The Murphy Monday Podcast
The Murphy Monday Podcast
Not A Murphy Monday Podcast w/ SNL Nerds
Tell An Eddie Murphy fan to tell an Eddie Murphy fan that you love this podcast
Hey everybody, welcome to another episode of the Murphy Monday podcast, the only podcast that celebrates the life and career of Eddie Murphy. I'm your host, Nigel A Fullerton. This week I wanted to replay an episode of my interview with the SNL nerds. I did an interview with them last year surrounding Beverly Hills Cop. Not sure if anybody got to hear it, but I'm re airing it on this platform. Uh, not all of the episode, but part of the episode, because I want to show them some love and just have fun with my good friends Darren and John. Again, not a Murphy Monday podcast, it's not. It is not an episode of the Murphy Monday podcast, it's an episode of the SNL Nerds and I'm just giving them some love, shouting them out in this one. If you haven't already, please like, share and subscribe, Tell a Netty Murphy fan to tell a Netty Murphy fan that you love this podcast and, with all hearts and minds clear, let's start this show Today from New Jersey.
Speaker 2:it's the SNL Nerds, the show where two comics from New Jersey nerd out about Saturday Night Live. I'm your co-host, john Trumbull, and I'm your co-host, darren Patterson. Hey, darren, how you been.
Speaker 3:I'm doing good. I've been good, I've done been doing good. Yes, yes, you've done been doing good. Yes, yeah, yeah, I've been doing good. I was a communications major. Absolutely, you speak english. Nice, I speak it very well. Good, nice. And uh, speaking of which I'm doing super good. Well, nice, because we got a guest here in the building. As they say, as the young people say, folks, our guest needs no introduction, but I'm gonna give him one because he's he's a swell dude, great comic, great actor. He's been in, like, he's been in so many things. Uh, roxanne roxanne, if you might remember, he's been in the get down. Uh, who shot biggie and tupac, where he played biggie smalls. I remember that dude's a phenomenal dude and he's off. He also has an amazing podcast called the the murphy monday podcast. Ladies and gentlemen, boys and girls, give it up for mr nigel fullerton.
Speaker 1:Thank you, thank you, thank you, yeah yeah, that was Well like I love what you guys do here. You know SNL is a hard thing to tackle, especially now with the political climate and all the jokes, but you guys are like, not just like regular nerds, like you guys are super SNL. You guys need to keep up for this. I'm sorry that was me, that was me cape for this. I'm sorry that was me quoting the movie.
Speaker 3:I apologize. No, I like that. Thank you so much for that. That's a beautiful thing you said right there, yeah.
Speaker 1:I love this. I'm very happy to be here, guys. I super am. I am a big fan of SNL. I do have my gripes with it at times.
Speaker 3:And it's something for me to watch.
Speaker 1:But I do like I do. I'm an actual fan of Saturday Night Live. I really am.
Speaker 2:Well, I mean, hey, that gives us a great segue into our first question that we ask of guests when they join us for the first time Is what is your SNl origin story? How did you get into saturday night live? How did you? How did you get into like eddie murphy, in particular, what made you want to do a podcast about eddie murphy?
Speaker 1:oh, which question do you want? Which answer do you want?
Speaker 2:first like well, I guess whichever comes first chronologically all right, so um Eddie Murphy.
Speaker 1:My origin story was um the golden child actually.
Speaker 1:Oh, yeah, my uncle, me and my uncle used to watch a lot of movies together, mostly Kung Fu movies, Um, and he was like, oh, you got to watch this guy. He's really funny, he's named Eddie Murphy. So we watched the golden child and I like I was hooked from then, Um, but it wasn't like until I think, probably around the nineties, where he was like hitting movies back to back to back. Then I'm like I really have to start watching this guy and I was enamored by Professor, ironically, just because seeing him work so many different characters and doing all the stuff which come to find out. I didn't know that he was on Saturday Night Live. Oh, you know when he was on.
Speaker 1:I didn't know that he was on Saturday Night Live. Oh, you know, when he was on I was still in diapers, right, so I really didn't know that he was Like I had heard. It wasn't until Saturday Night Live started having these tapes where, like best of Chris Farley, best of Phil Hartman, best of Like, every time somebody left the cast they would. Where, like best of chris farley, best of, uh, phil hartman, best of like, every time somebody left the cast, they would do a best of.
Speaker 1:And they had a best of eddie murphy right, and I sat there and I was like, wow, this guy is a great performer. So I basically started watching. I've seen most of his movies not all of them, but most of them and I just I was just like you know what? I need to do a podcast. I need something to talk about, and I hear the way that people talk about Eddie Murphy and he had left the limelight a little bit. So I was like you know what? Let me just do this podcast to remind people why they fell in love with Eddie Murphy in the first place.
Speaker 2:Okay, cool, cool.
Speaker 1:Saturday Night Live came around because, um, everybody was talking about it in school. Saturday Night Live came around because everybody was talking about it in school. So I got the 90s run. So I got, like you know, right before I want to say, around Dennis Miller, I think I started watching. So like I think, like late 80s, early 90s, like a lot of church lady sketches, late 80s, early 90s, like a lot of church lady sketches, um, but what really hit it home for me was the bad boys of snl, you know, the chris farley's, david spade, the rob schneider, chris rock, you know so that's more like the early 90s because, like I think like like the late 80s was like, that was more the era I was watching.
Speaker 1:So it's more like dana carvey, phil hartman, jen hooks, kevin nealon and then after that was then after that was like, yeah, so probably around that time I think a lot of sketches had had boiled over into pop culture. You know, your wayne's world, you know? Uh, I mentioned church lady before um, a lot of hans and franz. I remember seeing hans and franz a lot you know, in pop culture and was like what is the show that everybody's watching? It was Water Cooler Talk.
Speaker 3:Yeah.
Speaker 1:Yeah.
Speaker 1:So, that's where it started. But then what made me like become an actual fan was like I went back, I would watch the tapes of like the original five seasons. But then what really like interested me was how does this show stay on for so long, how does this stay funny for so long, and why did they make so many weird character changes in all these different seasons? You know I went and rewatched the Eddie Murphy run. Uh, I went and rewatched the eighties run of like and I'm really enamored by like the 1985 season, 85, 86 season with like Robert Downey Jr and like all like the Breakfast Club people, oh yeah, and Damon Wayans, yeah, yeah, yeah, which I, which you know. When I found out Damon Wayans was actually on the show, I was like this is interesting.
Speaker 3:You see a lot of early in living color skits from there yeah, there was that one where it's like it's damon wayans and, uh, I think, anthony michael hall and they play like these sort of, I guess, like junkies who are like kind of selling stuff on the corner. It's like a very much like, you see, like the uh, the like the seeds of um damon wayans anton character that he would use on In Living Color.
Speaker 1:You would see Anton and you would see Homeboy shopping that work.
Speaker 3:Yes, exactly.
Speaker 1:What would really interest me is when they do the Seinfeld impersonations or like that. It's called. The sketch is called the stand-ups. Yeah, it's like two or three times and like I laugh every single time because you get a deal with.
Speaker 2:Yeah, yeah, and it's.
Speaker 2:It's kind of amazing that they were doing that before jerry seinfeld was nationally known, so it was exactly it was just kind of this in show because, like, obviously damon wayans knew him from the stand-up circuit right, and, and you know, probably it was him or maybe somebody else in the cast who like taught him the taught, taught them the Jerry Seinfeld voice, and like this is the type of comic that he is, but what's funny is it's technically not the Jerry Seinfeld voice, it's the what every other comic was doing at the time.
Speaker 1:Right, right.
Speaker 3:It just got attributed to Seinfeld too, cause I'm not sure what I mean. I don't know why he was chosen out specifically for that, but like he, it just sounded like his type of cadence, even though he really didn't talk like that. He even said that in interviews like yeah. I never said like hey, what's the deal with, but like people, just kind of he did it on the show.
Speaker 1:Seen him do it on Seinfeld.
Speaker 2:You know it's funny. Like most impressions of people, they don't really become Much about what they actually say. It's just something you can imagine them saying Like. I think the the impression of Cary Grant going Judy, judy, judy. He never really said that, but it was just Like they picked A woman's name that he could do, and like william shatner's, like yeah, I don't, I don't pause as much as people say I do.
Speaker 3:Or or like yeah, like uh, it's the mandela effect yeah, yeah, exactly, exactly, and yeah, it's like when, like, like even dana carvey, like when you see his george w bush impression, like not, and do it Like George W Bush really didn't talk like that. Hw, hw, sorry, george.
Speaker 1:HW.
Speaker 2:Bush, herbert Walker.
Speaker 3:Put some respect on his name, but yeah, like he didn't really talk like that, it was like more of an exaggerated version of how he talked, but people just kind of attributed that to him.
Speaker 2:Yeah and then, yeah, like you said, the Mandela effect. Everybody just sort of thinks that's a thing that Bush said. And no, not really.
Speaker 1:It was Dana Carvey doing all those impressions.
Speaker 2:Right, but you see that week after week after week, it just bores itself into your brain, right, yeah? So, okay, well, that's really interesting. And we decided to have Nigel on the podcast this week because we are doing one of the big Eddie Murphy movies, probably the big Eddie Murphy movie. This is the one that really kind of cemented his star status, I would say, as as 1984 is Beverly Hills cop.
Speaker 3:Yeah, I know, Okay, Beverly Hills cop came out December 5th 1984, which is that always kind of trips me up because this screams summer blockbuster movie. So the fact that this came out in December like kind of it's a bit of a head scratcher for me. It was a hot winter.
Speaker 2:I wonder if you know, maybe the execs weren't completely sold on Eddie Murphy because, like he'd done 48 Hours and there he's paired with Nick Nolte. That's kind of a surprise hit that made him a star. And then he does trading places but he's paired up with dan akroyd there. So maybe you know, here he's like clearly the lead, so maybe he was still considered kind of untested as a lead they weren't yeah, they weren't sold on him.
Speaker 1:Ironically, if you look back at his trajectory, uh, in between trading places and biblio's cop, you have a movie called best defense. Um, and I remember him saying this on an episode of saturday night live uh, I think it's the christmas episode or close to christmas. Uh, he said best defense sucked really bad. He thought that his career was over.
Speaker 3:Right. He said that in the monologue when he hosted SNL right.
Speaker 1:Yes, he did Nice. So it's like, it's like wow, like you know, it's like they really didn't know what they had and they kept pairing him with other people, because you can say, oh, 48 Hours is a hit, oh, that's because of Nick Nolte, right. And you can say that Trading Places was a hit, well, that's because Dan Aykroyd he's Saturday Night Live royalty.
Speaker 1:He's an established star John Landis, and you know this is the first vehicle that he had on his own. Yes, and he made it, but he wasn't their first pick. He wasn't. He wasn't even their 13th pick.
Speaker 2:Yeah, the, the Genesis of this movie is really interesting because it started I mean, I, I think the person who was attached to him for the longest time was Sylvester Stallone and he apparently dropped out of the movie like two weeks before they were supposed to start filming, which is wow.
Speaker 3:That's cutting it close yeah, and I think I saw somewhere, like on that video that Nigel sent, like Mickey Rourke. Mickey Rourke yeah, was also a fascist, but like the movie just kept getting delayed and he got irritated by that, so he just like just bounced and left and Eddie kind of like didn't do ghostbusters to do this movie wow, that's I mean that's pretty amazing and I mean, in retrospect, certainly the right choice for him, because he probably wouldn't have been as huge if he'd done ghostbusters.
Speaker 2:I mean, ghostbusters was a huge movie, but he would have been the fourth lead in that movie and this what's funny, what's, I don't know.
Speaker 3:I'm sorry to cut you off, but what's funny is that belial's cop grossed more money than ghostbusters yeah, I was gonna say that, like it had a budget of 13 mil and it grossed 316 mil okay, wow.
Speaker 2:So it had to be more profitable than ghostbusters, because ghostbusters had all that effects and I think ghostbusters was something like. It had to be like 30, 40 million, right.
Speaker 1:Ghostbusters I'll look it up, but Ghostbusters made like, I think, 271 million or something like that.
Speaker 2:Okay, yeah, but I mean Ghostbusters had to have a bigger budget than 13 million their budget is between 25 and 30 million. Yeah, okay, okay, and they grossed $295.2 million. So neither one was hurting. We're all doing all right.
Speaker 3:Yeah, yeah, yeah. And this film was written by Daniel Petri Jr, directed by Martin Brest, who has some connections to SNL too.
Speaker 1:Yes.
Speaker 3:Yeah, I looked it up. I saw that he's an NYU Phil student. He's a native New Yorker and one of his student films actually aired on SNL. It was like a film called Hot Dogs for Gauguin yeah, that's the name of it which had an unknown actor named Real Perlman and another unknown actor named Danny DeVito. That was pretty interesting too. Never heard of them.
Speaker 2:They can't have been any good if they're in a student film, and they faded into obscurity after.
Speaker 3:Never to be heard from again. Martin Bress has a pretty interesting filmography himself because after this film he went on to direct Midnight Run with De Niro and Charles Roden filmography himself because after this film he went on to direct uh, midnight run right with uh, with uh de niro and charles roden. He directed scent of a woman, scent of a woman with pacino, which was a big oscar hit. After that he um. His last two movies were a little iffy because he directed Meet Joe Black with Brad Pitt and the infamous Gigli with yes, oh yeah and, as of this recording, that is the last film he ever directed.
Speaker 2:Wow, that is the last film?
Speaker 1:yeah, wow, it was.
Speaker 2:I remember, like I think, when Ben Affleck hosted SNL, he did a film about, or he did a sketch about filming Gigli, because that just it became one of those flops that was just so infamous.
Speaker 1:Or why was it a flop? Can we have you guys seen, Gigli? No.
Speaker 3:I saw it years ago. It wasn't as bad as people made it out to be.
Speaker 1:It wasn't, but I don't know, but yeah well, I don't know I think, john, I'll tell you this if I told you that christopher walken and al pacino were in geely, would you get? Would you be like I didn't know that, or would you be like, yeah, that sounds about right, I would be?
Speaker 2:I would. I did not know that and I would definitely be more excited to see the movie. I, I think, isn't the big reason that movie flop was because everybody was sick of them as a couple. Yes, that's the reason why?
Speaker 1:Yeah, cause it also affected Jersey girl as well, which came out around the same time. And then a fellow says is the woman that dies?
Speaker 3:Yeah, yeah, yeah, I think it's one of those things where it was like at that point we were reaching peak J-Lo and like people were just kind of getting a little tired of seeing her everywhere and so like, yeah, I think you might be right, nudge, it might have something to do with it.
Speaker 1:Okay, because it wasn't a bad movie, yeah.
Speaker 3:I mean it wasn't a great movie, but it wasn't as yeah. It wasn't like the horror show people made it out to be.
Speaker 2:Yeah, Okay, All right. Well, I mean so Martin Brest. He's had a pretty good career. I understand he came to this movie right after he got fired off of War Games. I don't know why he got fired off the movie War Games, but Me neither.
Speaker 3:Yeah, so yeah, yeah, I think they reached out to one a few other directors again. That video that nigel sent us I think they reached out to. You'll have to post that on the snl nerds uh twitter account. Yeah, yeah, absolutely. I know they reached out to scorsese to direct this, but I think scorsese said it sounded too like close the. The script of the film sounded too close to being like a Coogan's bluff, right.
Speaker 2:Yeah, which is a movie where Clint Eastwood plays like a cowboy who comes to the big city and and that was kind of the inspiration of the seventies TV show McCloud with Dennis.
Speaker 3:Weaver.
Speaker 1:Yeah.
Speaker 3:And then I also heard that, like David Cronenberg was like in the mix of directors, which that makes no sense to me.
Speaker 2:That's that David Cronenberg was like in the mixed directives, which that makes no sense to me. That's, that's really weird. I don't know, I guess that's before we had the the David Cronenberg body horror brand, but that's wow, that's wild, very much so wild.
Speaker 1:Yeah, I don't know. I mean, the tone of it wasn't supposed to be comedic. It wasn't supposed to be comedic at all. It was supposed to be an action movie. Right, right Set in Beverly Hills and I think it was called. It was called something else. It wasn't called Beverly Hills Cop.
Speaker 3:Yeah from war games, his second directing job. The industry thought he was damaged goods. Dom simpson and jerry bruckheimer disagreed and the two paramount executives continually called breast asking him to direct this film. He kept declining and eventually took his phone off the hook. Simpson took the hint, but bruckheimer kept trying. Finally breast decided to flip a coin to make his decision. So yeah, sliding doors. If that coin landed the other way, he might have not have directed this film.
Speaker 2:Right and supposedly Martin Brest. He framed the quarter that he flipped.
Speaker 1:I don't know why he saved that quarter specifically.
Speaker 2:I'm thinking you probably framed a quarter. I don't know if that was the quarter that you used to flip, because, like you used to flip, because you flip it and then you put it aside. I don't know.
Speaker 3:Yeah, that quarter is probably in a payphone somewhere Exactly. It's a good thing he directed this film because, according to IMDB, this was 1984's second highest grossing film worldwide, right after another film we did on this podcast Indiana Jones and the Temple of Doom.
Speaker 1:Yeah, they're not beating that.
Speaker 2:Yeah, yeah, that makes sense, that scans.
Speaker 3:Absolutely All right. So yeah, let's get into it. Let's talk about this film.
Speaker 2:You know like starting the movie out, opening credits. The thing that really struck me was it said you know like starting movie out, uh, opening credits I. The thing that really struck me was it said you know, paramount pictures presents in association with Eddie Murphy productions, and I was like wow he had his own production company already.
Speaker 3:That I did not know. That's a problem.
Speaker 1:Because he signed a contract with Paramount. So if you look at most of the movies that Eddie Murphy has done in his career, they've mostly been with Paramount and it's a deal that he had in the eighties. I don't know if it was before Bivlio's cop or afterwards, but I do know that it was like the biggest deal that an African American has ever had in Hollywood and it was for a whole bunch of pictures which included um coming to America, I think golden child, I think a whole bunch of pictures which included um coming to America, I think golden child, I think uh. Whole bunch of movies that he did and a lot, of, a lot of movies that he had to do like he was contractually obligated to do, like a sequel for uh, for um, not Billy, yeah, it was a sequel for Beverly Hills cop and um for 48 hours.
Speaker 2:Oh yeah, another 48 hours. Right, I know, I know, like I know, he had that deal with Paramount in the eighties because at one point Eddie Murphy was discussed on doing Star Trek for the one where they travel back in time to the 1980s and Eddie Murphy was going to be the person that they met and was running around the film with them. And I think the big reason that didn't happen was because, like, star Trek was with Paramount and Eddie Murphy was with Paramount and some of the Paramount execs got kind of nervous about it. They were like, why should we put our two big cash cows together? That doesn't necessarily mean we're going to make double the money. We could just be splitting our profits. It'd be better to do an Eddie Murphy movie and then a Star Trek movie and then you know, those will probably both be hits, and so that's kind of why that didn't happen.
Speaker 2:But, but it's a real interesting what if in the in the history of the Star Trek movies, I think.
Speaker 1:What would he have played?
Speaker 2:He was going to play like. He was going to play like a. He was going to play like a school teacher who, you know, they come back to the 20th century to get the humpback whales. And he was going to be a school teacher who was playing humpback whale songs in his class and the Enterprise crew would pick up on that. Okay, and then, after like several rewrites, it became the whale oceanographer character that Catherine Hicks played.
Speaker 1:So quite different.
Speaker 2:I mean you can't really point to the movie and say, oh, that's the part that Andy Murphy was going to play, because they changed the story around so much after he wasn't attached anymore. But it obviously would have been. He would have had more comedic things to do in that.
Speaker 3:Oh, wow, yeah, Okay, all right, interesting, interesting.
Speaker 2:So yeah. So I was just surprised. I was like wow, that's a real indicator of how big, how fast he got, was he had his own production company already on his fourth movie yeah, I was like yeah, yeah, making moves out here yeah, but he only produced a couple of projects.
Speaker 1:I believe, uh, it was coming to america, harlem nights and a couple other things. He also produced tv as well, where, uh, there was a couple tv shows that he did. There was one with red fox and della reese that was on cbs. However, it only did 13 episodes and that's mainly because red fox died in the process of them filming it oh yeah, I remember that show.
Speaker 2:I vaguely remember that. Yeah, what was it called? Do you remember the name?
Speaker 1:it was called, uh, the royal family. Okay, yes, yeah, yeah, that's what it was called, yeah because like people really like, yes, yeah yeah, that's what it was called.
Speaker 3:Yeah, because people really liked Della Reese and Red Fox back and forth in Harlem Nights so they were like, oh, this should be like a TV show or something right.
Speaker 1:Yeah, there was also a pilot for Coming to America that starred a very young Tommy Davidson.
Speaker 3:Yes, I remember that too.
Speaker 2:We talked about that on the Coming to America episode. I think we watched that, or we watched part of that, and it was weird.
Speaker 1:See for this. I should have showed you guys the um the pilot for um Beverly Hills cop.
Speaker 2:I didn't know there was one. Wow, that's interesting.
Speaker 1:It actually surfaced, uh, not too long ago on YouTube. It it came out probably in 2013. They, they shot it. It was with Brandon T Jackson as the son of axel foley, and eddie murphy's in the familiar. Yeah, okay eddie murphy's in the pilot. But you know, I don't think eddie wanted to do it every single week, so he was like, yeah, yeah, I'll do it, I'll put on the jacket. You know, one one last time. And judge reinhold was on there as the mayor of Beverly Hills.
Speaker 2:Oh, that's cute.
Speaker 1:Yeah, it was a lot of stuff, but what happened was Eddie Murphy didn't want to do it every single day, so Paramount was like okay, well, let's try to make a Beverly Hills Cop 4. And that didn't happen until this year.
Speaker 3:Oh yeah, I remember that Wow, wow, wow, yeah, I remember that, wow, wow, wow, yeah, I remember that, I remember all of that. Uh, yeah, I mean. Well, I mean, as far as this movie goes, like I I really got a kick out of like in the very beginning. We get like a this really big, crazy like car chase scene with like, uh, the cars and a 16 wheeler full of cigarettes, yeah, just smashing through cars while a neutron dance plays in the background that's.
Speaker 3:It's such a quintessential 1980s song you know because it's just the movie starts with, the heat is on and then it goes into the neutron dance. Already, huge goofy smile on my face.
Speaker 2:I go, go for it, john the, the soundtrack of this movie just was omnipresent in the 80s. I remember yeah the heat is on was a big hit. Neutron dance was in the top 40 axel f was a big hit. Yeah, yeah so I mean this soundtrack did very, very well I think that was a tempo for uh 80s movies.
Speaker 1:I don't know if you ever realize this, but the the bulk of the songs that we all know and love are from the 80s and that's because it's in all of our pop culture. Like, if you look at the movies that were popular, know and love are from the 80s, and that's because it's in all of our pop culture. Like, if you look at the movies that were popular at the time, you look at the back to the futures, you look at the ferris wheelers, you look at everything, uh, breakfast. Like there's movies, like there's a song attached to every single movie that you've ever seen in the 80s, and that's why we remember these songs so. Like, when we talk about the neutron dance, we it automatically puts us to the scene that happens in Beverly Hills Cop and it's it's a testament to the MTV generation that we saw happening at the same time.
Speaker 3:Yeah, I mean, I mean, as far as this movie goes, I mean it's the actual Foley theme is I mean that was another song, that was just. It's like it's just a instrumental keyboard electronic song. It's just an instrumental keyboard electronic song, but I remember hearing this on the radio a lot that Harold Falkmire score.
Speaker 2:I remember that it was just like what is this music from the future? What is a science fiction?
Speaker 1:music. You know what's funny? The song was so popular that they actually asked this guy to be on top of the pops to perform. He looks so uncomfortable playing the music. He doesn't sing or anything like that. He's just playing the keyboard and everybody's dancing around him and he just looks so uncomfortable.
Speaker 3:That's so funny. I prefer just playing my keyboard in the solitude of my room.
Speaker 1:Don't bump the table.
Speaker 2:Oh wow, yeah it's just, and you know, the other thing that struck me about this opening sequence was okay, we got this, we got 48 hours and we have trading places. They all open with Eddie Murphy in trouble with the cops. Yep. And I was like that's how you just open a open with Eddie Murphy in trouble with the cops. That's how you just open a movie with Eddie Murphy in the 1980s. You just have him in trouble with the cops. I guess that's why Best Defense didn't work out so well, because I'm guessing he doesn't get arrested at the beginning of that movie.
Speaker 1:Well, no, it's definitely more is the reason why Best Defense didn't work. That's another subject for another day, right?
Speaker 3:the reason why best defense didn't work right.
Speaker 1:Well, that's another subject for another day. But I do think that movies like belial's cop in 48 hours I think it introduced a different kind of genre yeah, um and it's a lot of action comedy exactly.
Speaker 1:We didn't have action comedies. We had movies that were like either it was death wish or it was something like Clint Eastwood coming up like Coogan's Bluff, like we never had somebody and every black man that was on tv. They were serious. You know, richard Roundtree was serious um, like there was a lot of people, so you didn't really have that, especially coming from this guy who's like super young you know he's 23 years old when he shoots this um and like he's just wisecracking and fast talking to the point where he introduced a lot of other people trying to recreate bevelio's cop. You have a lot of movies in the 80s, especially 80s, where like whoopi goldberg is the fast-talking wisecracking uh person in um jumping jack flash a burglar or whatever other movie they were trying to do.
Speaker 2:Even you know a movie that we did like about a year ago on the podcast we did, running Scared, and that movie wouldn't have been greenlit without Beverly Hills Cop, I'm sure.
Speaker 1:It wouldn't have.
Speaker 2:Yeah, because I mean, and you know, hollywood doesn't really make action comedies like this anymore, and it's a shame, because it's a fun genre.
Speaker 1:I think the last couple ones they did was let's Be Cops and the. Other Guys.
Speaker 2:The Other Guys by. Will Ferrell, I never saw let's Be Cops, but I like the Other Guys. We have covered the Other Guys on the podcast. Yeah, that's a fun movie. Yeah, absolutely.
Speaker 3:I guess we don't have to go through this movie beat by beat. We can just kind of give sort of we can go around.
Speaker 1:But I will say in the beginning of this movie that man's red leather pants that he's wearing. He's wearing a cowboy hat, red leather pants and some cowboy boots. If that is in Detroit, I don't know what is.
Speaker 3:I've never been, but it sounds like a benefit.
Speaker 2:It seems like Detroit. Yes.
Speaker 1:It sounds like the place that RoboCop has to shoot up. That's all I'm saying 100%.
Speaker 1:Thank you for listening. If you want to hear the full episode, you can go to nonproductivecom. Go to the SNL nerds, episode number two, 43, on Beverly Hills cop. That's where you will hear me and the SNL nerds break down the movie Beverly Hills cop. Uh, have not done the movie yet on this podcast, but hopefully soon. Uh, we have a lot of other movies to get through. We have Eddie Murphy Raw, we have Shrek, Harlem Nights and a movie that I never talk about but I always bring it up in conversation Best Defense. So, please, people, stay tuned. We'll definitely have more for you. With all hearts and minds clear, let's end this show.