:32,480 --> 00:31:36,200
they're shaking hands, dom Sinson starts to show him all

643
00:31:36,279 --> 00:31:39,440
the semi automatic weapons he's got in his trunk of his.

644
00:31:39,400 --> 00:31:41,880
Speaker 1: Car, trunk of his car, which of course comes up

645
00:31:41,920 --> 00:31:43,599
in I've Heard Ze Cop too.

646
00:31:43,680 --> 00:31:46,559
Speaker 3: That's right, by the way. One other thing on Judge Reinhold, Yeah,

647
00:31:46,599 --> 00:31:49,880
I didn't realize this, but he and Bill Paxton were buddies.

648
00:31:50,079 --> 00:31:52,759
They met on the set of The Lord's of Discipline,

649
00:31:52,799 --> 00:31:55,079
which is an eighty three movie. It's a really good movie.

650
00:31:55,880 --> 00:31:59,559
But they're all dinking around in England because they're bit players,

651
00:32:00,480 --> 00:32:04,400
and so they end up starring in Pat Benattar's video

652
00:32:04,480 --> 00:32:05,559
for Shadows of the Night.

653
00:32:05,799 --> 00:32:11,240
Speaker 1: We're running with the shine on night, so fake my

654
00:32:11,480 --> 00:32:13,680
hand be all right?

655
00:32:14,160 --> 00:32:14,400
Speaker 2: What?

656
00:32:14,640 --> 00:32:16,400
Speaker 3: Just because they're on and off day, they don't have

657
00:32:16,440 --> 00:32:18,000
anything else better to do. You go back and watch

658
00:32:18,079 --> 00:32:21,599
that video. Boom, there's Bill Paxton. Boom, there's Judge rying Hold.

659
00:32:21,839 --> 00:32:24,200
Before anybody had any idea who they were like, oh

660
00:32:24,240 --> 00:32:25,039
that's crazy.

661
00:32:25,279 --> 00:32:26,720
Speaker 1: So wow, that's a good story.

662
00:32:26,799 --> 00:32:28,799
Speaker 3: Yeah, there you go. Okay, I don't know if you

663
00:32:28,839 --> 00:32:32,160
realize this or not, but Marty Brest ends up using

664
00:32:32,319 --> 00:32:36,640
John Ashton in Midnight Run. Oh yeah as the bounty hunter.

665
00:32:36,880 --> 00:32:39,319
We I mean, Midnight Run is a great, I think

666
00:32:39,400 --> 00:32:40,480
underappreciated movie.

667
00:32:40,720 --> 00:32:42,759
Speaker 1: I have not seen the movie. I wanted I try.

668
00:32:42,799 --> 00:32:44,160
I want to try to see it before we got

669
00:32:44,160 --> 00:32:45,680
to the episode, but I did not get a chance

670
00:32:45,720 --> 00:32:47,599
to see it. But I'm so good love it. I

671
00:32:47,640 --> 00:32:50,240
love it. Yeah, and that's another great you know, switch

672
00:32:50,240 --> 00:32:53,599
of the cast because he decides, hey, you remember at

673
00:32:53,599 --> 00:32:56,279
the beginning he was thinking, I can't do this. It

674
00:32:56,400 --> 00:33:00,240
is an action comedy and that's I'm not an action guy.

675
00:33:00,240 --> 00:33:02,359
Well he totally It's like, well I guess I am.

676
00:33:02,839 --> 00:33:05,160
And he does Midnight Run and then he's like a comedy,

677
00:33:05,200 --> 00:33:07,480
who do I get? And Robert de Niro's like, can

678
00:33:07,519 --> 00:33:11,079
I be in your comedy? He's like raging bull taxi driver?

679
00:33:11,160 --> 00:33:13,359
You want to go do comedy. Come on, buddy, let's

680
00:33:13,359 --> 00:33:13,680
do it.

681
00:33:13,680 --> 00:33:14,759
Speaker 3: It is so good.

682
00:33:14,839 --> 00:33:17,640
Speaker 1: Oh that's fan. I love it. Okay. So while they're

683
00:33:17,680 --> 00:33:20,039
making the movie, as I mentioned before, Marty Breast is

684
00:33:20,160 --> 00:33:23,680
very much about character, like, you know, not the action guy,

685
00:33:23,720 --> 00:33:28,319
but the character guy. Sure, and so he the way

686
00:33:28,319 --> 00:33:30,079
he does it, and I love this, you know, because

687
00:33:30,119 --> 00:33:32,960
you have some directors that are like shot after shot,

688
00:33:33,200 --> 00:33:35,559
shot after shot after shot, trying to get it perfect,

689
00:33:35,880 --> 00:33:39,720
and then you've got like Clint Eastwood directors that are like, Okay,

690
00:33:39,759 --> 00:33:41,359
I think we got it on that first one. Let's

691
00:33:41,359 --> 00:33:43,319
move on, and the actors are like, well, cold, you

692
00:33:43,319 --> 00:33:45,440
don't want to do it again? Why you want to

693
00:33:45,480 --> 00:33:49,160
waste everybody's time? Right, So Marty Breast is kind of,

694
00:33:49,400 --> 00:33:52,200
to me like the perfect mixture of that. He will

695
00:33:52,240 --> 00:33:55,119
shoot on script for the first two or three takes

696
00:33:55,640 --> 00:33:58,839
and then he's like okay, now improfit, you know, and

697
00:33:58,880 --> 00:34:02,599
he will take the move it around. And so a lot,

698
00:34:02,759 --> 00:34:06,119
a whole lot of this movie is improved lines which

699
00:34:06,119 --> 00:34:08,800
you would expect from Eddie Murphy, right, I mean, of course,

700
00:34:09,440 --> 00:34:14,320
but also with John Aston and Judge Reinhold, they were

701
00:34:14,360 --> 00:34:16,960
improv and a ton of their stuff, those lines that

702
00:34:17,000 --> 00:34:19,719
we quoted at the beginning of the episode about you know,

703
00:34:19,920 --> 00:34:22,480
red meat and why would I want to hear this? Well? Eat?

704
00:34:22,480 --> 00:34:25,000
A lot of that was the scene in the script

705
00:34:25,199 --> 00:34:28,519
was they wait in car right like that was it,

706
00:34:28,599 --> 00:34:30,519
you know, and so he's like give them something, and

707
00:34:30,800 --> 00:34:34,320
so their scenes by themselves, they would improv. Well, a

708
00:34:34,360 --> 00:34:36,800
lot of what we got was their improv work, including

709
00:34:36,840 --> 00:34:38,840
the I can't climb over the wall scene where they're

710
00:34:38,880 --> 00:34:42,480
on the shoulders. So good, but then when Eddie Murphy

711
00:34:42,519 --> 00:34:45,159
comes in and does scenes with them, their job is

712
00:34:45,239 --> 00:34:48,000
just to react to his improv, right, he They're just

713
00:34:48,239 --> 00:34:51,119
there to riff off of whatever he does. Now, you've

714
00:34:51,159 --> 00:34:53,719
got Ronnie Coxon there, who is I mean, he's the

715
00:34:53,880 --> 00:34:56,280
professional of them, all right, He's been in plenty of

716
00:34:56,360 --> 00:34:58,559
stuff and he's a guy who's used to doing things

717
00:34:58,559 --> 00:35:01,519
on script. But he said it was not even though

718
00:35:01,639 --> 00:35:04,480
Eddie Murphy would riff and go off script and do

719
00:35:04,559 --> 00:35:06,880
all this other stuff, he said he was brilliant about

720
00:35:06,920 --> 00:35:09,239
it because he would do it in such a way

721
00:35:09,280 --> 00:35:11,880
that by the time he was finished with his improv line,

722
00:35:12,440 --> 00:35:15,920
it was a perfect setup for whatever Bogomil's next line

723
00:35:15,960 --> 00:35:17,639
was going to be sure and so he could still

724
00:35:17,679 --> 00:35:20,039
say his scripted line, and he says, so, then I

725
00:35:20,079 --> 00:35:23,920
have this wonderful opportunity. It's like they say, acting is reacting.

726
00:35:24,079 --> 00:35:26,280
I get to just be there and react to this

727
00:35:26,400 --> 00:35:29,000
craziness and then just throw my line in when it's time.

728
00:35:29,159 --> 00:35:31,920
Speaker 3: Yeah, you know the scene the super Cops speech that

729
00:35:32,039 --> 00:35:34,599
Eddie Murphy gives. Yeah, before I knew it, these boys

730
00:35:34,639 --> 00:35:37,880
had foiled the crime. They're not cops, they're super cops.

731
00:35:38,000 --> 00:35:38,760
Speaker 1: Yeah.

732
00:35:38,800 --> 00:35:42,239
Speaker 3: When you watch that scene, John Ashton is like rubbing

733
00:35:42,280 --> 00:35:47,480
his eyes, trying dying to laugh, and he had already

734
00:35:47,480 --> 00:35:50,239
said that we had ruined many a take. And Eddie's

735
00:35:50,519 --> 00:35:52,239
trying to do this and trying to be funny, and

736
00:35:52,239 --> 00:35:54,599
we're trying not to laugh. But he's doing like this.

737
00:35:54,719 --> 00:35:57,559
I mean, it was like Harvey Korman in Carol Burnett Show.

738
00:35:57,599 --> 00:36:01,320
He was just busting up trying not to laugh him Conway, Yes,

739
00:36:01,440 --> 00:36:02,840
you know, so funny.

740
00:36:03,119 --> 00:36:06,280
Speaker 1: Yeah, So in that scene they would do the improv

741
00:36:06,360 --> 00:36:08,800
stuff and then Marty Bress would be like, do it again.

742
00:36:08,840 --> 00:36:11,360
By the way, they also wasted film when Marty Brest

743
00:36:11,400 --> 00:36:13,679
was sitting next to the camera because he would start

744
00:36:13,760 --> 00:36:16,320
laughing so that the camera would shake and they would

745
00:36:16,360 --> 00:36:18,280
have to reshoot the scene again because of him. But

746
00:36:18,599 --> 00:36:21,239
that super Cup scene, like they had been shooting for

747
00:36:21,280 --> 00:36:25,519
a long time in that scene, and Eddie Murphy had

748
00:36:25,559 --> 00:36:28,679
this purity oath that he had taken where he wasn't

749
00:36:28,679 --> 00:36:31,639
going to consume alcohol, wasn't going to consume drugs, wasn't

750
00:36:31,639 --> 00:36:33,960
going to do anything to mess with the purity of

751
00:36:34,000 --> 00:36:36,559
his body while he's shooting this movie right right, Well

752
00:36:36,599 --> 00:36:39,679
that included caffeine. But they'd been shooting this scene for

753
00:36:39,800 --> 00:36:42,519
so long and it was there was so much dead

754
00:36:42,599 --> 00:36:45,719
air that Eddie Murphy was kind of winding down, like

755
00:36:45,800 --> 00:36:48,360
he was worn out. And so they're like, you could

756
00:36:48,440 --> 00:36:51,880
have some coffee, right, and he's like, okay, I'll make

757
00:36:51,920 --> 00:36:54,519
an exception for coffee, but that's it, just coffee. And

758
00:36:54,559 --> 00:36:56,960
he said he just took a couple of little SIPs

759
00:36:57,039 --> 00:36:59,440
of the coffee, but since he had had nothing for

760
00:36:59,480 --> 00:37:03,079
so long, it was like jolt. It was like bang

761
00:37:03,440 --> 00:37:05,760
like that, and that's where you get that scene. So

762
00:37:06,320 --> 00:37:09,039
when you see them and you see Aston like holding

763
00:37:09,079 --> 00:37:12,000
his laugh, holding his nose to keep from laughing out loud,

764
00:37:12,119 --> 00:37:14,000
Judge Reinhold, you can watch him. His hands are in

765
00:37:14,039 --> 00:37:16,599
his pockets, he knows what's coming, like they've done it,

766
00:37:16,840 --> 00:37:19,599
they're retaking it for the fourth time. He is pinching

767
00:37:19,679 --> 00:37:22,360
himself on the leg to keep from laughing, like he's like,

768
00:37:22,360 --> 00:37:25,199
I had bruises on my leg. I was pinching myself

769
00:37:25,239 --> 00:37:28,599
so hard to not laugh in that scene.

770
00:37:28,280 --> 00:37:30,519
Speaker 3: You know, with the scene where they pull up to

771
00:37:30,599 --> 00:37:34,519
the Harrow Club and Marty Breast is like, hey, Eddie,

772
00:37:34,639 --> 00:37:36,679
we got some dead air here. Can you give me something?

773
00:37:37,280 --> 00:37:39,239
And he's like, sure, backs up, pulls up for it.

774
00:37:39,320 --> 00:37:40,800
He's like, hey, can you put this in a good spot.

775
00:37:40,840 --> 00:37:42,800
All this scrap happened the last time I was here.

776
00:37:43,079 --> 00:37:46,159
It's a great line, it's so funny. Gets a laugh. Yeah,

777
00:37:46,199 --> 00:37:48,280
and Eddie just whipped it out of his back pocket.

778
00:37:48,440 --> 00:37:49,519
Speaker 1: Yep, yep. Hey. You know.

779
00:37:49,639 --> 00:37:51,239
Speaker 3: One of the things I forgot to mention when we're

780
00:37:51,239 --> 00:37:54,159
talking about the production when it was still bouncing back

781
00:37:54,199 --> 00:37:56,800
and forth between is an action film as a stallone

782
00:37:56,840 --> 00:37:58,880
film as it a comedy. We're not sure is Eddie

783
00:37:58,960 --> 00:38:02,400
Murphy involved? What about Mickey Rouric. This script was offered

784
00:38:02,440 --> 00:38:05,039
to Martin Scorsese to direct this.

785
00:38:05,239 --> 00:38:07,559
Speaker 1: Oh yeah, right, yeah, can you imagine?

786
00:38:07,599 --> 00:38:09,599
Speaker 3: And he's like, what what what? Do you guys talk

787
00:38:09,599 --> 00:38:11,880
about this is not me? Yeah, so they go to

788
00:38:12,880 --> 00:38:17,079
David Cronenberg. Yeah, how violent a movie could this have been?

789
00:38:17,280 --> 00:38:19,440
I know, like somebody would have eaten their own fingers

790
00:38:19,559 --> 00:38:23,199
or something. But here's the funny thing. Martin Scorsese looked

791
00:38:23,199 --> 00:38:26,159
at the script. He said, this is Coogan's bluff. Oh yeah,

792
00:38:26,159 --> 00:38:29,880
the Clint Eastwood movie, right, like just a cowboy cop

793
00:38:29,960 --> 00:38:32,079
comes into a big city and it's a fish.

794
00:38:31,840 --> 00:38:34,719
Speaker 1: Out of watertail. Yeah. He's like, this has already been done. Yeah,

795
00:38:34,800 --> 00:38:36,719
well sort of, yeah, not exactly.

796
00:38:37,000 --> 00:38:38,800
Speaker 3: By the way, when Eddie Murphy was hired to do

797
00:38:38,840 --> 00:38:41,760
Beverly Hills Cop, he turned down another movie from nineteen

798
00:38:41,760 --> 00:38:43,320
eighty four. Do you remember the movie?

799
00:38:43,360 --> 00:38:46,840
Speaker 1: I absolutely do, because when we came across that nugget

800
00:38:46,840 --> 00:38:51,280
when we did our episode on Ghostbusters, I found out

801
00:38:51,320 --> 00:38:54,119
that Dan Ackroyd had written the Winston part with Eddie

802
00:38:54,199 --> 00:38:57,599
Murphy in mind right, and all of a sudden, all

803
00:38:57,760 --> 00:39:01,119
of the Winston lines are coming to me in Eddie

804
00:39:01,199 --> 00:39:04,599
Murphy's voice, in Eddie Murphy's delivery. I was like, how

805
00:39:04,760 --> 00:39:07,679
I like. My comment was, this movie is on a

806
00:39:07,719 --> 00:39:10,960
top notch level, but it would have moved up if

807
00:39:11,000 --> 00:39:12,920
that of course I don't know, because it was a

808
00:39:12,920 --> 00:39:14,800
Bill Murray vehicle, right, And so what do you do

809
00:39:14,840 --> 00:39:16,199
if you've got both of those guys?

810
00:39:16,559 --> 00:39:19,039
Speaker 3: I don't know, Man, in the alternate universe where I

811
00:39:19,079 --> 00:39:22,079
can go and rent these alternate movies, I do want

812
00:39:22,079 --> 00:39:27,880
to see the Ghostbusters version with Eddie Murphy as Winston. However,

813
00:39:28,119 --> 00:39:31,119
I would not trade the current Beverly Hills cop for

814
00:39:31,119 --> 00:39:34,519
that Ghostbusters movie.

815
00:39:34,760 --> 00:39:37,360
Speaker 1: So he's like, he's got the opportunity to do a

816
00:39:37,480 --> 00:39:41,599
bigger part, more money. He takes that instead of doing Ghostbusters, right,

817
00:39:42,159 --> 00:39:46,920
and turns out it's a success. So Marty Brest's career

818
00:39:47,119 --> 00:39:52,800
is saved in this action right, and the movie opens

819
00:39:52,880 --> 00:39:56,639
up at number one. Yes, the first Eddie Murphy movie

820
00:39:56,719 --> 00:39:58,920
to open it at number one in the box office.

821
00:39:59,440 --> 00:40:02,280
And he would do it six more times after this.

822
00:40:02,519 --> 00:40:04,400
Ooh in a row.

823
00:40:04,760 --> 00:40:05,480
Speaker 3: That's incredible.

824
00:40:05,480 --> 00:40:06,400
Speaker 1: What I'm run man?

825
00:40:06,519 --> 00:40:09,559
Speaker 3: Yeah, So this was released December first, nineteen eighty four.

826
00:40:10,679 --> 00:40:13,840
It's actually considered the biggest movie of nineteen eighty four,

827
00:40:13,920 --> 00:40:15,679
even though I made the majority of its money in

828
00:40:15,719 --> 00:40:20,519
eighty five. And that's saying something because Ghostbusters was a

829
00:40:20,639 --> 00:40:24,480
megaton bomba So I want to throw this at you

830
00:40:24,679 --> 00:40:26,079
just listen to this real quick.

831
00:40:26,280 --> 00:40:26,599
Speaker 1: Okay.

832
00:40:26,719 --> 00:40:29,000
Speaker 3: Here's the list of the top ten movies of nineteen

833
00:40:29,000 --> 00:40:31,760
eighty four. Okay, okay, this is a fun little ride here. Okay,

834
00:40:32,440 --> 00:40:33,679
Beverly Hills Cop number one.

835
00:40:33,760 --> 00:40:35,239
Speaker 1: This is by box office return.

836
00:40:35,119 --> 00:40:37,519
Speaker 3: This is by this is domestic, this is the United States.

837
00:40:37,559 --> 00:40:37,960
Speaker 1: Okay.

838
00:40:38,639 --> 00:40:40,519
Speaker 3: So you've got Beverly Hills Cop number one, you got

839
00:40:40,559 --> 00:40:45,519
Ghostbusters two, you got Indiana Jones and the Temple of Doom, three, Gremlins,

840
00:40:45,800 --> 00:40:50,840
The Karate Kid, Police Academy, Footloose, Romancing in the Stone

841
00:40:50,880 --> 00:40:53,639
Star Trek three Splash, and then you get Purple Rate

842
00:40:53,679 --> 00:40:57,719
at eleven. Okay, wow, all of those lots of fun. Yeah,

843
00:40:57,960 --> 00:41:00,280
and if I can just jump to nineteen eighty seven

844
00:41:00,320 --> 00:41:03,119
for a second, and by comparison, talking about Beverly Hills

845
00:41:03,159 --> 00:41:05,880
Cop two, yeah, a whole lot less fun at the

846
00:41:05,920 --> 00:41:07,679
box office was had nineteen eighty seven.

847
00:41:07,760 --> 00:41:09,000
Speaker 1: Okay, they still did very well.

848
00:41:09,480 --> 00:41:12,760
Speaker 3: Sure, so in nineteen eighty seven, your top movie three

849
00:41:12,760 --> 00:41:20,239
minute a baby Wow, Yeah, wah wah, Number two Fatal Attraction.

850
00:41:21,000 --> 00:41:23,119
Speaker 1: Okay, that's I mean, it is big. Yeah, that's fair.

851
00:41:23,159 --> 00:41:26,760
Speaker 3: Then you have Beverly Hills Cop Part two, Good Morning Vietnam,

852
00:41:26,960 --> 00:41:31,719
great movie, Moonstruck, The in Touchables, great movie, Secret of

853
00:41:31,719 --> 00:41:32,559
My Success.

854
00:41:32,800 --> 00:41:34,360
Speaker 1: I loved it, but I was a huge Michael J.

855
00:41:34,480 --> 00:41:35,920
Speaker 3: Fox stake out.

856
00:41:36,119 --> 00:41:37,000
Speaker 1: You loved it. I love it.

857
00:41:37,119 --> 00:41:40,039
Speaker 3: Yeah, Leath the Weapon we both love absolutely, which is

858
00:41:40,079 --> 00:41:42,800
of east Wick. Yeh, dirty Dancing and Predator.

859
00:41:43,840 --> 00:41:45,239
Speaker 1: Well, not bad.

860
00:41:45,400 --> 00:41:45,920
Speaker 3: It's not bad.

861
00:41:45,960 --> 00:41:48,679
Speaker 1: There's if you compare it to the top ten movies

862
00:41:48,760 --> 00:41:51,880
of twenty twenty three, that's true. Guarantee, it's going to

863
00:41:51,920 --> 00:41:52,960
be nine movies better.

864
00:41:53,039 --> 00:41:55,000
Speaker 3: I'll take eighty seven one.

865
00:41:55,800 --> 00:41:59,360
Speaker 1: So we've were to eighty seven, so that that means

866
00:41:59,400 --> 00:42:02,199
that we're moving on to Beverly Hills Cop Part two.

867
00:42:02,400 --> 00:42:04,679
So that brings us to Beverly Hills Cop to which

868
00:42:04,719 --> 00:42:07,199
we will take up on our next episode.

869
00:42:07,599 --> 00:42:11,199
Speaker 3: We will see you back here next week. No bananas

870
00:42:11,239 --> 00:42:11,840
in thentail.

871
00:42:11,639 --> 00:42:14,000
Speaker 1: Night like, you know what I mean? You know what

872
00:42:14,199 --> 00:42:15,519
banda is in my tailpie

873
00:42:16,239 --> 00:42:17,719
Speaker 3: You're not falling for the ban Tailbi