1 00:00:18,570 --> 00:00:22,820 Speaker 1: Ladies and gentlemen of Hollywoodland, my name is Seth Lundy, writer, showrunner, 2 00:00:23,300 --> 00:00:26,200 Speaker 1: and good doctor here at Double Elvis. And it's Friday, 3 00:00:26,800 --> 00:00:29,659 Speaker 1: which means it's time yet again for another installment of 4 00:00:29,700 --> 00:00:33,270 Speaker 1: The Screening Room. our weekly episode of The Hollywoodland Pod, 5 00:00:33,330 --> 00:00:35,030 Speaker 1: in which we watch a movie that has something to 6 00:00:35,070 --> 00:00:37,990 Speaker 1: do with our main episode's subject and themes of the week, 7 00:00:38,570 --> 00:00:41,750 Speaker 1: and then we talk about it. Our fully scripted and 8 00:00:41,909 --> 00:00:45,900 Speaker 1: sound design episode from our archive back on Monday this week, 9 00:00:46,040 --> 00:00:49,300 Speaker 1: as you most likely know, was all about Phil Hartman. 10 00:00:50,820 --> 00:00:52,780 Speaker 1: There's so many ways we could have gone with this 11 00:00:53,340 --> 00:00:56,380 Speaker 1: here today. We could have talked about Pee-wee's Big Adventure, 12 00:00:57,100 --> 00:01:02,910 Speaker 1: the incredible 1985 Tim Burton film that Phil Hartman co-wrote. 13 00:01:03,990 --> 00:01:06,330 Speaker 1: We could have gone with, I guess, one of his 14 00:01:06,510 --> 00:01:11,580 Speaker 1: few starring roles in cinema, the 1995 comedy with Sinbad 15 00:01:12,220 --> 00:01:14,500 Speaker 1: called House Guest, but I really don't want to talk 16 00:01:14,520 --> 00:01:19,640 Speaker 1: about that. Also, Phil Hartman appeared more often than not 17 00:01:19,700 --> 00:01:22,959 Speaker 1: in films as a guest player in minor roles, very 18 00:01:23,020 --> 00:01:29,340 Speaker 1: much continuing his definitional role as the glue, as a 19 00:01:29,420 --> 00:01:33,839 Speaker 1: support system. And his very brief but memorable scene in 20 00:01:33,940 --> 00:01:37,460 Speaker 1: So I Married an Axe Murderer is one for the ages, 21 00:01:37,620 --> 00:01:41,740 Speaker 1: but more on that in a moment. So I Married 22 00:01:41,840 --> 00:01:45,780 Speaker 1: an Axe Murderer is the second leading vehicle from Mike Myers, 23 00:01:46,280 --> 00:01:50,360 Speaker 1: Phil Hartman's fellow castmate on Saturday Night Live, coming directly 24 00:01:50,480 --> 00:01:53,520 Speaker 1: after the smash hit Wayne's World, which was based on 25 00:01:53,580 --> 00:01:58,110 Speaker 1: characters Myers created for that show. He was still an 26 00:01:58,270 --> 00:02:01,730 Speaker 1: SNL cast member in 1993 when this film came out. 27 00:02:01,830 --> 00:02:05,000 Speaker 1: And I remember that there was some skepticism on the 28 00:02:05,040 --> 00:02:08,220 Speaker 1: part of the public. Mike Myers was known for these 29 00:02:08,560 --> 00:02:12,339 Speaker 1: wacky characters that he disappeared into. And this was much 30 00:02:12,460 --> 00:02:15,940 Speaker 1: more a straight down the middle romantic comedy, a dark 31 00:02:16,060 --> 00:02:19,919 Speaker 1: romantic comedy, yes. But the question was, did the public 32 00:02:20,000 --> 00:02:24,970 Speaker 1: want this laid bare, stripped down version of Mike Myers? Well, 33 00:02:24,990 --> 00:02:28,370 Speaker 1: more on that as well in a moment. This film 34 00:02:29,130 --> 00:02:32,180 Speaker 1: was directed by Thomas Schlamee, who prior to this made 35 00:02:32,280 --> 00:02:35,520 Speaker 1: a Holly Hunter film called Miss Firecracker. He went on 36 00:02:35,540 --> 00:02:38,260 Speaker 1: to be an executive producer of The West Wing, as 37 00:02:38,300 --> 00:02:41,660 Speaker 1: well as a director of many episodes of Sports Night, 38 00:02:42,139 --> 00:02:45,860 Speaker 1: another TV show made with his frequent collaborator Aaron Sorkin. 39 00:02:46,180 --> 00:02:48,500 Speaker 1: This movie was not written by Aaron Sorkin, but instead 40 00:02:48,540 --> 00:02:51,910 Speaker 1: by a writer named Robbie Fox, whose other credits include 41 00:02:51,950 --> 00:02:54,410 Speaker 1: a string of films I've never seen, including Playing for 42 00:02:54,470 --> 00:02:58,000 Speaker 1: Keeps and The Man from Toronto. It stars Mike Myers, 43 00:02:58,139 --> 00:03:02,530 Speaker 1: along with Nancy Travis, Anthony LaPaglia, Amanda Plummer, Brenda Fricker, 44 00:03:02,690 --> 00:03:07,070 Speaker 1: and a number of great cameos by Alan Arkin, Debbie Mazar, 45 00:03:08,030 --> 00:03:12,430 Speaker 1: Charles Grodin, and Michael Richards. Now, Mike Myers could have 46 00:03:12,450 --> 00:03:16,010 Speaker 1: done anything at this moment in his career. Wayne's world 47 00:03:16,070 --> 00:03:20,090 Speaker 1: was colossal. He was in a massive SNL cast that 48 00:03:20,130 --> 00:03:24,950 Speaker 1: included Dana Carvey, Chris Farley, Chris Rock, Kevin Nealon, Julia Sweeney, 49 00:03:25,730 --> 00:03:30,150 Speaker 1: as well as upcomers Adam Sandler and David Spade. And 50 00:03:30,169 --> 00:03:35,390 Speaker 1: this was the moment where SNL had rebounded from the 51 00:03:35,430 --> 00:03:38,460 Speaker 1: middle of the 1980s and was back on this upswing. 52 00:03:40,000 --> 00:03:42,640 Speaker 1: But the thing about Mike Myers was that he was 53 00:03:42,680 --> 00:03:46,160 Speaker 1: a breakout movie star, similar to how Chevy Chase and 54 00:03:46,220 --> 00:03:49,940 Speaker 1: Eddie Murphy had broken out from SNL before him. Now, 55 00:03:49,980 --> 00:03:52,140 Speaker 1: a lot of comedians try to make the transition from 56 00:03:52,300 --> 00:03:55,900 Speaker 1: SNL to movies, and it doesn't always work. It worked 57 00:03:55,970 --> 00:03:59,600 Speaker 1: big time with Chevy, with Eddie, and with Mike. But 58 00:03:59,620 --> 00:04:01,840 Speaker 1: instead of making Wayne's World 2 right away, Mike Myers 59 00:04:01,880 --> 00:04:04,720 Speaker 1: makes this, a film about a guy who has bad 60 00:04:04,800 --> 00:04:07,580 Speaker 1: luck in the romance department and who ends up falling 61 00:04:07,640 --> 00:04:10,340 Speaker 1: for a girl who was a butcher at a shop 62 00:04:10,420 --> 00:04:13,160 Speaker 1: called Meats of the World, a girl who gets him 63 00:04:13,220 --> 00:04:16,630 Speaker 1: haggis for his Scottish parents, and who may or may 64 00:04:16,690 --> 00:04:19,890 Speaker 1: not be a killer living in the shadows, a killer 65 00:04:19,930 --> 00:04:23,230 Speaker 1: who murders one husband after another as she trips around 66 00:04:23,290 --> 00:04:27,080 Speaker 1: the country. I don't think The movie's perfect, but it's 67 00:04:27,100 --> 00:04:30,040 Speaker 1: a great pivot from what was expected of him at 68 00:04:30,060 --> 00:04:32,260 Speaker 1: the time, and it remains one of those rare examples 69 00:04:32,380 --> 00:04:36,560 Speaker 1: of a film where the lead actor subverts the entire 70 00:04:36,600 --> 00:04:41,590 Speaker 1: thing by injecting their unique sensibilities and style into every frame. 71 00:04:42,630 --> 00:04:44,770 Speaker 1: This may have caused more than a little bit of 72 00:04:44,850 --> 00:04:47,010 Speaker 1: tension on the set from what I've read. I think 73 00:04:47,050 --> 00:04:50,300 Speaker 1: there was a lot of struggle between what Mike Myers 74 00:04:50,380 --> 00:04:52,860 Speaker 1: wanted to put forth in terms of his persona and 75 00:04:53,290 --> 00:04:55,130 Speaker 1: and what the filmmakers wanted to do in a more 76 00:04:55,190 --> 00:04:59,010 Speaker 1: sort of like tradition kind of way. And that said, 77 00:04:59,050 --> 00:05:03,090 Speaker 1: you know, Mike Myers, 1990s era slacker scene through a 78 00:05:03,110 --> 00:05:06,180 Speaker 1: very heavy Jerry Lewis filter may not be for everyone, 79 00:05:07,080 --> 00:05:09,720 Speaker 1: but I find it endearing, especially in this movie, because 80 00:05:09,760 --> 00:05:11,860 Speaker 1: this guy is just trying to fall in love and 81 00:05:11,960 --> 00:05:14,640 Speaker 1: stay in love. And, you know, you don't have to 82 00:05:14,680 --> 00:05:16,720 Speaker 1: be a smarty pants to read between the lines here 83 00:05:16,839 --> 00:05:19,060 Speaker 1: at the joke at the center of the film, which 84 00:05:19,140 --> 00:05:21,740 Speaker 1: is if I decide to fall in love and stay 85 00:05:21,800 --> 00:05:24,779 Speaker 1: in love forever, that is, to be wed to another, 86 00:05:25,000 --> 00:05:28,520 Speaker 1: will that be the death of me? But as good 87 00:05:28,760 --> 00:05:31,760 Speaker 1: as Mike Myers is in this film, he is shown 88 00:05:31,820 --> 00:05:35,010 Speaker 1: up by Phil Hartman, who plays a tour guide at 89 00:05:35,050 --> 00:05:39,070 Speaker 1: the old Alcatraz prison. Hartman plays a guy named John Johnson, 90 00:05:39,250 --> 00:05:43,529 Speaker 1: but everyone there calls him Vicky. That's a line that's 91 00:05:43,570 --> 00:05:47,000 Speaker 1: delivered so deadpan, so straight-faced that you just can't help 92 00:05:47,040 --> 00:05:50,200 Speaker 1: but double over with laughter. And even better is when 93 00:05:51,040 --> 00:05:54,060 Speaker 1: Phil Hartman as John Johnson, a.k.a. Vicky, gets the tour 94 00:05:54,110 --> 00:05:57,609 Speaker 1: group inside and tells them all about the infamous Machine 95 00:05:57,650 --> 00:06:00,810 Speaker 1: Gun Kelly. No, not that Machine Gun Kelly. I'm talking 96 00:06:00,830 --> 00:06:03,169 Speaker 1: about the gangster from the first half of the 20th 97 00:06:03,210 --> 00:06:07,549 Speaker 1: century who did time on The Rock. John Johnson, a.k.a. Vicky, 98 00:06:07,730 --> 00:06:10,220 Speaker 1: talks about how Machine Gun Kelly had what they in 99 00:06:10,240 --> 00:06:13,580 Speaker 1: the prison system called a bitch and that one night 100 00:06:13,700 --> 00:06:17,500 Speaker 1: in a jealous rage, Kelly took a makeshift knife or 101 00:06:17,920 --> 00:06:22,000 Speaker 1: shiv and cut out the bitch's eyes. Again, this is 102 00:06:22,060 --> 00:06:24,780 Speaker 1: delivered with this look on Phil Hartman's face that could 103 00:06:24,820 --> 00:06:27,960 Speaker 1: only be described as the dad driving the van down 104 00:06:27,980 --> 00:06:30,500 Speaker 1: the interstate who, so help him God, will pull this 105 00:06:30,520 --> 00:06:32,900 Speaker 1: thing over, turn around, and go back home if you 106 00:06:32,940 --> 00:06:36,790 Speaker 1: and your sister don't cut the shit. And he keeps 107 00:06:36,810 --> 00:06:39,370 Speaker 1: this face as he says, and as if this wasn't 108 00:06:39,430 --> 00:06:42,050 Speaker 1: enough retribution for Kelly, the next day he and four 109 00:06:42,110 --> 00:06:45,669 Speaker 1: other inmates took turns pissing in the bitch's ocular cavities. Yes. 110 00:06:46,830 --> 00:06:52,470 Speaker 1: It's sublime, this delivery, this performance, this absolute dedication to 111 00:06:52,510 --> 00:06:56,480 Speaker 1: the character and the bit. Comedy gets the shaft, man, 112 00:06:57,279 --> 00:07:00,580 Speaker 1: time and time again. The Academy isn't out here nominating 113 00:07:00,620 --> 00:07:03,160 Speaker 1: guys like Phil Hartman for their comedic chops, yet I 114 00:07:03,200 --> 00:07:08,500 Speaker 1: defy Daniel Day-Lewis or Denzel Washington to pull this scene off. 115 00:07:09,540 --> 00:07:13,090 Speaker 1: Maybe Denzel could do it. Maybe. You know who could 116 00:07:13,130 --> 00:07:16,710 Speaker 1: do it is Liam Neeson. He's got the Leslie Nielsen. 117 00:07:17,450 --> 00:07:20,970 Speaker 1: Liam Neeson's got the Leslie Nielsen juice, you know, now 118 00:07:21,010 --> 00:07:22,970 Speaker 1: that he did Naked Gun. I never realized how close 119 00:07:22,990 --> 00:07:25,870 Speaker 1: their two names are together and that they played this, 120 00:07:25,930 --> 00:07:28,890 Speaker 1: you know, basically the same role in that movie. Neeson 121 00:07:28,990 --> 00:07:32,750 Speaker 1: and Nielsen. Now, in his contemporary review at the time 122 00:07:33,990 --> 00:07:36,830 Speaker 1: of So I Married an Axe Murderer, the legendary Roger 123 00:07:36,950 --> 00:07:40,369 Speaker 1: Ebert called Phil Hartman's scene one of the only scenes 124 00:07:40,410 --> 00:07:43,730 Speaker 1: in the film that approached what he called comic greatness. 125 00:07:44,590 --> 00:07:46,850 Speaker 1: He gave So I Married an Axe Murderer only two 126 00:07:46,870 --> 00:07:50,290 Speaker 1: and a half stars out of four and said that 127 00:07:50,310 --> 00:07:53,590 Speaker 1: it was a, quote, mediocre movie with a good one 128 00:07:53,650 --> 00:07:59,550 Speaker 1: trapped inside wildly signaling to be set free, unquote. If 129 00:07:59,750 --> 00:08:02,350 Speaker 1: I was Roger Ebert at this point in my life, 1993, 130 00:08:02,350 --> 00:08:06,520 Speaker 1: 50-something years old, having seen all the greatest comedies of 131 00:08:06,760 --> 00:08:09,620 Speaker 1: all time and also the worst and being forced to 132 00:08:09,660 --> 00:08:12,430 Speaker 1: write about them at the same time, I could very 133 00:08:12,470 --> 00:08:16,860 Speaker 1: well see myself having the same take that Ebert had. 134 00:08:17,380 --> 00:08:20,200 Speaker 1: I think the reason it ultimately works for me is 135 00:08:20,240 --> 00:08:22,380 Speaker 1: that I was much younger at the time. I was 136 00:08:22,420 --> 00:08:25,340 Speaker 1: in my teens. I'd already gotten on board the Mike 137 00:08:25,380 --> 00:08:29,180 Speaker 1: Myers train. I co-signed big time on Mike Myers. So 138 00:08:29,760 --> 00:08:32,140 Speaker 1: anything he was going to do would be funny to me, 139 00:08:32,320 --> 00:08:34,960 Speaker 1: even if it was just him traipsing around a San 140 00:08:34,980 --> 00:08:37,880 Speaker 1: Francisco apartment in his underwear with a funny grin on 141 00:08:37,920 --> 00:08:40,180 Speaker 1: his face and a silly English accent, as he does 142 00:08:40,280 --> 00:08:43,170 Speaker 1: at one point here in the film. Am I unable 143 00:08:43,230 --> 00:08:46,370 Speaker 1: to critically or objectively distance myself from this film to 144 00:08:46,450 --> 00:08:50,319 Speaker 1: speak about it intelligently? Perhaps. But I don't care. It's 145 00:08:50,420 --> 00:08:52,800 Speaker 1: not a capital G great movie, as I said before. 146 00:08:52,820 --> 00:08:55,459 Speaker 1: I'm not claiming that. It might be a two and 147 00:08:55,480 --> 00:08:58,680 Speaker 1: a half star out of four movie. Roger Ebert may 148 00:08:58,710 --> 00:09:01,589 Speaker 1: be dead on the money about that. But it's a 149 00:09:01,650 --> 00:09:04,190 Speaker 1: comfort watch for me in the way that anything with 150 00:09:04,230 --> 00:09:06,130 Speaker 1: Mike Myers from the 90s is a comfort watch. He's 151 00:09:06,150 --> 00:09:09,170 Speaker 1: the best at Turn Off Your Brain Comedy, which is 152 00:09:09,330 --> 00:09:12,510 Speaker 1: actually kind of secretly smart. Really? Is it? I think so. 153 00:09:13,830 --> 00:09:17,220 Speaker 1: Maybe you're catching my drift there. But this is a 154 00:09:17,240 --> 00:09:21,600 Speaker 1: film about mystery killers and tabloids. It's about butcher shops 155 00:09:21,720 --> 00:09:24,920 Speaker 1: and beat poetry. It's about noggins so big they're a 156 00:09:24,940 --> 00:09:28,329 Speaker 1: virtual planetoid, and we're going to get into it right 157 00:09:28,370 --> 00:09:55,059 Speaker 1: after this. ¶ ¶ All right, guys. Dr. Lundby here 158 00:09:55,260 --> 00:09:59,449 Speaker 1: in the Hollywoodland screening room. We're talking about So I 159 00:09:59,490 --> 00:10:03,760 Speaker 1: Married an Axe Murderer, 1993, romantic comedy with Mike Myers. 160 00:10:05,040 --> 00:10:07,380 Speaker 1: I have 11 things I want to talk about when 161 00:10:07,420 --> 00:10:12,130 Speaker 1: I talk about this movie, all right? Number one, There 162 00:10:12,230 --> 00:10:16,930 Speaker 1: She Goes. The opening credits begin and we hear the 163 00:10:16,970 --> 00:10:20,750 Speaker 1: Boo Radley's cover of the Laws song, There She Goes. 164 00:10:21,860 --> 00:10:24,680 Speaker 1: And I've got to admit, I can't stand this song. 165 00:10:25,460 --> 00:10:30,160 Speaker 1: Not the Laws original, nor the Sixpence None the Richer version, 166 00:10:30,980 --> 00:10:34,150 Speaker 1: and not the Boo Radley's version either. Even if the 167 00:10:34,170 --> 00:10:37,470 Speaker 1: Boo Radley's are one of the more interesting and unappreciated 168 00:10:37,510 --> 00:10:41,710 Speaker 1: bands from the so-called shoegaze and or Britpop scenes in 169 00:10:42,130 --> 00:10:45,610 Speaker 1: 90s UK rock. Maybe it's the fact that they use 170 00:10:45,650 --> 00:10:49,020 Speaker 1: this song so many times throughout this film. Actually, this 171 00:10:49,100 --> 00:10:52,469 Speaker 1: film may have killed my enjoyment of this song had 172 00:10:52,530 --> 00:10:54,510 Speaker 1: I enjoyed it at one point in my life. I 173 00:10:54,550 --> 00:10:57,459 Speaker 1: just cannot remember that time in my life when I 174 00:10:57,500 --> 00:11:02,339 Speaker 1: enjoyed the song. But my least favorite part of this 175 00:11:02,400 --> 00:11:06,420 Speaker 1: film is having to sit through the opening credits with 176 00:11:06,440 --> 00:11:09,940 Speaker 1: this badly lit helicopter shot of San Francisco at night 177 00:11:10,980 --> 00:11:14,949 Speaker 1: while There She Goes prattles on. I've said it. I've 178 00:11:15,130 --> 00:11:20,550 Speaker 1: unburdened myself with this There She Goes take. Number two. 179 00:11:21,350 --> 00:11:25,170 Speaker 1: Coffee shops. We find ourselves inside a San Francisco coffee 180 00:11:25,210 --> 00:11:28,449 Speaker 1: shop in this film's first scene where Mike Myers' character, 181 00:11:28,510 --> 00:11:35,579 Speaker 1: Charlie McKenzie, delivers his beat poetry to a jazzy backbeat. Woman, whoa, man. 182 00:11:36,320 --> 00:11:40,219 Speaker 1: The coffee shop is a very 1990s coded location, all right? 183 00:11:40,600 --> 00:11:45,320 Speaker 1: The NBC sitcom Friends used the Central Perk coffee shop 184 00:11:45,440 --> 00:11:48,660 Speaker 1: as one of its primary locations in the 90s. Starbucks 185 00:11:48,679 --> 00:11:51,609 Speaker 1: was rapidly expanding all over the country. in the 90s. 186 00:11:52,130 --> 00:11:54,710 Speaker 1: And in my time in college and beyond in Boston 187 00:11:54,770 --> 00:11:58,090 Speaker 1: during that decade, I remember fondly going to places like 188 00:11:58,190 --> 00:12:01,380 Speaker 1: Deli House in Kenmore Square for a cup of jet 189 00:12:01,420 --> 00:12:04,760 Speaker 1: fuel or the Trident on Newberry where you could browse 190 00:12:04,900 --> 00:12:07,900 Speaker 1: new and used books while sipping on a latte and 191 00:12:07,980 --> 00:12:11,600 Speaker 1: having a sandwich. Or better yet, the other side, which 192 00:12:11,640 --> 00:12:14,280 Speaker 1: was located also on Newberry, just on the other side 193 00:12:14,330 --> 00:12:17,230 Speaker 1: of Mass Ave, get it? Where one of those jumbo 194 00:12:17,290 --> 00:12:22,329 Speaker 1: mugs of Cafe Orlais or Whatever espresso Americano delight I 195 00:12:22,370 --> 00:12:27,880 Speaker 1: was imbibing in was just a shot away. Number three, 196 00:12:28,200 --> 00:12:32,339 Speaker 1: wigs and prosthetics. So I Married an Axe Murderer is 197 00:12:32,420 --> 00:12:35,880 Speaker 1: singular because it is the only movie that Mike Myers 198 00:12:36,160 --> 00:12:39,590 Speaker 1: made where he does not hide behind a wig or 199 00:12:39,630 --> 00:12:45,550 Speaker 1: layers of makeup and prosthetics and some ridiculous foreign accent. Sure, 200 00:12:45,610 --> 00:12:48,950 Speaker 1: he gets his Peter Sellers jollies by also portraying his 201 00:12:48,990 --> 00:12:53,450 Speaker 1: character's father, Stuart, a stern Scottish patriarch with a Scottish 202 00:12:53,550 --> 00:12:56,770 Speaker 1: brogue that he employs to great effect. But for the 203 00:12:56,809 --> 00:13:00,060 Speaker 1: most part, Mike Myers is Mike Myers in this movie. 204 00:13:00,460 --> 00:13:02,900 Speaker 1: And Mike Myers does not like to be Mike Myers. 205 00:13:03,820 --> 00:13:05,860 Speaker 1: Mike Myers likes to put on bad teeth and dance 206 00:13:05,900 --> 00:13:08,340 Speaker 1: to an old Quincy Jones tune. He likes to throw 207 00:13:08,440 --> 00:13:11,439 Speaker 1: on a long black wig and a ball cap and yell, swing! 208 00:13:11,920 --> 00:13:15,440 Speaker 1: As Babraham Lincoln walks by, he even once went incognito 209 00:13:16,080 --> 00:13:19,680 Speaker 1: as a phony British comedian named Tony Maitland to host 210 00:13:19,780 --> 00:13:22,840 Speaker 1: a reboot of the TV show The Gong Show. That's 211 00:13:22,940 --> 00:13:26,140 Speaker 1: how much Mike Myers does not like to be Mike Myers. 212 00:13:26,620 --> 00:13:29,380 Speaker 1: But here we get Mike Myers, or the closest thing 213 00:13:29,860 --> 00:13:32,450 Speaker 1: we'll ever get to him in a feature film. And 214 00:13:32,490 --> 00:13:35,050 Speaker 1: audiences didn't like it, just like they didn't like Jim 215 00:13:35,090 --> 00:13:38,090 Speaker 1: Carrey as the desperate loner looking for a friend in 216 00:13:38,110 --> 00:13:41,329 Speaker 1: The Cable Guy. In fact, audiences disliked it so much 217 00:13:41,929 --> 00:13:45,809 Speaker 1: that the film only grossed $ 27 million, a steep drop 218 00:13:45,870 --> 00:13:49,010 Speaker 1: from Meyer's film from the year prior, Wayne's World, which 219 00:13:49,090 --> 00:13:57,370 Speaker 1: grossed $ 183 million. Number four, heed, move. More about Mike 220 00:13:57,410 --> 00:14:01,360 Speaker 1: Meyer's dual role. The trend of one actor playing multiple 221 00:14:01,460 --> 00:14:05,500 Speaker 1: actors in a film was not exactly novel in 1993, 222 00:14:05,500 --> 00:14:08,319 Speaker 1: but there had been some revived interest around this time. 223 00:14:08,800 --> 00:14:12,700 Speaker 1: In 1988, Eddie Murphy played four different characters in Coming 224 00:14:12,740 --> 00:14:16,720 Speaker 1: to America. In 1996, Eddie Murphy did that again with 225 00:14:16,740 --> 00:14:20,560 Speaker 1: The Nutty Professor. But you can reference Peter Sellers' trio 226 00:14:20,640 --> 00:14:25,700 Speaker 1: of characters in Dr. Strangelove from way back in 1964 227 00:14:25,700 --> 00:14:28,540 Speaker 1: as one of the earliest and absolutely best examples of 228 00:14:28,600 --> 00:14:32,989 Speaker 1: this method. Mike Myers' Scottish father here predicts two things 229 00:14:33,660 --> 00:14:37,190 Speaker 1: to come. First, the multiple characters he would portray in 230 00:14:37,210 --> 00:14:41,710 Speaker 1: the Austin Powers franchise, most notably fat bastard. And second, 231 00:14:42,330 --> 00:14:46,180 Speaker 1: The Pentavarite, which was this unfunny Netflix show he would 232 00:14:46,220 --> 00:14:50,240 Speaker 1: make some years later, a show which took this joke 233 00:14:50,520 --> 00:14:54,890 Speaker 1: about an Illuminati group controlling the world that's made by 234 00:14:55,450 --> 00:14:59,110 Speaker 1: the Scottish father, Stuart McKenzie here, and turned it into 235 00:14:59,750 --> 00:15:05,160 Speaker 1: a show. Number five, The Weekly World News. Brenda Fricker, 236 00:15:05,610 --> 00:15:08,470 Speaker 1: The Academy Award winner for Best Supporting Actress for her 237 00:15:08,530 --> 00:15:11,840 Speaker 1: role in My Left Foot plays Mike Myers' mother in 238 00:15:12,000 --> 00:15:14,860 Speaker 1: the film. She is obsessed with the Weekly World News, 239 00:15:15,460 --> 00:15:17,420 Speaker 1: a tabloid newspaper that those of us who grew up 240 00:15:17,440 --> 00:15:20,280 Speaker 1: in the 80s and 90s will remember staring back at 241 00:15:20,360 --> 00:15:22,980 Speaker 1: us as we stood in the supermarket aisle promising us 242 00:15:23,100 --> 00:15:27,380 Speaker 1: fantastical stories of an escaped bat child, a two-headed mother 243 00:15:27,420 --> 00:15:32,620 Speaker 1: who gave birth, or the first published photos from inside heaven. Yes, 244 00:15:32,760 --> 00:15:35,300 Speaker 1: that heaven. There was no way of proving that the 245 00:15:35,340 --> 00:15:38,180 Speaker 1: stories within these rags were not true in 1993, just 246 00:15:38,220 --> 00:15:39,820 Speaker 1: as there was no way of proving that the wild 247 00:15:39,880 --> 00:15:43,680 Speaker 1: stories your bonehead friends told you were true either. But 248 00:15:44,400 --> 00:15:47,120 Speaker 1: the mother's willingness here in this film to believe everything 249 00:15:47,160 --> 00:15:52,090 Speaker 1: she reads is quite prescient, because here we are in 250 00:15:52,090 --> 00:15:55,800 Speaker 1: 1993 as the internet begins to take hold, and pretty soon, 10, 20, 251 00:15:55,800 --> 00:16:00,510 Speaker 1: 30 years down the road, our AI-generated social media feeds 252 00:16:00,590 --> 00:16:04,940 Speaker 1: will become living, breathing editions of of the Weekly World News, 253 00:16:05,760 --> 00:16:11,360 Speaker 1: and the premonition of Brenda Fricker, her character in So 254 00:16:11,400 --> 00:16:16,380 Speaker 1: I Married an Axe Murderer, will come true. Number six, 255 00:16:16,450 --> 00:16:21,430 Speaker 1: San Francisco. This is a great San Francisco movie. There's 256 00:16:21,490 --> 00:16:23,630 Speaker 1: even a shot and a scene down by the Golden 257 00:16:23,670 --> 00:16:27,510 Speaker 1: Gate Bridge that calls back to another great San Francisco movie, Vertigo. 258 00:16:27,950 --> 00:16:30,330 Speaker 1: Vertigo is a film made by the master of suspense, 259 00:16:30,450 --> 00:16:33,250 Speaker 1: Alfred Hitchcock, and this film As it moves along and 260 00:16:33,310 --> 00:16:35,730 Speaker 1: Charlie begins to have a sneaking suspicion, thanks to his 261 00:16:35,770 --> 00:16:38,370 Speaker 1: mom's obsession with the weekly world news, that his wife 262 00:16:38,490 --> 00:16:40,830 Speaker 1: is the serial murderer being written about in the pages 263 00:16:41,010 --> 00:16:43,770 Speaker 1: of that tabloid, it begins to take on something of 264 00:16:43,810 --> 00:16:47,369 Speaker 1: a Hitchcock feel, despite being such a comedy. This is 265 00:16:47,390 --> 00:16:50,450 Speaker 1: a real film, shot in real locations. No matter how 266 00:16:50,570 --> 00:16:52,270 Speaker 1: funny you find it, no matter if you think it 267 00:16:52,350 --> 00:16:55,410 Speaker 1: works or not, no matter if it falls into convention 268 00:16:55,790 --> 00:16:59,200 Speaker 1: from time to time. But it remains compelling in this 269 00:16:59,270 --> 00:17:02,760 Speaker 1: way now in 2026, because it's not Atlanta pretending to 270 00:17:02,780 --> 00:17:06,190 Speaker 1: be San Francisco. It's not Vancouver pretending to be San Francisco, 271 00:17:06,250 --> 00:17:08,810 Speaker 1: and it's not some stage on a room somewhere on 272 00:17:08,850 --> 00:17:14,230 Speaker 1: a lot. It's the real thing, baby. Number seven, Alcatraz 273 00:17:14,270 --> 00:17:19,990 Speaker 1: looms large in movie history. Escape from Alcatraz, Birdman of Alcatraz, 274 00:17:20,090 --> 00:17:24,310 Speaker 1: The Rock, Point Blank, The Enforcer. But no scene set 275 00:17:24,350 --> 00:17:26,990 Speaker 1: at Alcatraz is better than the scene in this film. 276 00:17:27,430 --> 00:17:31,399 Speaker 1: It's so nice. I had to mention it twice. Number eight, 277 00:17:31,970 --> 00:17:36,750 Speaker 1: The score, the film score is by Bruce Broughton, an 278 00:17:36,790 --> 00:17:39,950 Speaker 1: American composer who has 10 Emmy Award wins and one 279 00:17:40,070 --> 00:17:44,030 Speaker 1: Academy Award nominations. In the 1970s, he scored TV shows 280 00:17:44,070 --> 00:17:48,530 Speaker 1: such as Gunsmoke, Hawaii Five-0, Quincy M.E., and Barnaby Jones. 281 00:17:49,570 --> 00:17:52,840 Speaker 1: His music here is cut from the same cloth. It's 282 00:17:52,950 --> 00:17:56,900 Speaker 1: lightly conspiratorial, like a Quincy Jones or a Dave Grusin 283 00:17:56,920 --> 00:18:02,420 Speaker 1: score from the 1970s. Number nine, Anthony LaPaglia. Was he 284 00:18:02,460 --> 00:18:05,480 Speaker 1: the new De Niro or the new Andy Garcia? Well, 285 00:18:06,220 --> 00:18:09,500 Speaker 1: Anthony LaPaglia is Australian, so perhaps he was neither. But 286 00:18:09,540 --> 00:18:13,320 Speaker 1: his character, Tony the Cop, friend of Charlie and the 287 00:18:13,480 --> 00:18:17,330 Speaker 1: object of Charlie's mom's lustful eye, sounds like Colin Quinn 288 00:18:18,670 --> 00:18:20,850 Speaker 1: if he was stuck in the body of Robert De Niro. 289 00:18:21,510 --> 00:18:26,750 Speaker 1: Number 10, Stephen Wright, the ultimate deadpan comedian, the ultimate 290 00:18:26,810 --> 00:18:30,840 Speaker 1: Boston comedian. He once had a great joke, about getting 291 00:18:31,000 --> 00:18:33,640 Speaker 1: a new house on the interstate and that the location 292 00:18:33,680 --> 00:18:35,409 Speaker 1: was great, but the only issue is that when he 293 00:18:35,430 --> 00:18:37,490 Speaker 1: pulled out of his driveway, he had to be going 294 00:18:37,490 --> 00:18:40,370 Speaker 1: 65 miles an hour. Here he has another great joke. 295 00:18:40,510 --> 00:18:43,670 Speaker 1: He plays a pilot who is flying Anthony LaPaglia's cop 296 00:18:43,790 --> 00:18:47,310 Speaker 1: to a bed and breakfast where the cop friend here 297 00:18:47,350 --> 00:18:50,609 Speaker 1: believes that his friend Charlie's new wife is going to 298 00:18:50,690 --> 00:18:53,080 Speaker 1: murder him. Hey, listen, he asked the pilot, how long 299 00:18:53,100 --> 00:18:54,950 Speaker 1: is it going to take to get us there? It 300 00:18:54,970 --> 00:18:58,770 Speaker 1: shouldn't take very long, Stephen Wright replies and then pauses, adding, actually, 301 00:18:58,869 --> 00:19:03,629 Speaker 1: I have no concept of time. I got to insert 302 00:19:04,130 --> 00:19:06,859 Speaker 1: an interior thought here and say, Anthony LaPaglia, is it 303 00:19:06,980 --> 00:19:10,939 Speaker 1: Anthony LaPaglia? Am I saying that incorrectly? I feel like 304 00:19:10,960 --> 00:19:14,040 Speaker 1: I'm attempting to pronounce this like in a fancy way, LaPaglia, 305 00:19:14,480 --> 00:19:17,270 Speaker 1: when it's actually LaPaglia. And I'm just heading off this 306 00:19:17,330 --> 00:19:21,470 Speaker 1: controversy before it becomes, you know, before it ferments into 307 00:19:21,510 --> 00:19:24,040 Speaker 1: a controversy because I just, you know, I don't want 308 00:19:24,060 --> 00:19:26,900 Speaker 1: someone emailing me and being like, it's LaPaglia, you dumbass. 309 00:19:26,960 --> 00:19:30,160 Speaker 1: So I'm calling out my own dumbassery here and saying, 310 00:19:30,340 --> 00:19:32,240 Speaker 1: I don't know how to pronounce his name, and I've 311 00:19:32,260 --> 00:19:37,700 Speaker 1: just pronounced it both ways. So take your pick. Number 11, Vertigo. 312 00:19:38,500 --> 00:19:41,550 Speaker 1: The film goes full Vertigo at the climax when we 313 00:19:41,570 --> 00:19:44,570 Speaker 1: discover that it's not Charlie's wife, Harriet, played by Nancy Travis, 314 00:19:45,190 --> 00:19:47,750 Speaker 1: who's the axe murderer, but her sister, Rose, played by 315 00:19:47,810 --> 00:19:50,780 Speaker 1: Amanda Plummer. We're on a rooftop with two women who 316 00:19:50,820 --> 00:19:53,080 Speaker 1: look alike, and just like that, with a wink and 317 00:19:53,100 --> 00:19:57,000 Speaker 1: a nod, we're in Hitchcock territory once again. I feel 318 00:19:57,020 --> 00:19:59,800 Speaker 1: like I always find myself in Hitchcock territory. This is 319 00:19:59,840 --> 00:20:04,590 Speaker 1: a recurring theme, and I have this impulse at times 320 00:20:04,670 --> 00:20:08,070 Speaker 1: to repress it because I feel like it's like I'm 321 00:20:08,130 --> 00:20:12,600 Speaker 1: playing the same song again. It's like a comic repeating 322 00:20:12,619 --> 00:20:15,119 Speaker 1: the same joke. But I think that the films of 323 00:20:15,240 --> 00:20:20,119 Speaker 1: Alfred Hitchcock are so deeply embedded in my subconscious from 324 00:20:20,140 --> 00:20:23,560 Speaker 1: when I was younger that I just see them everywhere. 325 00:20:24,540 --> 00:20:27,480 Speaker 1: And I've got to think that these films are also 326 00:20:27,619 --> 00:20:32,620 Speaker 1: deeply seated in the subconscious of so many filmmakers and 327 00:20:32,720 --> 00:20:35,960 Speaker 1: writers and actors out there that they just keep on 328 00:20:36,000 --> 00:20:38,670 Speaker 1: popping up. So You know, I'm not going to repress this. 329 00:20:38,810 --> 00:20:41,830 Speaker 1: I'm going to keep on pointing these things out. And 330 00:20:42,050 --> 00:20:45,590 Speaker 1: what else I want to point out here is I 331 00:20:45,609 --> 00:20:48,879 Speaker 1: said some harsh words about There She Goes earlier. I'm sorry. 332 00:20:48,910 --> 00:20:51,060 Speaker 1: I just don't like that song. And also, I'm not 333 00:20:51,100 --> 00:20:55,580 Speaker 1: a huge fan of the soundtrack in general to this movie. 334 00:20:55,880 --> 00:20:57,780 Speaker 1: There's a big Audio Dynamite song at some point, but 335 00:20:57,800 --> 00:21:00,000 Speaker 1: it's a remix version, and I'm not a fan of 336 00:21:00,020 --> 00:21:02,980 Speaker 1: the remix version either. So with that said, I would 337 00:21:03,000 --> 00:21:06,590 Speaker 1: like to make a mixtape. here of songs that I 338 00:21:06,650 --> 00:21:08,550 Speaker 1: like better than the songs that are in this movie, 339 00:21:09,090 --> 00:21:11,050 Speaker 1: songs that are inspired by this movie. And I'm going 340 00:21:11,070 --> 00:21:13,859 Speaker 1: to do that right after we take a quick break. 341 00:21:13,950 --> 00:21:15,919 Speaker 1: Hang tight, guys. I'll be right back. We'll make a mixtape. 342 00:21:15,940 --> 00:21:30,640 Speaker 1: All right, guys, welcome back to the screening room here 343 00:21:30,760 --> 00:21:32,800 Speaker 1: in Hollywoodland. We've been talking about So I Married an 344 00:21:32,859 --> 00:21:35,800 Speaker 1: Axe Murderer. And we're here now in the portion of 345 00:21:35,820 --> 00:21:39,460 Speaker 1: the show where I make a hypothetical, theoretical, metaphorical, potentially 346 00:21:39,500 --> 00:21:44,389 Speaker 1: possible mixtape inspired by the 1993 film, So I Married 347 00:21:44,950 --> 00:21:48,450 Speaker 1: an Axe Murderer. We got another message recently from somebody here. 348 00:21:48,570 --> 00:21:52,570 Speaker 1: I apologize. I forget from who. A listener of the 349 00:21:52,590 --> 00:21:55,710 Speaker 1: show who either texted us or wrote in an email. 350 00:21:56,280 --> 00:21:57,520 Speaker 1: I just didn't have time to get to it. And 351 00:21:57,540 --> 00:22:00,420 Speaker 1: the wrap party this week. And it was another sort 352 00:22:00,440 --> 00:22:03,890 Speaker 1: of complaint about the amount of time we spend talking 353 00:22:03,910 --> 00:22:07,050 Speaker 1: about music here in Hollywood land. And, you know, we 354 00:22:07,070 --> 00:22:10,409 Speaker 1: have this segment in the screening room in which I 355 00:22:10,430 --> 00:22:13,250 Speaker 1: make this mixtape. And then we have the segment in 356 00:22:14,109 --> 00:22:16,670 Speaker 1: the rap party where I'm joined by Jake every week. 357 00:22:16,790 --> 00:22:19,210 Speaker 1: And we give you guys recommendations and Jake comes with 358 00:22:19,330 --> 00:22:23,360 Speaker 1: music recommendations. And I can understand why someone listening to 359 00:22:23,390 --> 00:22:28,159 Speaker 1: a show about Hollywood or about films, film history and 360 00:22:28,200 --> 00:22:32,000 Speaker 1: true crime would, not want to hear about music. But 361 00:22:32,020 --> 00:22:33,840 Speaker 1: the thing is, is like, you know, this is the 362 00:22:33,880 --> 00:22:36,830 Speaker 1: double Elvis vision is that we see, you know, life 363 00:22:36,900 --> 00:22:39,730 Speaker 1: through the lens of music here, music and true crime. 364 00:22:39,790 --> 00:22:43,170 Speaker 1: So there's always going to be a little, a little 365 00:22:43,210 --> 00:22:45,730 Speaker 1: bit of music here in the show. And you'll see 366 00:22:45,750 --> 00:22:47,830 Speaker 1: it in our scripted episodes as well, wherever we can 367 00:22:47,890 --> 00:22:50,950 Speaker 1: find an opportunity to bring the world of music into 368 00:22:51,050 --> 00:22:53,710 Speaker 1: and have it collide with the world of films. We, 369 00:22:53,800 --> 00:22:57,260 Speaker 1: we take the opportunity. And of course that's the whole 370 00:22:57,400 --> 00:23:00,350 Speaker 1: point behind this film should be played loud and which 371 00:23:00,380 --> 00:23:04,750 Speaker 1: is our video podcast that's over on Patreon. That's Disgraced Land, 372 00:23:04,850 --> 00:23:08,030 Speaker 1: all access on Patreon. And that's where we combine those 373 00:23:08,070 --> 00:23:10,709 Speaker 1: two worlds of music and film as well. So with 374 00:23:10,730 --> 00:23:13,250 Speaker 1: that all said, for those of you that want more 375 00:23:13,550 --> 00:23:15,670 Speaker 1: movie content in here, I'm going to keep on giving 376 00:23:15,710 --> 00:23:19,050 Speaker 1: you guys 80% movie content, swear to God. But come 377 00:23:19,109 --> 00:23:20,409 Speaker 1: on for the ride here. We're going to have some 378 00:23:20,490 --> 00:23:25,750 Speaker 1: fun making a hypothetical, theoretical, metaphorical, potentially possible mixtape inspired 379 00:23:25,770 --> 00:23:28,350 Speaker 1: by the 1993 film, So I Married an Axe Murderer. 380 00:23:28,840 --> 00:23:32,790 Speaker 1: The first song I want to include here is Suspicious Minds, 381 00:23:33,390 --> 00:23:35,790 Speaker 1: which you may know from Elvis Presley. This is one 382 00:23:35,810 --> 00:23:39,889 Speaker 1: of his big comeback hits in the 70s. Killer, killer song. 383 00:23:40,710 --> 00:23:42,730 Speaker 1: You may also know it, for those of you who 384 00:23:42,790 --> 00:23:47,040 Speaker 1: are big fans of the San Francisco band's American Music Club, 385 00:23:47,780 --> 00:23:50,800 Speaker 1: you may know it from their lead singer, Mark Itzel, 386 00:23:50,840 --> 00:23:55,359 Speaker 1: had a solo record with the incredible title, Caught in 387 00:23:55,380 --> 00:23:58,189 Speaker 1: the Trap and I Can't Back Out. Cause I Love 388 00:23:58,210 --> 00:23:59,970 Speaker 1: You Too Much Baby. That was the name of the album. 389 00:24:00,550 --> 00:24:02,790 Speaker 1: And I really wanted to get, by the way, an 390 00:24:02,930 --> 00:24:06,230 Speaker 1: American Music Club song on this mixtape because they are 391 00:24:06,270 --> 00:24:08,930 Speaker 1: from San Francisco. They have an album titled San Francisco, 392 00:24:09,530 --> 00:24:11,169 Speaker 1: and they've got a lot of songs about... I mean, 393 00:24:11,210 --> 00:24:13,720 Speaker 1: I just didn't dig deep enough. I'm sorry. I'm sorry 394 00:24:14,240 --> 00:24:16,060 Speaker 1: to all the American Music Club fans out there that 395 00:24:16,100 --> 00:24:18,840 Speaker 1: I did not work hard enough to make that happen. However, 396 00:24:19,359 --> 00:24:22,919 Speaker 1: back to Suspicious Minds. Yes, Elvis Presley covered this, but 397 00:24:23,080 --> 00:24:27,450 Speaker 1: also Fine Young Cannibals... covered this song on their first 398 00:24:27,560 --> 00:24:32,660 Speaker 1: record from 1985, their self-titled record. Their big record was 399 00:24:32,880 --> 00:24:36,540 Speaker 1: their second and last from 1989 called The Raw and 400 00:24:36,580 --> 00:24:39,840 Speaker 1: The Cooked, which is an incredible title. And that's the 401 00:24:39,900 --> 00:24:41,800 Speaker 1: one that had She Drives Me Crazy, which was their 402 00:24:41,880 --> 00:24:44,800 Speaker 1: huge hit. Also had Good Thing on it. This first 403 00:24:44,859 --> 00:24:48,040 Speaker 1: record's got Blue is on this. Johnny Come Home is 404 00:24:48,140 --> 00:24:51,780 Speaker 1: on this. It's such an awesome record. This is The 405 00:24:51,900 --> 00:24:54,820 Speaker 1: bass player and the guitarist from The Beat, or The 406 00:24:54,900 --> 00:24:57,320 Speaker 1: English Beat, as they're called here in the States, they 407 00:24:57,500 --> 00:25:00,399 Speaker 1: left that band to form this band with Roland Gift, 408 00:25:01,050 --> 00:25:03,909 Speaker 1: who is the singer and who possesses a voice unlike 409 00:25:04,590 --> 00:25:08,369 Speaker 1: truly a singular voice in music history. And they only 410 00:25:08,410 --> 00:25:11,490 Speaker 1: made two records. And then there was a remix record 411 00:25:11,530 --> 00:25:14,310 Speaker 1: that came out after the second one. And I don't 412 00:25:14,330 --> 00:25:15,710 Speaker 1: really know what happened. I know that there's been a 413 00:25:15,710 --> 00:25:21,710 Speaker 1: lot of controversy with Roland Gift and his political... social 414 00:25:21,790 --> 00:25:24,369 Speaker 1: views as of late. He's kind of gone down like 415 00:25:24,430 --> 00:25:29,410 Speaker 1: a Morrissey-esque path there. But I always loved this, their 416 00:25:29,450 --> 00:25:33,800 Speaker 1: cover of Suspicious Minds. My mom owned a clothing store 417 00:25:33,859 --> 00:25:37,560 Speaker 1: back when I was a kid, and she had all 418 00:25:37,580 --> 00:25:40,020 Speaker 1: these cassettes. She had a stereo in there, and she'd 419 00:25:40,040 --> 00:25:44,080 Speaker 1: play music nonstop, of course, because I came from a 420 00:25:44,119 --> 00:25:47,170 Speaker 1: household in which music was played nonstop. So at home, 421 00:25:47,190 --> 00:25:49,250 Speaker 1: and also, I just think about her store, because the 422 00:25:49,820 --> 00:25:51,680 Speaker 1: These are the records I associate with her store. Fine 423 00:25:51,700 --> 00:25:57,120 Speaker 1: Young Cannibals, The English Beat, General Public, B-52s, Kid Creole 424 00:25:57,140 --> 00:26:01,120 Speaker 1: and the Coconuts. All this like mid-80s, late 80s, sort 425 00:26:01,140 --> 00:26:05,490 Speaker 1: of cutting edge alternative pop or whatever. So it reminds 426 00:26:05,530 --> 00:26:08,090 Speaker 1: me of my mom too, which is a good thing. 427 00:26:08,410 --> 00:26:11,469 Speaker 1: And yeah, Suspicious Minds, Fine Young Cannibals. Check that out. 428 00:26:12,570 --> 00:26:16,560 Speaker 1: Next song here on the tape, thinking about the butcher shop, 429 00:26:17,060 --> 00:26:20,649 Speaker 1: Meats of the World. So I'm thinking about Meatgrinders. I'm 430 00:26:20,690 --> 00:26:25,020 Speaker 1: thinking about a song from Mad Villain, their only record, 431 00:26:25,100 --> 00:26:29,560 Speaker 1: Mad Villainy, from 2004 on the great Stones Throw label, 432 00:26:30,060 --> 00:26:34,120 Speaker 1: a song called Meatgrinder. Mad Villain is the duo of 433 00:26:34,780 --> 00:26:39,000 Speaker 1: MF Doom and Madlib. MF Doom is one of the 434 00:26:39,020 --> 00:26:44,000 Speaker 1: most lyrically dense MCs, rappers to have ever lived. You 435 00:26:44,040 --> 00:26:47,159 Speaker 1: listen to him You know, it's like they say, you know, 436 00:26:47,200 --> 00:26:49,139 Speaker 1: you read and you kind of, you get smarter as 437 00:26:49,180 --> 00:26:52,440 Speaker 1: you read. When you listen to Doom rap, I feel 438 00:26:52,460 --> 00:26:55,939 Speaker 1: like you get smarter because you're not only hearing words 439 00:26:55,980 --> 00:26:58,180 Speaker 1: that you typically would not hear in a hip hop song, 440 00:26:58,660 --> 00:27:02,310 Speaker 1: but you're hearing rhyme sequences that you would not hear 441 00:27:02,609 --> 00:27:05,229 Speaker 1: in a hip hop song because he's just so out 442 00:27:05,290 --> 00:27:09,430 Speaker 1: there on his own trip, thinking about food often. And 443 00:27:09,750 --> 00:27:12,550 Speaker 1: it's sublime. I used that word already before on this episode, 444 00:27:12,570 --> 00:27:14,409 Speaker 1: but I'm gonna use it again here because this is 445 00:27:14,450 --> 00:27:17,910 Speaker 1: another sublime moment The bass line in here that's sampled, 446 00:27:18,550 --> 00:27:20,030 Speaker 1: every time I hear it, it sounds like it's from 447 00:27:20,090 --> 00:27:24,130 Speaker 1: Tom Sawyer, the Rush song. That's definitely not, but could be. 448 00:27:24,650 --> 00:27:27,330 Speaker 1: Meat Grinder by Mad Villain, which got me thinking about 449 00:27:27,410 --> 00:27:30,980 Speaker 1: another Grinder song, Grinder Man by John Lee Hooker. This 450 00:27:31,020 --> 00:27:34,080 Speaker 1: is from his only record on Stax Records, though I 451 00:27:34,140 --> 00:27:36,970 Speaker 1: think he recorded it like years before Stax released it. 452 00:27:37,000 --> 00:27:40,350 Speaker 1: So it wasn't made in-house at Stax. It's just John 453 00:27:40,380 --> 00:27:44,530 Speaker 1: Lee with his guitar. And... Jake has talked about this 454 00:27:44,550 --> 00:27:49,020 Speaker 1: song before, Grinderman. It's just got such a menacing vibe. 455 00:27:49,619 --> 00:27:52,920 Speaker 1: All these solo John Lee Hooker songs have. And what's 456 00:27:52,940 --> 00:27:55,080 Speaker 1: he grinding, man? I don't know, but I've got a 457 00:27:55,100 --> 00:27:59,500 Speaker 1: couple of guesses for what's going on there. Another song here, 458 00:27:59,520 --> 00:28:02,080 Speaker 1: thinking about California, did not include an American Music Club 459 00:28:02,240 --> 00:28:07,000 Speaker 1: San Francisco song, but I do want to include California Dreamin', 460 00:28:07,460 --> 00:28:09,830 Speaker 1: but not the Mamas and the Papas version and not 461 00:28:09,869 --> 00:28:13,170 Speaker 1: maybe other versions you're thinking of, the Jose Feliciano version. 462 00:28:13,690 --> 00:28:16,250 Speaker 1: that's in Once Upon a Time in Hollywood. I'm thinking 463 00:28:16,290 --> 00:28:19,700 Speaker 1: about the Lee Moses version. Now, if you don't know 464 00:28:20,840 --> 00:28:25,619 Speaker 1: Lee Moses, specifically this album from 1971 called Time and Place, 465 00:28:26,280 --> 00:28:29,500 Speaker 1: this is like a get this record immediately. This has 466 00:28:29,580 --> 00:28:32,250 Speaker 1: not only my favorite version of California Dreamin' on it, 467 00:28:32,859 --> 00:28:35,869 Speaker 1: but on some days it's my favorite version of Hey Joe, 468 00:28:36,070 --> 00:28:39,490 Speaker 1: the song made popular by Jimi Hendrix. This song and 469 00:28:39,510 --> 00:28:44,160 Speaker 1: this record sounds like a garage band learning R & 470 00:28:43,760 --> 00:28:47,100 Speaker 1: B in real time. And it's just, it's super thrilling. 471 00:28:47,320 --> 00:28:50,300 Speaker 1: And Lee Moses has an incredible voice. I had never 472 00:28:50,340 --> 00:28:54,160 Speaker 1: heard about this guy until he was talked about on 473 00:28:54,200 --> 00:28:57,530 Speaker 1: the Soul Sides blog back in the day. Soul Sides 474 00:28:57,590 --> 00:29:01,330 Speaker 1: was an incredible music blog that would post MP3s that 475 00:29:01,370 --> 00:29:05,310 Speaker 1: you could download of these obscure soul and R & 476 00:29:04,870 --> 00:29:08,590 Speaker 1: B and other, you know, Latin music, all these other genres. 477 00:29:08,670 --> 00:29:10,220 Speaker 1: And then there would be like a discussion of it, 478 00:29:10,270 --> 00:29:17,550 Speaker 1: some history about it. written by the great Oliver Wang, DJ, writer, thinker, 479 00:29:17,630 --> 00:29:23,460 Speaker 1: just an impeccable taste in music. I discovered countless great 480 00:29:24,140 --> 00:29:27,500 Speaker 1: songs from this blog, Soul Sides, and I was lucky 481 00:29:27,520 --> 00:29:30,120 Speaker 1: enough once to be on a call with Oliver, almost 482 00:29:30,160 --> 00:29:31,600 Speaker 1: got to work with him on a project here we 483 00:29:31,820 --> 00:29:35,390 Speaker 1: were developing, but it didn't happen, unfortunately, which bummed me out. 484 00:29:36,290 --> 00:29:38,090 Speaker 1: And I hope I made it clear on that call 485 00:29:38,150 --> 00:29:40,420 Speaker 1: how much Soul Size meant to me over the years. 486 00:29:40,560 --> 00:29:43,200 Speaker 1: If it didn't, then Oliver Wang, I'm telling you now, 487 00:29:43,620 --> 00:29:47,560 Speaker 1: appreciate you, dude. And this song, especially Lee Moses' version 488 00:29:47,740 --> 00:29:51,700 Speaker 1: of California Dreamin', this record, Time and Place, was it 489 00:29:51,740 --> 00:29:53,560 Speaker 1: Light in the Attic who reissued it? Light in the 490 00:29:53,640 --> 00:29:57,420 Speaker 1: Attic or one of those great reissue labels? So you 491 00:29:57,460 --> 00:30:00,140 Speaker 1: can find that out there in the wild. All right. 492 00:30:01,040 --> 00:30:03,860 Speaker 1: There's the coffee shop thing in this movie, right? There's 493 00:30:03,980 --> 00:30:07,820 Speaker 1: TVs in this movie. There's cigarettes in this movie. So first, 494 00:30:08,420 --> 00:30:13,790 Speaker 1: let's include Coffee and TV by Blur from their 1999 495 00:30:13,790 --> 00:30:18,730 Speaker 1: album 13. This is the one when they took another 496 00:30:18,730 --> 00:30:22,390 Speaker 1: 90 degree turn into this more like trippy kind of, 497 00:30:23,230 --> 00:30:25,050 Speaker 1: I won't say trip hop because it's not really trip hop. 498 00:30:25,650 --> 00:30:27,890 Speaker 1: But they worked with producer William Orbit who had worked 499 00:30:27,910 --> 00:30:30,770 Speaker 1: with Madonna on Ray of Light. just like that record 500 00:30:30,790 --> 00:30:33,370 Speaker 1: that came before this, the self-titled record that had song 501 00:30:33,550 --> 00:30:38,540 Speaker 1: two on it. This was like a wildly new version 502 00:30:38,580 --> 00:30:41,180 Speaker 1: of Blur, which I will say, I'll go on the 503 00:30:41,240 --> 00:30:44,540 Speaker 1: record again, why I think they, what is it? They 504 00:30:44,580 --> 00:30:46,560 Speaker 1: lost the battle, but won the war. I think Blur 505 00:30:46,600 --> 00:30:49,760 Speaker 1: won the war because their records are just stronger. They 506 00:30:49,840 --> 00:30:53,000 Speaker 1: changed more on record, whereas Oasis, I think, you know, 507 00:30:53,080 --> 00:30:55,000 Speaker 1: stayed the same and their records just aren't as strong. 508 00:30:55,080 --> 00:30:58,510 Speaker 1: That's my take. Also, in addition to coffee and TV, 509 00:30:58,980 --> 00:31:03,010 Speaker 1: Let's do Cigarettes and Coffee by Otis Redding. This is 510 00:31:03,030 --> 00:31:08,390 Speaker 1: from the mid-60s, 65, 66. Of course, speaking of Stax earlier, 511 00:31:08,430 --> 00:31:12,070 Speaker 1: this is a Stax Records tune recorded there at Stax 512 00:31:12,930 --> 00:31:15,860 Speaker 1: in Memphis. Booker T and the MGs backing him up. 513 00:31:16,110 --> 00:31:18,730 Speaker 1: Amazing song. It's definitely kind of a deep cut in 514 00:31:18,790 --> 00:31:22,050 Speaker 1: Otis Redding's catalog. Cigarettes and Coffee, not to be confused 515 00:31:22,070 --> 00:31:25,350 Speaker 1: with the great Jim Jarmusch film Coffee and Cigarettes. All right, 516 00:31:25,510 --> 00:31:28,670 Speaker 1: there's a great scene in here where the Scottish father, 517 00:31:29,300 --> 00:31:32,180 Speaker 1: who's played by Mike Myers, is playing and singing along 518 00:31:32,260 --> 00:31:35,880 Speaker 1: to the Bay City Rollers, who were this teeny bop 519 00:31:35,900 --> 00:31:39,180 Speaker 1: band back in the 70s. So I'm not going to 520 00:31:39,200 --> 00:31:41,580 Speaker 1: include a Bay City Rollers song on here, but I 521 00:31:41,620 --> 00:31:45,120 Speaker 1: do want to include a song called Rollers Show, which 522 00:31:45,220 --> 00:31:49,380 Speaker 1: is about, I believe, about the sort of like mania 523 00:31:49,500 --> 00:31:52,560 Speaker 1: around the Bay City Rollers, written and performed by Nick 524 00:31:52,640 --> 00:31:57,120 Speaker 1: Lowe from his 1978 debut solo album, Jesus of Cool. 525 00:31:57,750 --> 00:32:01,790 Speaker 1: Although here in the repressed United States, the record had 526 00:32:01,810 --> 00:32:05,250 Speaker 1: to be titled Pure Pop for Now People. It's since 527 00:32:05,270 --> 00:32:07,530 Speaker 1: been reissued in America, and you can now buy it 528 00:32:07,710 --> 00:32:11,120 Speaker 1: again as Jesus of Cool. But I have a copy 529 00:32:11,160 --> 00:32:13,940 Speaker 1: on vinyl, a US pressing from back in the 70s, 530 00:32:13,980 --> 00:32:15,640 Speaker 1: and it says Pure Pop for Now People on it. 531 00:32:16,260 --> 00:32:20,100 Speaker 1: This is such a creative record, so diverse. Every song 532 00:32:20,260 --> 00:32:22,880 Speaker 1: sounds different. I feel like every song's in a different genre. 533 00:32:23,480 --> 00:32:25,770 Speaker 1: You know, this is back when Nick Lowe was producing 534 00:32:25,950 --> 00:32:28,980 Speaker 1: all of Elvis Costello's records, so A couple of the attractions, 535 00:32:29,020 --> 00:32:31,540 Speaker 1: I believe, show up on this thing, but it's mainly 536 00:32:32,140 --> 00:32:34,520 Speaker 1: Nick Lowe's band Rock Pile at the time backing him up, 537 00:32:34,600 --> 00:32:37,900 Speaker 1: Dave Edmonds and Billy Bremner on guitars and Terry William 538 00:32:38,000 --> 00:32:41,660 Speaker 1: on drums. The song, if it was trying to be 539 00:32:41,720 --> 00:32:44,400 Speaker 1: as infectious as the Bay City Rollers, it succeeded because 540 00:32:44,880 --> 00:32:48,490 Speaker 1: it is extremely infectious. Like most of Nick Lowe's songs are, 541 00:32:48,530 --> 00:32:51,670 Speaker 1: this whole record is just, you're going to need the 542 00:32:51,770 --> 00:32:55,650 Speaker 1: antidote afterwards because it's so infectious. I got time for 543 00:32:55,670 --> 00:32:59,670 Speaker 1: one more song here, thinking about the relationship between Mike 544 00:32:59,690 --> 00:33:03,870 Speaker 1: Myers and Nancy Travis in this film. There's a song 545 00:33:03,910 --> 00:33:07,170 Speaker 1: by the Figs called Your Smile is a Deadly Thing 546 00:33:07,760 --> 00:33:11,239 Speaker 1: from their 2016 album On the Slide. The Figs are 547 00:33:11,260 --> 00:33:14,120 Speaker 1: an incredible power trio that I always think of that 548 00:33:14,140 --> 00:33:16,640 Speaker 1: they're from Boston, but they're not. They're from upstate New York, 549 00:33:16,740 --> 00:33:21,120 Speaker 1: I believe. But they just have been a huge part 550 00:33:21,160 --> 00:33:23,160 Speaker 1: of the Boston scene over the last couple of decades. 551 00:33:23,580 --> 00:33:25,960 Speaker 1: They've got two songwriters in the band and singers, Mike 552 00:33:26,000 --> 00:33:29,160 Speaker 1: Gent and Pete Donnelly. This is a Pete song. It's 553 00:33:29,200 --> 00:33:32,090 Speaker 1: kind of like Andy and Colin and XTC kind of thing. 554 00:33:32,110 --> 00:33:35,430 Speaker 1: You get the two different modes. Pete has a super 555 00:33:35,490 --> 00:33:38,430 Speaker 1: melodic glean to him, right? And Gent has like the 556 00:33:38,470 --> 00:33:41,370 Speaker 1: harder edge Stones thing going on. So this is just 557 00:33:41,570 --> 00:33:45,090 Speaker 1: a catchy Pete Donnelly song. You kind of can't go 558 00:33:45,150 --> 00:33:47,969 Speaker 1: wrong with any Figg's record. This is a strong one 559 00:33:48,130 --> 00:33:51,480 Speaker 1: on the slide. The Figg's, where one of the greatest shows, 560 00:33:51,870 --> 00:33:53,990 Speaker 1: rock shows I've ever seen in my life. It was 561 00:33:54,090 --> 00:34:00,250 Speaker 1: at TT the Bears in Cambridge, Massachusetts, early 2000s, mid 2000s, 562 00:34:00,310 --> 00:34:03,910 Speaker 1: somewhere in there. That ranked up with The Roots when 563 00:34:03,930 --> 00:34:05,910 Speaker 1: I saw them at midnight at the House of Blues 564 00:34:05,950 --> 00:34:08,830 Speaker 1: in LA, and Supergrass when I saw them at the 565 00:34:08,950 --> 00:34:12,490 Speaker 1: El Rey in LA. Those three shows, The Figs, The Roots, 566 00:34:12,630 --> 00:34:15,489 Speaker 1: and Supergrass, probably the top three shows I've ever seen 567 00:34:15,510 --> 00:34:20,399 Speaker 1: in my life just blew me away. So all that said, 568 00:34:20,719 --> 00:34:22,620 Speaker 1: what do you guys have? You have any songs about 569 00:34:22,739 --> 00:34:25,859 Speaker 1: secret axe murderers and butcher shops in San Francisco and 570 00:34:25,960 --> 00:34:29,460 Speaker 1: beat poets at hip coffee shops? I'm sure I have 571 00:34:29,500 --> 00:34:32,460 Speaker 1: forgotten so much obvious shit. So get at me and 572 00:34:32,500 --> 00:34:37,860 Speaker 1: let me know. 617-906-6638. You can leave a voicemail. You 573 00:34:37,910 --> 00:34:40,570 Speaker 1: can send a text. You can email me at disgracelandpod 574 00:34:40,730 --> 00:34:43,910 Speaker 1: at gmail.com. While you're doing that, I got to take 575 00:34:44,110 --> 00:34:46,489 Speaker 1: another quick break here. But hang tight, guys. I'll be 576 00:34:46,530 --> 00:34:48,450 Speaker 1: right back with a little bit more right after this. 577 00:35:01,150 --> 00:35:03,430 Speaker 1: All right, guys, there you have it. So I Married 578 00:35:03,450 --> 00:35:05,710 Speaker 1: an Axe Murderer, the movie that had a bunch of 579 00:35:05,770 --> 00:35:09,469 Speaker 1: folks scratching their heads and wondering where Mike Myers was 580 00:35:09,510 --> 00:35:12,989 Speaker 1: going with his career back in 1993. I told you 581 00:35:13,010 --> 00:35:16,540 Speaker 1: what I thought of it. Curious, you know, if Mike Myers, 582 00:35:16,680 --> 00:35:20,779 Speaker 1: is he your bag baby, as he would say? And 583 00:35:20,840 --> 00:35:23,759 Speaker 1: if so, where do you land on this film in particular? 584 00:35:24,040 --> 00:35:27,600 Speaker 1: I know that all that, do I make you horny baby, 585 00:35:27,620 --> 00:35:30,060 Speaker 1: Austin Powers stuff is seen by the culture at large 586 00:35:30,100 --> 00:35:33,989 Speaker 1: these days as corny and outdated as the era that 587 00:35:34,010 --> 00:35:37,650 Speaker 1: those films were spoofing. But I got to be honest, 588 00:35:37,810 --> 00:35:42,469 Speaker 1: I still find it to be a hoot. He's a hoot. 589 00:35:43,489 --> 00:35:46,710 Speaker 1: I don't think I'll ever find that stuff unfunny. I 590 00:35:46,770 --> 00:35:50,930 Speaker 1: even love the third Austin Powers gold member. I love 591 00:35:50,950 --> 00:35:53,360 Speaker 1: that movie. Isn't that veered? I just do. Hit me 592 00:35:53,410 --> 00:35:55,700 Speaker 1: up as they say. Let me know your thoughts. 617-906-6638. Voicemail, 593 00:35:55,719 --> 00:36:04,630 Speaker 1: text Emails at disgracelandpod at gmail.com. Maybe you'd like to 594 00:36:04,670 --> 00:36:08,830 Speaker 1: chime in on next week's question of the week. And 595 00:36:08,870 --> 00:36:12,969 Speaker 1: about that, next week on Monday, we're bringing you our 596 00:36:13,110 --> 00:36:17,589 Speaker 1: scripted and sound design episode here in Hollywood land on 597 00:36:17,690 --> 00:36:20,730 Speaker 1: David Lynch. This one gets into the origin story of 598 00:36:20,810 --> 00:36:25,390 Speaker 1: his groundbreaking TV show, Twin Peaks, the real small town 599 00:36:25,430 --> 00:36:27,890 Speaker 1: murder that inspired the storyline in that show. And we 600 00:36:27,910 --> 00:36:31,860 Speaker 1: also get into what made Lynch so singular. So weird. 601 00:36:32,300 --> 00:36:34,700 Speaker 1: Some would say he's the king of weird movies, although 602 00:36:34,800 --> 00:36:36,739 Speaker 1: others would disagree with that. Some would say he's the 603 00:36:36,800 --> 00:36:41,700 Speaker 1: king of dreamlike movies or nightmarish movies. But all that said, 604 00:36:42,500 --> 00:36:45,960 Speaker 1: question of the week for next week. What is your 605 00:36:46,040 --> 00:36:49,580 Speaker 1: favorite weirdo movie? Maybe it's something by David Lynch like 606 00:36:49,640 --> 00:36:52,820 Speaker 1: Wild at Heart, or maybe it's something else. Maybe someone 607 00:36:52,860 --> 00:36:56,779 Speaker 1: else's weird is your totally normal. I don't know. Tell me. 608 00:36:57,100 --> 00:36:58,960 Speaker 1: I want to know. I want some weird movies in 609 00:36:59,000 --> 00:37:05,720 Speaker 1: my life. 617-906- 888-6638. You can email disgracelandpod at gmail.com. 610 00:37:05,860 --> 00:37:09,779 Speaker 1: Or if you're a member of Disgraceland All Access over 611 00:37:09,900 --> 00:37:14,750 Speaker 1: on Patreon, you can just jump into the chat. Perhaps 612 00:37:14,870 --> 00:37:19,609 Speaker 1: I will play or read your answers, your messages, your 613 00:37:19,650 --> 00:37:23,170 Speaker 1: responses in the wrap party next week. And then next Friday, 614 00:37:23,630 --> 00:37:26,030 Speaker 1: back in the screening room, I'm going to cover David 615 00:37:26,070 --> 00:37:30,700 Speaker 1: Lynch's 2001 film Mulholland Drive, a movie about L.A., that 616 00:37:30,739 --> 00:37:34,020 Speaker 1: I saw pretty much when I moved to LA, like 617 00:37:34,200 --> 00:37:38,160 Speaker 1: literally weeks after. So I was properly freaked out, as 618 00:37:38,219 --> 00:37:42,120 Speaker 1: you can imagine. We've got David Lynch in the Hollywoodland feed. 619 00:37:42,140 --> 00:37:45,140 Speaker 1: And then over in our sister show's feed, Disgraceland, we're 620 00:37:45,160 --> 00:37:47,890 Speaker 1: going to have a brand new episode on another weirdo, Screamin' 621 00:37:47,930 --> 00:37:52,330 Speaker 1: Jay Hawkins, the OG shock rocker, co-composer of one of 622 00:37:52,390 --> 00:37:55,130 Speaker 1: rock and roll's most immortal songs, I Put a Spell 623 00:37:55,210 --> 00:37:59,390 Speaker 1: on You. Screamin' Jay Hawkins died in 2000, supposedly of 624 00:37:59,590 --> 00:38:04,110 Speaker 1: organ failure following emergency surgery to treat an aneurysm. But 625 00:38:04,130 --> 00:38:07,110 Speaker 1: our new episode asks the question, was Screamin' Jay Hawkins 626 00:38:07,219 --> 00:38:11,160 Speaker 1: actually murdered? Now, you don't have to wait until next 627 00:38:11,200 --> 00:38:14,000 Speaker 1: week to get more good stuff from us here at 628 00:38:14,120 --> 00:38:16,200 Speaker 1: Double Elvis. If you are a member of Disgraced Land 629 00:38:16,280 --> 00:38:20,020 Speaker 1: All Access, you know, or if you don't, I'm telling 630 00:38:20,040 --> 00:38:22,239 Speaker 1: you now, so now you know, that we have a 631 00:38:22,360 --> 00:38:25,859 Speaker 1: brand new episode of our video podcast. This film should 632 00:38:25,910 --> 00:38:28,410 Speaker 1: be played loud. It just came out a couple days 633 00:38:28,450 --> 00:38:32,390 Speaker 1: ago on Wednesday. It's all about the 1997 film Gross 634 00:38:32,450 --> 00:38:36,690 Speaker 1: Point Blank, starring John Cusack as a hitman who goes 635 00:38:36,750 --> 00:38:39,160 Speaker 1: back to his high school reunion. He graduated from high 636 00:38:39,200 --> 00:38:44,120 Speaker 1: school in the mid-' 80s, so the soundtrack is full of 637 00:38:44,880 --> 00:38:50,140 Speaker 1: 80s-era bangers, a real Gen X smorgasbord there, some stuff 638 00:38:50,160 --> 00:38:52,299 Speaker 1: from the 90s as well. And on top of that all, 639 00:38:52,340 --> 00:38:56,410 Speaker 1: that's not cool enough. The score... was written and performed 640 00:38:56,430 --> 00:39:01,029 Speaker 1: by Joe Strummer right before he began the next phase 641 00:39:01,070 --> 00:39:04,489 Speaker 1: of his career with the Mescaleros. Guys, check this out. 642 00:39:04,570 --> 00:39:07,630 Speaker 1: It's a great conversation. As always, this film should be 643 00:39:07,650 --> 00:39:11,529 Speaker 1: played loud as about the incredible music from some of 644 00:39:11,590 --> 00:39:14,660 Speaker 1: our favorite movies. So we're talking about, of course, the soundtrack, 645 00:39:14,940 --> 00:39:18,040 Speaker 1: the needle drops, Joe Strummer's score. And we've got so 646 00:39:18,060 --> 00:39:20,040 Speaker 1: many other episodes there for you to watch right now. 647 00:39:20,120 --> 00:39:25,540 Speaker 1: Episodes on Boogie Nights, Goodfellas, The Big Lebowski. Licorice Pizza. 648 00:39:25,800 --> 00:39:30,220 Speaker 1: It goes on and on, all right? Disgracelandpod.com, the website. 649 00:39:30,320 --> 00:39:34,000 Speaker 1: There on the homepage, more information to sign up today. 650 00:39:34,100 --> 00:39:36,890 Speaker 1: I hope you guys had a good time here today. 651 00:39:36,910 --> 00:39:38,290 Speaker 1: I hope you have a great weekend lined up. Maybe 652 00:39:38,310 --> 00:39:40,710 Speaker 1: there's some movies in your future. If so, give me 653 00:39:40,730 --> 00:39:42,630 Speaker 1: a holler. Let me know what you saw and what 654 00:39:42,650 --> 00:39:45,190 Speaker 1: you thought. 617-906-6638. And I'll see you guys next week. 655 00:39:48,450 --> 00:39:50,800 Speaker 1: Until then, though, I'm going to leave you here with this. 656 00:39:51,700 --> 00:39:54,060 Speaker 1: Here's what America was watching at the movies in July 657 00:39:54,160 --> 00:39:57,200 Speaker 1: of 1993, the month that So I Married an Axe 658 00:39:57,239 --> 00:40:04,090 Speaker 1: Murderer was released in theaters. Number one, The Firm, directed 659 00:40:04,130 --> 00:40:09,550 Speaker 1: by Sidney Pollack. Number two, Jurassic Park, directed by Steven Spielberg. 660 00:40:09,570 --> 00:40:13,520 Speaker 1: Number six. Number three, In the Line of Fire, directed 661 00:40:13,540 --> 00:40:18,750 Speaker 1: by Wolfgang Peterson. Number four, Sleepless in Seattle, directed by 662 00:40:18,810 --> 00:40:23,370 Speaker 1: Nora Ephron. Number five, Rookie of the Year, directed by 663 00:40:23,430 --> 00:40:29,070 Speaker 1: Daniel Stern. Number six, Dennis the Menace, directed by Nick Castle. 664 00:40:30,710 --> 00:40:35,070 Speaker 1: Number seven, Snow White and the Seven Dwarfs, pre-release, directed 665 00:40:35,090 --> 00:40:38,859 Speaker 1: by a bunch of dudes. Quit talking and start mixing.