"Beverly Hills Cop" (1984) vs. "Beverly Hills Cop II" (1987): Part 1

<v Speaker 1>Hey there, Chuck.
<v Speaker 2>Here a longtime listener coming at you from the class
<v Speaker 2>of nineteen eighty six. Welcoming you to the Shirley You
<v Speaker 2>Can't Be Serious Podcast. So brace yourselves as Dean Jason
<v Speaker 2>are about to drop some knowledge, blow your mind, and
<v Speaker 2>maybe even spike the football.
<v Speaker 1>Wow. Now, Jason, it says here, by the time the
<v Speaker 1>average American is fifty, it's got five pounds of undigested
<v Speaker 1>red meat in his bowels.
<v Speaker 3>Why are you telling me this? What makes you think
<v Speaker 3>I have any interest in that at all?
<v Speaker 1>Oh? Have you a lot of red meat? Welcome back
<v Speaker 1>to the Shirley You Can Be Serious Podcast? Everybody? What
<v Speaker 1>season are we in?
<v Speaker 3>You will not believe it? We are starting our fifth season. No,
<v Speaker 3>I am serious because we are doing our fifth season.
<v Speaker 1>Cannot believe it. People listen to the show after five years,
<v Speaker 1>I can't believe it.
<v Speaker 3>Today we are talking about the biggest movie of nineteen
<v Speaker 3>eighty four, the biggest, the biggest, and one of the
<v Speaker 3>biggest movies of nineteen eighty seven, and we're comparing them
<v Speaker 3>against themselves. But they're basically garbon copies of each other.
<v Speaker 1>Yeah, this is one of those episodes, like we typically
<v Speaker 1>we hold off our judgment until the very end. Is
<v Speaker 1>kind of a little teaser for our audience, right, we
<v Speaker 1>want people to want to know which movie we're going
<v Speaker 1>to pick in this one. I'm not going to be
<v Speaker 1>able to keep my opinion to myself during this process.
<v Speaker 1>But as I was watching the second one, the William
<v Speaker 1>Goldman quote kept popping into my head of all sequels
<v Speaker 1>are whores.
<v Speaker 3>So you may love part love Part two.
<v Speaker 1>You may hate Part two. I don't know, you know,
<v Speaker 1>but it will be fun to discuss these two very
<v Speaker 1>similar but also very distinct movies.
<v Speaker 3>Okay, so we're talking about Beverly Hills Cop versus Beverly
<v Speaker 3>Hills Cop Part two. Yeah, we're gonna be doing the
<v Speaker 3>freaking Neutron dance. We're gonna be doing shakedown. It's gonna
<v Speaker 3>be awesome.
<v Speaker 1>Yep, I got my keyboard here. I'm ready to pound
<v Speaker 1>out some Max l F on that note. By the way,
<v Speaker 1>next few episodes after this, we're going to be comparing
<v Speaker 1>the Beverly Hills Cop soundtrack to the Miami Vice soundtrack,
<v Speaker 1>So be sure and hit follow on your podcast app
<v Speaker 1>so that you will catch those episodes. And then we
<v Speaker 1>also need to give a shout out to our executive
<v Speaker 1>producer of this show, Miss Carrie Ahearn. Carrie, thank you
<v Speaker 1>so much. Carrie signed up on our Patreon page to
<v Speaker 1>be one of our patreons. If you would like to
<v Speaker 1>sign up on our Patreon page, you just go to
<v Speaker 1>patreon dot com Surely Podcast and for as little as
<v Speaker 1>five bucks a month, you get access to all of
<v Speaker 1>our one hit wonders and you helped to support the
<v Speaker 1>podcast that Jason and I spend hours and hours on
<v Speaker 1>and we have a lot of fun, but we we
<v Speaker 1>love the appreciation and we love the family that is
<v Speaker 1>our Patreon family.
<v Speaker 3>We create some one hit wonder episodes over there that
<v Speaker 3>we really think are some of our best work.
<v Speaker 1>Absolutely, And we also want to give a shout out
<v Speaker 1>to a listener who contacted us by email, mister Chuck Bryan. Yeah.
<v Speaker 3>I was talking to Chuck and we were emailing back
<v Speaker 3>and forth a little bit and just kind of asked
<v Speaker 3>him how he found us, and it was really fun
<v Speaker 3>to interact with him.
<v Speaker 1>Yeah, he was a big fan of the run DMC
<v Speaker 1>versus Beastie Boys episode. Shout out to our co host
<v Speaker 1>on those episodes, def Dave, but he said he loved
<v Speaker 1>the way that we give the whole treatment. Like, he
<v Speaker 1>didn't have run DMC in his rotation on his playlist,
<v Speaker 1>but after our episode, it became a part of what
<v Speaker 1>he listened to.
<v Speaker 3>That's really cool. We love when we get feedback like that.
<v Speaker 1>Yeah, well, love it all. Right, let's jump into Beverly Hills.
<v Speaker 2>Cop.
<v Speaker 1>Do you want to be the limon twaste? Yeah? Sure,
<v Speaker 1>if it's no bother now, Okay, So, if you have
<v Speaker 1>been a listener of our podcast, you have heard the
<v Speaker 1>story of Don Simpson and Jerry Brookheimer when we did
<v Speaker 1>our Top Gun episode, and you have also heard the
<v Speaker 1>story of Tony Scott when we did our Top Gun episodes.
<v Speaker 1>If you have not listened to those episodes yet, please
<v Speaker 1>go back and listen to them. I mean, it involves
<v Speaker 1>a dead naked doctor in a pool house owned by
<v Speaker 1>Don Simpson as just one of the many stories that
<v Speaker 1>are involved in the making of that movie. And we've
<v Speaker 1>also told the story of Eddie Murphy because we covered
<v Speaker 1>in our very first season, we covered Trading Places versus
<v Speaker 1>coming to America, and so we talked about Eddie and
<v Speaker 1>his journey to become who he was. Trading Places was
<v Speaker 1>one of his first movies with forty eight hours, and
<v Speaker 1>then this one was quick on the heels, right.
<v Speaker 3>I don't want to interrupt your flow here, but Eddie
<v Speaker 3>Murphy's nineteen eighties was amazing.
<v Speaker 1>Yeah.
<v Speaker 3>Now his nineteen nineties is a different story, but just
<v Speaker 3>listen to his eighties. Okay, forty eight hours, Trading Places,
<v Speaker 3>Beverly Hills Cop, The Golden Child, Beverly Hills Cop Part two,
<v Speaker 3>Raw Coming to America, and Harlem Knights.
<v Speaker 1>It's not too bad.
<v Speaker 3>I mean, that's that's smoking right there.
<v Speaker 1>Yeah, And it's the you know when he's in the
<v Speaker 1>hotel and he's talking about the article that he's going
<v Speaker 1>to write, Michael Jackson sitting on Top of the World. Yeah, yeah,
<v Speaker 1>Well Playboy had done an article on Eddie Murphy in
<v Speaker 1>nineteen eighty three called Eddie Murphy on Top of the World.
<v Speaker 1>I'm guessing that that's where he got the idea for
<v Speaker 1>the title, and I'm also guessing that he probably improved
<v Speaker 1>most of that scene. But we'll get to that in
<v Speaker 1>a little bit. Okay, you can go and hear the
<v Speaker 1>stories of Don Simpson, Jerry Brookheimer, Tony Scott, Eddie Murphy
<v Speaker 1>on our past episodes of Top Gun at Trading places
<v Speaker 1>and coming to America. So who have I not told you.
<v Speaker 3>A story about Marty Brest? Martin Brest that is correct. Well,
<v Speaker 3>actually we did talk about him just a touch when.
<v Speaker 1>We did War Games, yes, and that is definitely a
<v Speaker 1>big part of his whole story. But this is a
<v Speaker 1>guy that we haven't really dived deeply into. I haven't
<v Speaker 1>dived dove dove divt. We haven't gone down the Martin
<v Speaker 1>breast hole yet. And this episode will be the one
<v Speaker 1>I'll check that. Yeah. So Marty Brest was raised in
<v Speaker 1>New York, grew up watching The Honeymooners on TV, which
<v Speaker 1>comes into play a little bit later on. Ultimately he
<v Speaker 1>goes to film school and in nineteen seventy two he
<v Speaker 1>does his student film which is called hot Dogs for
<v Speaker 1>Go GOM. All right, yeah, do you know this. I'm
<v Speaker 1>more familiar with Hot Dog of the movie, but keep going. Okay, yes,
<v Speaker 1>I know a little different. So this movie involves this
<v Speaker 1>photographer who is going to blow up the head of
<v Speaker 1>the Statue of Liberty so that he can catch it
<v Speaker 1>on film and become famous. Okay, And it's the loosely
<v Speaker 1>based on the Hindenburg disaster. Right yeah, Okay.
<v Speaker 3>The actor that is playing the part of the photographer
<v Speaker 3>in this movie is an unknown Danny DeVito. What now,
<v Speaker 3>here's the other part. The only three actors in the
<v Speaker 3>movie are Danny DeVito, Martin Brest, who's playing a part
<v Speaker 3>in his own movie, and a young woman named Rea Pearlman.
<v Speaker 3>Stop nineteen seventy two. Danny DeVito and Rea Pearlman didn't
<v Speaker 3>get married to nineteen eighty two. This is probably where
<v Speaker 3>they met is on Marty Brest student film when he
<v Speaker 3>was at the AFI Conservatory. All right, for those of
<v Speaker 3>you don't realize who Rea Pearlman is, she plays Carla
<v Speaker 3>on Cheers. Yes, and was married to Danny DeVito for
<v Speaker 3>a really long time.
<v Speaker 1>Yeah really, I think they separated in maybe twenty seventeen,
<v Speaker 1>not too long ago. Yeah. He does another film, just
<v Speaker 1>another kind of low budget student type film called Hot
<v Speaker 1>Tomorrows in nineteen seventy seven, right after he graduates with
<v Speaker 1>his MFA from the AFI Conservatory. And interestingly, that same year,
<v Speaker 1>Michael Eisner hits up this writer named Danillo Bach about
<v Speaker 1>doing this movie that he's had an idea for. Now
<v Speaker 1>there's a little bit of you know, where did the
<v Speaker 1>story really come from? Right? So don Simpson says the
<v Speaker 1>Beverly Hills cop story idea originated from when I was
<v Speaker 1>driving my old Beater car in Beverly Hills and I
<v Speaker 1>got pulled over by the Beverly Hills p D and
<v Speaker 1>they kind of hassled me, And I thought, well, what
<v Speaker 1>if a cop came in here and he just happened
<v Speaker 1>to be in a beat up car. So that's part
<v Speaker 1>one of maybe the origin story. And then the other
<v Speaker 1>one is Michael Eisner, and he actually was living in
<v Speaker 1>Beverly Hills at that point and was a big wig
<v Speaker 1>in Paramount and he his home had gotten broke into.
<v Speaker 1>He and his wife had a home invasion, and the
<v Speaker 1>Beverly Hills PD were like, on, like, We're in the
<v Speaker 1>door within like three minutes. Like it was ridiculous how
<v Speaker 1>fast they got there. Right, So a little bit of
<v Speaker 1>apprehension at outsiders and a really really dedicated team to
<v Speaker 1>its citizens. Right.
<v Speaker 3>So here's the thing I heard this story as well.
<v Speaker 3>I don't believe Don Simpson for one second, right, Don Simpson,
<v Speaker 3>because I heard him also say that he and Bruckheimer
<v Speaker 3>went into Eisner's office and they were reading upside down
<v Speaker 3>the scripts on top of the desk.
<v Speaker 1>It's the same story with it was Jeffrey Katzenberg instead
<v Speaker 1>of okay, okay, yeah, yeah, Katsburg and yes they saw it.
<v Speaker 1>But what he said, what his statement was, Hey, that's
<v Speaker 1>my story, that's our script. We should be the ones
<v Speaker 1>that are producing that. And Katzenberg was like, well, okay,
<v Speaker 1>go do it, yeah, take it right. So hey, I'm sorry.
<v Speaker 3>One more thing I wanted to mention to you before
<v Speaker 3>we got off With Marty Brest. He actually appears in
<v Speaker 3>Beverly Hills cop Okay. He is the hotel clerk at
<v Speaker 3>the very end when Axel Folly is got his arm
<v Speaker 3>in as sling and he's like, excuse me, sir, do
<v Speaker 3>you sell those Beverly Hills robes? I guess are? Those
<v Speaker 3>are ninety five dollars each. He's a money is no object.
<v Speaker 3>I'll take this one was for you, Billy. That's Marty Brest.
<v Speaker 1>Well perfect And if you okay now that you know that,
<v Speaker 1>when you guys, when our audience when they go back
<v Speaker 1>and watch the film, look at that guy, and then
<v Speaker 1>go back and look at the statue in the art
<v Speaker 1>gallery when actual Foley first comes in, there's this weird
<v Speaker 1>table where these heads are spinning around on a table. Yeah,
<v Speaker 1>may Or d is like standing up and he's got
<v Speaker 1>a chain around his neck. Yes, he also looks exactly
<v Speaker 1>like Marty. So anyway, Don Simpson and Jerry Bruckheimer have
<v Speaker 1>got this script there trying to get it done. They
<v Speaker 1>actually see Eddie Murphy at some point on the studio
<v Speaker 1>a lot and they talk to him about this and
<v Speaker 1>he's like, I would love to do that movie. Now.
<v Speaker 1>Of course, this is the movie comes out in eighty four,
<v Speaker 1>so this had to be happening around eighty one eighty two.
<v Speaker 1>I mean, Eddie Murphy is still doing Saturday Night Live. Sure,
<v Speaker 1>maybe he's gotten started doing forty eight Hours or Trading
<v Speaker 1>Places or something like that, but he's still pretty much
<v Speaker 1>a new actor on the scene, right. But they love
<v Speaker 1>the idea of Eddie Murphy being this out of town
<v Speaker 1>who comes to Beverly Hills.
<v Speaker 3>So here's the thing. Dan Boch, when he wrote the
<v Speaker 3>script originally he had in his mind guys like Al Pacino,
<v Speaker 3>James Kahn, Clint Eastwood.
<v Speaker 1>Yeah, I mean started writing it in seventy seven, so
<v Speaker 1>at that point those were the guys who would you
<v Speaker 1>would pick for something like that.
<v Speaker 3>Well, and then get this name, Richard Pryor.
<v Speaker 1>Now that one's that's a little different.
<v Speaker 3>That's interesting, right, right.
<v Speaker 1>Well, ultimately by this time they get the script to
<v Speaker 1>another guy because they're thinking, hey, we want to add
<v Speaker 1>some comedy to this thing. The one that Bach had
<v Speaker 1>written was a very straight piece. They've got Eddie Murphy
<v Speaker 1>that they think is going to be a part of this,
<v Speaker 1>so they think, well, we've got to put some humor
<v Speaker 1>in this. So they get another guy named Daniel Petrie.
<v Speaker 1>He hadn't done much at that point, but he was
<v Speaker 1>a guy who's a little bit better at comedy writing,
<v Speaker 1>and he later would do several of these kind of movies.
<v Speaker 1>Did Turner and Hoots later on too? Yeah? Yeah, okay.
<v Speaker 1>So during this time also Marty Brest is trying to
<v Speaker 1>get work as a director, right, actually directs Saturday Night
<v Speaker 1>Live episode in nineteen eighty he, as I said, did
<v Speaker 1>the Hot Tomorrow's. But in seventy nine he did this
<v Speaker 1>movie called Going in Style. Have you seen this thing? No? Okay,
<v Speaker 1>So it's got George Burns, it's got Lee Strasburg, who
<v Speaker 1>we talked about, remember, talked about both in our Godfather
<v Speaker 1>to episode and more recently when we did our our
<v Speaker 1>Five Minutes of Fire episodes. He was the teacher of
<v Speaker 1>Jim James Dean. Yeah, Marlon Brando disowned him, but James
<v Speaker 1>Dean said, yes, Strasburg was my teacher, right. So it's
<v Speaker 1>got George Burns, it's got Lee Strasburg, and it's got
<v Speaker 1>Ed Norton from The Honeymooners, And it's about these old
<v Speaker 1>guys who sit around in the park and suddenly decide,
<v Speaker 1>I'm tired of just sitting here listening to these crappy kids.
<v Speaker 1>I want to go do something adventurous. And they decide
<v Speaker 1>to go rob a bank. I'm pretty sure I've seen
<v Speaker 1>this movie. I think I saw it when I was
<v Speaker 1>a little kid. I was a big George Burns fan.
<v Speaker 1>But their plan is to put on the Groucho Marx
<v Speaker 1>glasses and that's going to be their disguise. Okay, yeah,
<v Speaker 1>And George Burns puts it on at something at some point,
<v Speaker 1>and Lee Strasburg's just like, Roy, what are you doing?
<v Speaker 1>He's like, dang, so you can recognize me. So anyway,
<v Speaker 1>he's done this and then he gets his big break.
<v Speaker 1>He gets tapped to direct Matthew Broderick's big new movie
<v Speaker 1>that they've been working hard on called Wargames right right,
<v Speaker 1>damn it, I pissed on his park plug. If I
<v Speaker 1>thought it's doing it good, let the boy in there.
<v Speaker 3>Major.
<v Speaker 1>Well, he gets going on that. He spends a couple
<v Speaker 1>of years developing this thing, right, and then while they're
<v Speaker 1>in the midst of shooting, like he's shot multiple scenes
<v Speaker 1>and weeks with Matthew Broderick and with Ali Sheety and
<v Speaker 1>we kind of talked about this in the Wargames episode,
<v Speaker 1>all of a sudden he gets fired, right, just kind
<v Speaker 1>of out of the blue, kind of out of the blue,
<v Speaker 1>like he was having disagreements with one of the producers
<v Speaker 1>and he got fired. He had to take the kids
<v Speaker 1>aside and say, listen, guys, I'm afraid I don't think
<v Speaker 1>I'm gonna be your director anymore. And like they were
<v Speaker 1>in tears. They didn't know how to react when John
<v Speaker 1>Batham came in, but we didn't really delve into what
<v Speaker 1>happened there. So he had gotten fired, which of listening
<v Speaker 1>to him talk, he's upset about, like he's like, this
<v Speaker 1>doesn't happen in Hollywood. I've had my first big movie
<v Speaker 1>opportunity and I got fired, And what that means is
<v Speaker 1>I'm probably never going to direct another movie again, and
<v Speaker 1>so I've just spent the last ten years of my
<v Speaker 1>life preparing for something that I'm not going to be
<v Speaker 1>able to do. It was so bad. He would be
<v Speaker 1>walking along the sidewalk. He would see somebody he knew
<v Speaker 1>walking the other direction toward him, thinking that he hadn't
<v Speaker 1>seen them, and get on the other side of the
<v Speaker 1>street so they didn't have to talk to him. OU
<v Speaker 1>really bad shape, right, right, And so he's down to
<v Speaker 1>five hundred dollars oh his rent is four hundred and
<v Speaker 1>fifty dollars oh Man and Jerry Bruckheimer is calling him
<v Speaker 1>up saying I want you to direct this movie. And
<v Speaker 1>so of course he says no, right what No? He
<v Speaker 1>said no?
<v Speaker 3>He said no, like multiple times he said no.
<v Speaker 1>And over They're like, we love your work, we want
<v Speaker 1>you to come do this. He's like, this is not
<v Speaker 1>the kind of director. I don't do action movies. I
<v Speaker 1>don't know how to do action movies. I'm not the
<v Speaker 1>right guy for you. Like his focus is character development, right,
<v Speaker 1>he is like a channeling and actor through the actor. Right.
<v Speaker 1>He is a guy who is focused on character, not
<v Speaker 1>on action. And so he thought he was ill equipped
<v Speaker 1>for it, and so literally he's he doesn't know what
<v Speaker 1>he's going to do. After he pays his rent and
<v Speaker 1>is down to fifty bucks and they're calling him again
<v Speaker 1>and he's saying no, no, and they're on the phone pressuring.
<v Speaker 1>He's like, I'm not gonna get Jerry's like, I'm not
<v Speaker 1>getting off the phone with you until you say yes,
<v Speaker 1>and he's like, hold on. And Jerry has no idea
<v Speaker 1>what he's doing. You know, he's doing flipping a coin.
<v Speaker 1>He flipped a coin. He said to himself, heads, I
<v Speaker 1>do it, tails, I don't do it. Flip the coin.
<v Speaker 1>It was heads, uh huh. He said, okay, I'll do it.
<v Speaker 1>I don't even know how you, as a director who
<v Speaker 1>realizes that your career is probably over, can say no
<v Speaker 1>to Eddie Murphy, Jerry Brookhimer, and Donald Simpson in this time.
<v Speaker 3>How could you?
<v Speaker 1>It's a paramount movie.
<v Speaker 3>How could you turn down anything? At that point, Hey,
<v Speaker 3>Cinemax wants you to make an after dark movie. Whatever, dude,
<v Speaker 3>sounds good, you know.
<v Speaker 1>Yeah, exactly. Now a couple of other players come in
<v Speaker 1>at this point. We've got Mickey Rourke and we've got
<v Speaker 1>Sylvester Stallone, Right, what do you can tell me?
<v Speaker 3>Well, so here's the deal. So they were worried about
<v Speaker 3>whether Eddie Murphy could carry a lead role in a movie, right,
<v Speaker 3>and they were looking for somebody who could play that
<v Speaker 3>sort of Detroit guy. Again. At this time, they're still
<v Speaker 3>deciding is this an straight action movie, is this a comedy?
<v Speaker 3>Is this a mixture? Well, after they see Diner, they
<v Speaker 3>are introduced to Mickey Rourke.
<v Speaker 1>Right.
<v Speaker 3>The story is is that Don Simpson cut his picture
<v Speaker 3>out of like a newspaper and holds it up and says,
<v Speaker 3>isn't this guy great? Like Mickey Rourke's face?
<v Speaker 1>Right?
<v Speaker 3>Of course, this is way before he injects it with
<v Speaker 3>a billion things of botox.
<v Speaker 1>And whatever hgh will change the face.
<v Speaker 3>But I mean, so Mickey Rourke was we talked about
<v Speaker 3>him in Rubblefish, right, Yeah, so this is right after
<v Speaker 3>rum Fish.
<v Speaker 1>My sister in law taught him how to drive a motor.
<v Speaker 3>That's right, that's right, And so they they sign him
<v Speaker 3>to a like a hold contract. So they're like, hey,
<v Speaker 3>Mickey Rourke, we want you for this movie. It's not
<v Speaker 3>quite ready for you, we're not ready to shoot yet,
<v Speaker 3>but we want to pay you.
<v Speaker 1>Four hundred thousand dollars bucks to hold. Just don't make
<v Speaker 1>a movie.
<v Speaker 3>Right, just sit there and pay. We're gonna pay you
<v Speaker 3>to sit on your butt. Well, time goes on and
<v Speaker 3>that contract expires.
<v Speaker 1>Yeah, Daniel Petrie was reworking in the script at this point.
<v Speaker 1>They were expecting him to be done, and he didn't
<v Speaker 1>get done.
<v Speaker 3>So here's the interesting thing to me when I think
<v Speaker 3>about Mickey Rourke being in this picture, or the guy
<v Speaker 3>we're going to talk about next, When you look at
<v Speaker 3>the actor that they cast to be Michael Tandino, I
<v Speaker 3>don't buy him an Axel Foley as childhood bros.
<v Speaker 1>No.
<v Speaker 3>Are they both good actors and talented people, Of course
<v Speaker 3>they are, But I see that guy who played Michael
<v Speaker 3>Tandino and Mickey Rourke a lot better together.
<v Speaker 1>They look like they could be brothers. Right.
<v Speaker 3>So so anyway, there are some leftover pieces from the
<v Speaker 3>casting process, which we'll talk about in a minute. So
<v Speaker 3>Mickey Rourke's contract expires, he leaves. Okay, now they're going
<v Speaker 3>to go full court press after Eddie Murphy right well
<v Speaker 3>behind Simpson and Bruckheimer's back. The studio offered the picture
<v Speaker 3>to Sylvester Stallone, and they thought, there's no way he's
<v Speaker 3>going to do this. Comedy's not his.
<v Speaker 1>Thing, right, So he says, yes, he wants to change
<v Speaker 1>the name from Axel Foley to Axel Colbretti.
<v Speaker 3>Yes, and we actually get Cobretty a couple of years later,
<v Speaker 3>known as the movie Cobra.
<v Speaker 1>Yeah. So what Sylvester Stallone did was he takes the
<v Speaker 1>script and he's like, let me work with this. He
<v Speaker 1>wasn't really into the comedy part of things, and he
<v Speaker 1>tried to rework the Axual dialogue to sound more like
<v Speaker 1>he talked, and he injected it full of action sequences
<v Speaker 1>because that's his bread and butter, right, sure, And so
<v Speaker 1>what their initial budget for the movie was was fourteen
<v Speaker 1>million dollars. By the time they got Sylvester Stallone script back,
<v Speaker 1>it's a twenty million dollar or more script. And keep
<v Speaker 1>in mind, Simpson and Bruckheimer don't want him anyway, right,
<v Speaker 1>they want Eddie Murphy. Right.
<v Speaker 3>So here's the interesting thing. One of the final climax
<v Speaker 3>sequences is Stallone as Axual Cobretti in a Lamborghini going
<v Speaker 3>head to head with a locomotive like a like a train,
<v Speaker 3>some sort of train sequence. Okay, and they're like a
<v Speaker 3>Lamborghini and a train. We can't afford this? What right,
<v Speaker 3>we can't afford the Lamborghini right right?
<v Speaker 1>Well, I mean it's paramount. They could have afforded it
<v Speaker 1>if they wanted to. But Simpson and Bruckheimer are like, guys,
<v Speaker 1>you don't want to risk this much money right on
<v Speaker 1>an unknown concept. Here, go back to the fourteen million
<v Speaker 1>save yourself. All you have to do is go to
<v Speaker 1>Stallone and say, I'm sorry, we're only going to give
<v Speaker 1>you fourteen million dollars to make this movie. And he'll bail.
<v Speaker 1>And they're like, we don't want him to bail. And
<v Speaker 1>they're like, well do it. And so Barry Diller, one
<v Speaker 1>of the producers, he goes, He looks at the windows.
<v Speaker 1>He's like, tell Stallone that we're not gonna do it
<v Speaker 1>with him, and they and Stallone is out. Now.
<v Speaker 3>I did hear that there was a kind of a
<v Speaker 3>behind the scenes story where there wasn't any orange juice
<v Speaker 3>in Stallone's dressing room.
<v Speaker 1>I heard that too.
<v Speaker 3>And he lost his mind.
<v Speaker 1>Yeah, I know, I get the impression that Stallone may
<v Speaker 1>be a bit of a prima donna.
<v Speaker 3>Well hold that thought, because Eddie Murphy goes full blown
<v Speaker 3>Prima Donna in part two.
<v Speaker 1>So right, right, So ultimately Stallone is out, Eddie Murphy
<v Speaker 1>is in. And basically what they did with Stallone is
<v Speaker 1>they said, whatever elements that you put into the script
<v Speaker 1>that you have, you obviously can keep those, We're not
<v Speaker 1>going to use those. And so that's how we get
<v Speaker 1>the movie Cobra.
<v Speaker 3>Cobra starring Semester Stallone and Bridget Nielsen. Yes, good disease
<v Speaker 3>on the Cure, which I mean she shows her face
<v Speaker 3>here in just a little bit.
<v Speaker 1>So Eddie Murphy's back in. They've got a comedy script
<v Speaker 1>and they've got a director. Now they just have to
<v Speaker 1>cast the rest of the.
<v Speaker 3>Movie, right, Okay, so let's talk about the cast. Okay, Yes,
<v Speaker 3>For people who didn't grow up in the eighties, I
<v Speaker 3>don't think it's really possible to explain how big of
<v Speaker 3>a superstar Eddie Murphy was at this moment in time.
<v Speaker 1>Trading Places had come out in eighty three, summer of
<v Speaker 1>eighty three. Sure, forty eight Hours had come out eighty two,
<v Speaker 1>so he had had two successful movies back.
<v Speaker 3>To back, well plus Saturday Night Live.
<v Speaker 1>Right obviously that, yes, he's in a better position than
<v Speaker 1>Bruce Willis was when he signed up for Diehard. No
<v Speaker 1>doubt he's he's looking pretty at this point, twenty.
<v Speaker 3>Four years old.
<v Speaker 1>When he does Beverly Hills Cop twenty four, that would
<v Speaker 1>be so crazy. You know, this is the cleanest and
<v Speaker 1>nicest police car I've ever been in my life.
<v Speaker 3>This things nice to my parder. And so we'll talk
<v Speaker 3>about the results of this movie here in a little bit.
<v Speaker 3>But basically, once Beverly Hills Cop is released, Eddie Murphy's
<v Speaker 3>probably the second most famous person in the world.
<v Speaker 1>On top of the world.
<v Speaker 3>Michael Jackson's probably number one at this moment, right, So
<v Speaker 3>Eddie Murphy goes super sonic after this movie. Yeah, So
<v Speaker 3>let's talk about through the cast here. So Lisa Albacher
<v Speaker 3>plays Janette Yep.
<v Speaker 1>Is this your car?
<v Speaker 2>Oh No? In Beverly Hills, we just take whichever cars clubs.
<v Speaker 3>I know her as seeger or Cigar from Officer and
<v Speaker 3>a Gentleman.
<v Speaker 1>Never seen the movie.
<v Speaker 3>She so, yeah, she plays one of the cadets in Gentlemen.
<v Speaker 3>She's great. I think she looks wonderful in this movie.
<v Speaker 3>She's not a standard beauty.
<v Speaker 1>She said. They spent two days doing and redoing her
<v Speaker 1>hair to get the right hair, and you go back
<v Speaker 1>and look at that and you're like, oh, that's the
<v Speaker 1>style of ladies.
<v Speaker 3>Frosted fluffy.
<v Speaker 1>Look. She was actually hired to be Stallone's love interests. Yeah, yeah,
<v Speaker 1>because Stallone had changed that part. It was initially supposed
<v Speaker 1>to be a platonic relationship and then Stallone changed it
<v Speaker 1>to be a love interest. Yes.
<v Speaker 3>You also have in this movie have Stephen Berkhoff as
<v Speaker 3>Victor Maitland.
<v Speaker 1>Yeah.
<v Speaker 2>My advice to you is crawl back to your little
<v Speaker 2>stone in Detroit before you get squashed.
<v Speaker 3>Okay, this guy played a awesome bad guy in the eighties.
<v Speaker 1>He's like, he's like the precursor to Hans Kruber, Right,
<v Speaker 1>he really is. Yeah, he's got that cold European disdain
<v Speaker 1>that you just loathe him. It's fantastic.
<v Speaker 3>It is so Listen to this run that he has
<v Speaker 3>in the eighties. Okay, he does Octopusy in eighty three,
<v Speaker 3>he does Beverly Hills cop in eighty four, he does
<v Speaker 3>Rambo in eighty five, he does Under the Cherry Moon
<v Speaker 3>in eighty six.
<v Speaker 1>Oh my god, he.
<v Speaker 3>Becomes Prince's bad guy. Okay, now then when they're hiring,
<v Speaker 3>they need they need Rosewood and they need Taggarts.
<v Speaker 1>Yeah, we're more likely to believe an important local businessman
<v Speaker 1>than a foul mouth jerk from out of town. Foul mouth,
<v Speaker 1>you man.
<v Speaker 3>They audition a bunch of different guys and they're looking
<v Speaker 3>for that right combination.
<v Speaker 1>Yeah. Now keep in mind Marty Breast is in this,
<v Speaker 1>and Marty Brest grew up on the Honeymooners. Right. He said,
<v Speaker 1>I also loved Laurel and Hardy, Like you've got this
<v Speaker 1>combination that they antagonize each other, right, John Aston said
<v Speaker 1>he had. It was his fifth callback. Like he was like,
<v Speaker 1>they keep calling me back and with a different actor,
<v Speaker 1>and with a different actor, and with a different actor.
<v Speaker 1>On the fifth callback, I come in and they put
<v Speaker 1>me with this kid, Judge Reinhold. Right now. By the way,
<v Speaker 1>Judge Reinhold came from Amy Heckerling. Marty Brest and Amy
<v Speaker 1>Heckerling were friends, and he called her up and is like,
<v Speaker 1>I'm looking for a very straight laced guy who could
<v Speaker 1>still do comedy. And she's like, I've got the perfect
<v Speaker 1>guy for you, because she had just done Fast Times
<v Speaker 1>at Richemont High with Reinhold, right, and So when John
<v Speaker 1>aston gets paired up with Judge Reinhold, they're standing in
<v Speaker 1>the hall, they're talking. They're like, do we do improv
<v Speaker 1>some stuff? Do we stick to the script? What do
<v Speaker 1>we do? And Jude Reinhold is like, do you know
<v Speaker 1>what the movie's about? And John Asten's like, no, I've
<v Speaker 1>only ever gotten this scene. This is the only scene
<v Speaker 1>that I know, right, And so then Jedge Reinhold is like,
<v Speaker 1>oh my gosh, you've got to know, and he tells it.
<v Speaker 1>He goes through the whole plot line of the movie
<v Speaker 1>with him, and John Asks' is like, okay, well let's
<v Speaker 1>just get in there and let's just let's improv of
<v Speaker 1>each other knowing this and see what we can do.
<v Speaker 1>And that's what got them both apart.
<v Speaker 3>Wow.
<v Speaker 1>You know it says here that by the time the
<v Speaker 1>average American is fifty, he's got five pounds of undigested
<v Speaker 1>red meat in his bowels. Why are you telling me this?
<v Speaker 1>What makes you think I have any interest in that
<v Speaker 1>at all? Well, you eat a lot of red meat.
<v Speaker 1>I love it.
<v Speaker 3>Then you have Ronnie Cox, who plays Lieutenant Andrew Bogomil
<v Speaker 3>one last.
<v Speaker 1>Time, what are you doing? I'm on vacation, vacation. Ronnie
<v Speaker 1>Cox just turned the page on what he was going
<v Speaker 1>to get cast as, because he had come from Deliverance
<v Speaker 1>where he's the victim, you know, with the dislocated arm
<v Speaker 1>over his shoulder and Deliverance, and then he comes in
<v Speaker 1>as the hard and knows chief of police right by
<v Speaker 1>the book, by the book, Yeah, fantastic job. And then
<v Speaker 1>and then of course he goes on to be more
<v Speaker 1>villainous characters as time goes on after this, right.
<v Speaker 3>I having total recall RoboCop. Yeah, he has a nice
<v Speaker 3>little run himself, you know. Okay, I want to talk
<v Speaker 3>about Paul Riser as Jeffrey Yep, kind of before he
<v Speaker 3>blows up. Sure, yeah, right before Aliens yep, where he
<v Speaker 3>plays Burke on Nelly You're right to the wall Burke
<v Speaker 3>and then Matt about you. I mean, Paul Ryser does
<v Speaker 3>a bunch of stuff in The Lady.
<v Speaker 1>Yeah. Yeah, and he's a great actor. His his comedy
<v Speaker 1>in this this is Not My Lot.
<v Speaker 3>You have Jonathan Banks who plays like the second Battie.
<v Speaker 3>He's the man who recks the buffet at the Harrow Club.
<v Speaker 1>Yeah, he's he's fantastic. He's fantastic as a bad guy,
<v Speaker 1>and he was one of my favorite characters in Breaking Back.
<v Speaker 1>He's Mike and breaking bad and he is phenomenal. Yeah,
<v Speaker 1>that's right.
<v Speaker 3>Now, let's talk about Bronson Pinchot for a second.
<v Speaker 2>Summers that mister Ahman Folly is here, just ax ach
<v Speaker 2>Well Axel Folly is here to see her is older Quints.
<v Speaker 1>So Bronson Pinchot had been in nothing except risky business
<v Speaker 1>as one of Tom Cruise's buddy high school buddies Joel's friends.
<v Speaker 1>Starts the brothel with him, right right, But Marty Brest
<v Speaker 1>knows him somehow. They're talking like in the living room,
<v Speaker 1>you know, of one of their houses or whatever, and
<v Speaker 1>Bronson Pinchot is like, I don't want to play this part,
<v Speaker 1>and and Marty Brest is like, okay, he's good, but
<v Speaker 1>if I did, if I did play this part, right,
<v Speaker 1>He's like, you know how when you walk into like
<v Speaker 1>the retail stores, like there are these guys who just
<v Speaker 1>have this accent and you have no idea what I mean?
<v Speaker 1>Is he French? Is he ISRAELI? Is he rocking? What is?
<v Speaker 1>And he says it and he goes into the accent
<v Speaker 1>of surgeon. Yeah, Marty Brest says, he just falls on
<v Speaker 1>the floor in hysterics at this accent that he's doing,
<v Speaker 1>like he's he can't control his laughter, and then gets
<v Speaker 1>on his knees and says, please, please, you have to
<v Speaker 1>be in my movie as this part and Bronson Pincho's like,
<v Speaker 1>I have a Hollywood director on his knees begging me.
<v Speaker 1>I have to say yes, right right right yeah. And
<v Speaker 1>of course then he takes that accent and makes it
<v Speaker 1>his character in Perfect Strangers.
<v Speaker 3>Yeah that's right.
<v Speaker 1>Yea.
<v Speaker 3>So he doesn't come back in part two, does come
<v Speaker 3>back in part three?
<v Speaker 1>I have not seen Part three.
<v Speaker 3>Part three is horrible. He's actually like an arms dealer
<v Speaker 3>in Part three, it's the most stupidest crap.
<v Speaker 1>Yeah, that's bad.
<v Speaker 3>Now, I do know that he shows up again in
<v Speaker 3>part four. I saw him in the trailer. Okay, so
<v Speaker 3>we do have surge coming in part four.
<v Speaker 1>I'm excited. Okay. I like Bronson Pincho's. I watch every
<v Speaker 1>episode of Perfect Strangers.
<v Speaker 3>Really yeah, okay, good, all right. I want to talk
<v Speaker 3>about briefly. Damon Waynes shows up as Banana man.
<v Speaker 1>You go and take dam Banana. I can remember seeing
<v Speaker 1>Damon Wayne's on talk show like David Letterman or something
<v Speaker 1>about that, talking about that being his very first part
<v Speaker 1>and how the part was just supposed to be a throwaway,
<v Speaker 1>but he decided to give him the effeminate touch and
<v Speaker 1>that nailed to gut him.
<v Speaker 3>The part Damon Wayns with hair I don't remember. I
<v Speaker 3>think that's the only time I've ever seen.
<v Speaker 1>Him with her. Yeah, it was receding, but it was
<v Speaker 1>on its way out. And if you don't know who
<v Speaker 1>Damon Wayns is. He goes on with his brothers to
<v Speaker 1>produce Living Color the series. Yeah, yes, of course put
<v Speaker 1>the end in there. Don't let me get it, don't
<v Speaker 1>don't be okay. So yeah, they do in Living Color
<v Speaker 1>together and he becomes a blank man and major pain
<v Speaker 1>and all this other He's hilarious.
<v Speaker 3>My Wife and Kids is such a funny show. Yeah, okay,
<v Speaker 3>But I do want to talk to you about Gilbert R.
<v Speaker 1>Hill. It blew me away when I learned this guy's story.
<v Speaker 3>This is the guy who plays Inspector Todd.
<v Speaker 1>As I was watching part two and he was I'm like,
<v Speaker 1>that guy is so freaking good. I can't believe he's
<v Speaker 1>not in more stuff. Like he's such a good gripy
<v Speaker 1>angry police chief. He's the guy that sets the stage
<v Speaker 1>for all other hateful police.
<v Speaker 3>Chiefs, right, not Effanfolian here.
<v Speaker 1>Yeah.
<v Speaker 3>So he was an actual cop, yeah, homicide. He joined
<v Speaker 3>the Detroit Police Department in nineteen fifty nine. By the
<v Speaker 3>eighties he was head of homicide. By nineteen ninety seven
<v Speaker 3>he was the president of the city council. He ran
<v Speaker 3>for mayor. Yeah, in two thousand and one. He lost.
<v Speaker 3>But this guy is like a cop and politician in Detroit.
<v Speaker 1>Well, And the way he got his part was Marty
<v Speaker 1>Brest was in Detroit scouting out places to shoot, right,
<v Speaker 1>and he's like, of course, we have to go to
<v Speaker 1>the police station to see what a Detroit police station
<v Speaker 1>looks like. And Gilbert Hill is there and he starts
<v Speaker 1>talking to him about his life as a homicide detective.
<v Speaker 1>And as they're talking, he's like, I just love the
<v Speaker 1>way that this guy sounds and speaks. And he says,
<v Speaker 1>would you be interested in reading for the part? And
<v Speaker 1>Gilbert Hill is like, sure, why not?
<v Speaker 3>I heard him talk about the only major difference between
<v Speaker 3>him his actual self, and Inspector Todd Yeah, is that
<v Speaker 3>he said, I'm not a foul mouthed as Inspector Todd
<v Speaker 3>is he likes to drop the f bom.
<v Speaker 1>Yeah, it's so freaking good and yeah you as you mentioned,
<v Speaker 1>he has a lot of political success later on, and
<v Speaker 1>he says, I owed it all to that movie. I
<v Speaker 1>wowed all to getting cast in Beverly Hills Cop.
<v Speaker 3>Yeah. I did want to mention this little nugget. When
<v Speaker 3>Judge Reinhold first met Don Simpson. Yeah, when he like
<v Speaker 3>they're shaking hands, dom Sinson starts to show him all
<v Speaker 3>the semi automatic weapons he's got in his trunk of his.
<v Speaker 1>Car, trunk of his car, which of course comes up
<v Speaker 1>in I've Heard Ze Cop too.
<v Speaker 3>That's right, by the way. One other thing on Judge Reinhold, Yeah,
<v Speaker 3>I didn't realize this, but he and Bill Paxton were buddies.
<v Speaker 3>They met on the set of The Lord's of Discipline,
<v Speaker 3>which is an eighty three movie. It's a really good movie.
<v Speaker 3>But they're all dinking around in England because they're bit players,
<v Speaker 3>and so they end up starring in Pat Benattar's video
<v Speaker 3>for Shadows of the Night.
<v Speaker 1>We're running with the shine on night, so fake my
<v Speaker 1>hand be all right?
<v Speaker 2>What?
<v Speaker 3>Just because they're on and off day, they don't have
<v Speaker 3>anything else better to do. You go back and watch
<v Speaker 3>that video. Boom, there's Bill Paxton. Boom, there's Judge rying Hold.
<v Speaker 3>Before anybody had any idea who they were like, oh
<v Speaker 3>that's crazy.
<v Speaker 1>So wow, that's a good story.
<v Speaker 3>Yeah, there you go. Okay, I don't know if you
<v Speaker 3>realize this or not, but Marty Brest ends up using
<v Speaker 3>John Ashton in Midnight Run. Oh yeah as the bounty hunter.
<v Speaker 3>We I mean, Midnight Run is a great, I think
<v Speaker 3>underappreciated movie.
<v Speaker 1>I have not seen the movie. I wanted I try.
<v Speaker 1>I want to try to see it before we got
<v Speaker 1>to the episode, but I did not get a chance
<v Speaker 1>to see it. But I'm so good love it. I
<v Speaker 1>love it. Yeah, and that's another great you know, switch
<v Speaker 1>of the cast because he decides, hey, you remember at
<v Speaker 1>the beginning he was thinking, I can't do this. It
<v Speaker 1>is an action comedy and that's I'm not an action guy.
<v Speaker 1>Well he totally It's like, well I guess I am.
<v Speaker 1>And he does Midnight Run and then he's like a comedy,
<v Speaker 1>who do I get? And Robert de Niro's like, can
<v Speaker 1>I be in your comedy? He's like raging bull taxi driver?
<v Speaker 1>You want to go do comedy. Come on, buddy, let's
<v Speaker 1>do it.
<v Speaker 3>It is so good.
<v Speaker 1>Oh that's fan. I love it. Okay. So while they're
<v Speaker 1>making the movie, as I mentioned before, Marty Breast is
<v Speaker 1>very much about character, like, you know, not the action guy,
<v Speaker 1>but the character guy. Sure, and so he the way
<v Speaker 1>he does it, and I love this, you know, because
<v Speaker 1>you have some directors that are like shot after shot,
<v Speaker 1>shot after shot after shot, trying to get it perfect,
<v Speaker 1>and then you've got like Clint Eastwood directors that are like, Okay,
<v Speaker 1>I think we got it on that first one. Let's
<v Speaker 1>move on, and the actors are like, well, cold, you
<v Speaker 1>don't want to do it again? Why you want to
<v Speaker 1>waste everybody's time? Right, So Marty Breast is kind of,
<v Speaker 1>to me like the perfect mixture of that. He will
<v Speaker 1>shoot on script for the first two or three takes
<v Speaker 1>and then he's like okay, now improfit, you know, and
<v Speaker 1>he will take the move it around. And so a lot,
<v Speaker 1>a whole lot of this movie is improved lines which
<v Speaker 1>you would expect from Eddie Murphy, right, I mean, of course,
<v Speaker 1>but also with John Aston and Judge Reinhold, they were
<v Speaker 1>improv and a ton of their stuff, those lines that
<v Speaker 1>we quoted at the beginning of the episode about you know,
<v Speaker 1>red meat and why would I want to hear this? Well? Eat?
<v Speaker 1>A lot of that was the scene in the script
<v Speaker 1>was they wait in car right like that was it,
<v Speaker 1>you know, and so he's like give them something, and
<v Speaker 1>so their scenes by themselves, they would improv. Well, a
<v Speaker 1>lot of what we got was their improv work, including
<v Speaker 1>the I can't climb over the wall scene where they're
<v Speaker 1>on the shoulders. So good, but then when Eddie Murphy
<v Speaker 1>comes in and does scenes with them, their job is
<v Speaker 1>just to react to his improv, right, he They're just
<v Speaker 1>there to riff off of whatever he does. Now, you've
<v Speaker 1>got Ronnie Coxon there, who is I mean, he's the
<v Speaker 1>professional of them, all right, He's been in plenty of
<v Speaker 1>stuff and he's a guy who's used to doing things
<v Speaker 1>on script. But he said it was not even though
<v Speaker 1>Eddie Murphy would riff and go off script and do
<v Speaker 1>all this other stuff, he said he was brilliant about
<v Speaker 1>it because he would do it in such a way
<v Speaker 1>that by the time he was finished with his improv line,
<v Speaker 1>it was a perfect setup for whatever Bogomil's next line
<v Speaker 1>was going to be sure and so he could still
<v Speaker 1>say his scripted line, and he says, so, then I
<v Speaker 1>have this wonderful opportunity. It's like they say, acting is reacting.
<v Speaker 1>I get to just be there and react to this
<v Speaker 1>craziness and then just throw my line in when it's time.
<v Speaker 3>Yeah, you know the scene the super Cops speech that
<v Speaker 3>Eddie Murphy gives. Yeah, before I knew it, these boys
<v Speaker 3>had foiled the crime. They're not cops, they're super cops.
<v Speaker 1>Yeah.
<v Speaker 3>When you watch that scene, John Ashton is like rubbing
<v Speaker 3>his eyes, trying dying to laugh, and he had already
<v Speaker 3>said that we had ruined many a take. And Eddie's
<v Speaker 3>trying to do this and trying to be funny, and
<v Speaker 3>we're trying not to laugh. But he's doing like this.
<v Speaker 3>I mean, it was like Harvey Korman in Carol Burnett Show.
<v Speaker 3>He was just busting up trying not to laugh him Conway, Yes,
<v Speaker 3>you know, so funny.
<v Speaker 1>Yeah, So in that scene they would do the improv
<v Speaker 1>stuff and then Marty Bress would be like, do it again.
<v Speaker 1>By the way, they also wasted film when Marty Brest
<v Speaker 1>was sitting next to the camera because he would start
<v Speaker 1>laughing so that the camera would shake and they would
<v Speaker 1>have to reshoot the scene again because of him. But
<v Speaker 1>that super Cup scene, like they had been shooting for
<v Speaker 1>a long time in that scene, and Eddie Murphy had
<v Speaker 1>this purity oath that he had taken where he wasn't
<v Speaker 1>going to consume alcohol, wasn't going to consume drugs, wasn't
<v Speaker 1>going to do anything to mess with the purity of
<v Speaker 1>his body while he's shooting this movie right right, Well
<v Speaker 1>that included caffeine. But they'd been shooting this scene for
<v Speaker 1>so long and it was there was so much dead
<v Speaker 1>air that Eddie Murphy was kind of winding down, like
<v Speaker 1>he was worn out. And so they're like, you could
<v Speaker 1>have some coffee, right, and he's like, okay, I'll make
<v Speaker 1>an exception for coffee, but that's it, just coffee. And
<v Speaker 1>he said he just took a couple of little SIPs
<v Speaker 1>of the coffee, but since he had had nothing for
<v Speaker 1>so long, it was like jolt. It was like bang
<v Speaker 1>like that, and that's where you get that scene. So
<v Speaker 1>when you see them and you see Aston like holding
<v Speaker 1>his laugh, holding his nose to keep from laughing out loud,
<v Speaker 1>Judge Reinhold, you can watch him. His hands are in
<v Speaker 1>his pockets, he knows what's coming, like they've done it,
<v Speaker 1>they're retaking it for the fourth time. He is pinching
<v Speaker 1>himself on the leg to keep from laughing, like he's like,
<v Speaker 1>I had bruises on my leg. I was pinching myself
<v Speaker 1>so hard to not laugh in that scene.
<v Speaker 3>You know, with the scene where they pull up to
<v Speaker 3>the Harrow Club and Marty Breast is like, hey, Eddie,
<v Speaker 3>we got some dead air here. Can you give me something?
<v Speaker 3>And he's like, sure, backs up, pulls up for it.
<v Speaker 3>He's like, hey, can you put this in a good spot.
<v Speaker 3>All this scrap happened the last time I was here.
<v Speaker 3>It's a great line, it's so funny. Gets a laugh. Yeah,
<v Speaker 3>and Eddie just whipped it out of his back pocket.
<v Speaker 1>Yep, yep. Hey. You know.
<v Speaker 3>One of the things I forgot to mention when we're
<v Speaker 3>talking about the production when it was still bouncing back
<v Speaker 3>and forth between is an action film as a stallone
<v Speaker 3>film as it a comedy. We're not sure is Eddie
<v Speaker 3>Murphy involved? What about Mickey Rouric. This script was offered
<v Speaker 3>to Martin Scorsese to direct this.
<v Speaker 1>Oh yeah, right, yeah, can you imagine?
<v Speaker 3>And he's like, what what what? Do you guys talk
<v Speaker 3>about this is not me? Yeah, so they go to
<v Speaker 3>David Cronenberg. Yeah, how violent a movie could this have been?
<v Speaker 3>I know, like somebody would have eaten their own fingers
<v Speaker 3>or something. But here's the funny thing. Martin Scorsese looked
<v Speaker 3>at the script. He said, this is Coogan's bluff. Oh yeah,
<v Speaker 3>the Clint Eastwood movie, right, like just a cowboy cop
<v Speaker 3>comes into a big city and it's a fish.
<v Speaker 1>Out of watertail. Yeah. He's like, this has already been done. Yeah,
<v Speaker 1>well sort of, yeah, not exactly.
<v Speaker 3>By the way, when Eddie Murphy was hired to do
<v Speaker 3>Beverly Hills Cop, he turned down another movie from nineteen
<v Speaker 3>eighty four. Do you remember the movie?
<v Speaker 1>I absolutely do, because when we came across that nugget
<v Speaker 1>when we did our episode on Ghostbusters, I found out
<v Speaker 1>that Dan Ackroyd had written the Winston part with Eddie
<v Speaker 1>Murphy in mind right, and all of a sudden, all
<v Speaker 1>of the Winston lines are coming to me in Eddie
<v Speaker 1>Murphy's voice, in Eddie Murphy's delivery. I was like, how
<v Speaker 1>I like. My comment was, this movie is on a
<v Speaker 1>top notch level, but it would have moved up if
<v Speaker 1>that of course I don't know, because it was a
<v Speaker 1>Bill Murray vehicle, right, And so what do you do
<v Speaker 1>if you've got both of those guys?
<v Speaker 3>I don't know, Man, in the alternate universe where I
<v Speaker 3>can go and rent these alternate movies, I do want
<v Speaker 3>to see the Ghostbusters version with Eddie Murphy as Winston. However,
<v Speaker 3>I would not trade the current Beverly Hills cop for
<v Speaker 3>that Ghostbusters movie.
<v Speaker 1>So he's like, he's got the opportunity to do a
<v Speaker 1>bigger part, more money. He takes that instead of doing Ghostbusters, right,
<v Speaker 1>and turns out it's a success. So Marty Brest's career
<v Speaker 1>is saved in this action right, and the movie opens
<v Speaker 1>up at number one. Yes, the first Eddie Murphy movie
<v Speaker 1>to open it at number one in the box office.
<v Speaker 1>And he would do it six more times after this.
<v Speaker 1>Ooh in a row.
<v Speaker 3>That's incredible.
<v Speaker 1>What I'm run man?
<v Speaker 3>Yeah, So this was released December first, nineteen eighty four.
<v Speaker 3>It's actually considered the biggest movie of nineteen eighty four,
<v Speaker 3>even though I made the majority of its money in
<v Speaker 3>eighty five. And that's saying something because Ghostbusters was a
<v Speaker 3>megaton bomba So I want to throw this at you
<v Speaker 3>just listen to this real quick.
<v Speaker 1>Okay.
<v Speaker 3>Here's the list of the top ten movies of nineteen
<v Speaker 3>eighty four. Okay, okay, this is a fun little ride here. Okay,
<v Speaker 3>Beverly Hills Cop number one.
<v Speaker 1>This is by box office return.
<v Speaker 3>This is by this is domestic, this is the United States.
<v Speaker 1>Okay.
<v Speaker 3>So you've got Beverly Hills Cop number one, you got
<v Speaker 3>Ghostbusters two, you got Indiana Jones and the Temple of Doom, three, Gremlins,
<v Speaker 3>The Karate Kid, Police Academy, Footloose, Romancing in the Stone
<v Speaker 3>Star Trek three Splash, and then you get Purple Rate
<v Speaker 3>at eleven. Okay, wow, all of those lots of fun. Yeah,
<v Speaker 3>and if I can just jump to nineteen eighty seven
<v Speaker 3>for a second, and by comparison, talking about Beverly Hills
<v Speaker 3>Cop two, yeah, a whole lot less fun at the
<v Speaker 3>box office was had nineteen eighty seven.
<v Speaker 1>Okay, they still did very well.
<v Speaker 3>Sure, so in nineteen eighty seven, your top movie three
<v Speaker 3>minute a baby Wow, Yeah, wah wah, Number two Fatal Attraction.
<v Speaker 1>Okay, that's I mean, it is big. Yeah, that's fair.
<v Speaker 3>Then you have Beverly Hills Cop Part two, Good Morning Vietnam,
<v Speaker 3>great movie, Moonstruck, The in Touchables, great movie, Secret of
<v Speaker 3>My Success.
<v Speaker 1>I loved it, but I was a huge Michael J.
<v Speaker 3>Fox stake out.
<v Speaker 1>You loved it. I love it.
<v Speaker 3>Yeah, Leath the Weapon we both love absolutely, which is
<v Speaker 3>of east Wick. Yeh, dirty Dancing and Predator.
<v Speaker 1>Well, not bad.
<v Speaker 3>It's not bad.
<v Speaker 1>There's if you compare it to the top ten movies
<v Speaker 1>of twenty twenty three, that's true. Guarantee, it's going to
<v Speaker 1>be nine movies better.
<v Speaker 3>I'll take eighty seven one.
<v Speaker 1>So we've were to eighty seven, so that that means
<v Speaker 1>that we're moving on to Beverly Hills Cop Part two.
<v Speaker 1>So that brings us to Beverly Hills Cop to which
<v Speaker 1>we will take up on our next episode.
<v Speaker 3>We will see you back here next week. No bananas
<v Speaker 3>in thentail.
<v Speaker 1>Night like, you know what I mean? You know what
<v Speaker 1>banda is in my tailpie
<v Speaker 3>You're not falling for the ban Tailbi