Kindergarten Cop: Production Notes & Promo Clips

Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:02):
Tape Deck Media.

Speaker 2 (00:04):
Hey, folks, Aaron here with the quick heads up. So
we ended up having to record a small chunk of
this episode on a separate day than the rest of it.
So if you happen to notice during the promo videos
that our guest suddenly stops talking for about ten minutes,
it's only because that segment was recorded a few days
later with just the three of us. All right, now
that that's out of the way, enjoy the episode.

Speaker 1 (00:28):
See the parts.

Speaker 3 (00:31):
Hello and welcome to see you at the Potty Richter.
I'm Chris Chapman and with me as always, I'm a
co hosts Aaron Frascus Hello, and Joseph beck Castro.

Speaker 1 (00:41):
Hello, gut guys.

Speaker 3 (00:43):
Today we are going to be looking at some production
info for Arnold's nineteen ninety comedy family vehicle, Kindergarten Cop.
We are going to be joined by a very special guest,
mister Dave Callens. Welcome Dave.

Speaker 1 (01:00):
Yeah, that's me. Hey, thanks for joining us.

Speaker 3 (01:03):
Yeah, thanks for joining us. So yeah, now I'm just
gonna throw it over to Aaron, who's going to tell
us all about this. I'm sure very normal production totally.

Speaker 2 (01:12):
First off, before we dive in, I need to make
a quick correction about something from a previous episode. So,
because Kindergarten Cop was Arnold Schwarzenegger's second time working with
Ivan Wrightman, one of the first things I did was
go back and read through my notes when we cover twins.
That way, I could avoid any like anything we'd already
covered basically, and holy crap, like I was really doing
some like screen rant caliber like level of research for

(01:35):
that one.

Speaker 1 (01:35):
It's just it's not it's not good.

Speaker 2 (01:39):
Why anyway, As far as the correction in that episode,
I mentioned that Ivan Rightman brought in two writers to
rewrite the film, who were Timothy Harris and herschel Weingrad
that he'd previously worked with on the nineteen eighty three
film Trading Places, which Harris and Winegrad had written. The
only problem is that Ivan Rightman was in no way
involved with Trading Places. Like it was just dumb because

(02:03):
I was like, how did I manage to do that?
Because I was like why, like and I tried to
find out, like looking like there's got to be a
reason why I wrote this down, like why else would
I write it down? I didn't find anything. So actually,
like really listening to the Twins episode, hoping that maybe
I didn't say it, But no, I didn't, So I'm like,
otherwise I wouldn't be correcting it now. But anyway, okay,

(02:25):
So anyway onto Kindergarten Cop, which reunites Arnold Schwartzenegger with
The Twins director Ivan Rerightman and to find out how
they both became attached to the film. We're going to
take a second to fill in the gap between the
two movies. So Twins was released in December nineteen eighty eight, and,
in addition to becoming the year's fifth highest grossing film worldwide,
it also opened up doors for Schwarzenegger career wise by

(02:47):
showing that he could actually do comedy. It was also
Arnold's final film of the eighties, with his next three
projects all being released in nineteen ninety, one of which
was the Tales from the Crypt episode he directed, which
aired in April.

Speaker 1 (02:58):
I'm out who directed that?

Speaker 2 (03:00):
Arnold Schwarzenegger directed an episode. Yeah, he directed one that
was started Kelly Preston. And it's like it's called the Switch.
It's like the first or second episode of the second season.

Speaker 1 (03:10):
I believe. Yeah, it's it's fine.

Speaker 3 (03:13):
Yeah, we watched it.

Speaker 2 (03:14):
It was all right, but and the other one was
Total Recall, which was released in June, And I'm curious
if he was working on both of those projects at
the same time, because I'm not sure how long production
lasted on Total Recall because we haven't done it yet,
but I'm assuming it head to be at least like
ninety days.

Speaker 3 (03:30):
Right, yeah, probably longer than that. I feel like for
a movie.

Speaker 2 (03:35):
I could be wrong, but don't most shows try to
like have each episode like shot and wrapped, I think
in like a week or something.

Speaker 3 (03:41):
I think they try to do him in a week,
but I don't know how, because Tales from the Crypto
was what like HBO HBO. Yeah, so I don't know
how their productions work. They might be a little different
than like normal television.

Speaker 2 (03:51):
I don't know, O care anyway. I'm sure we'll find
out when we do Total Recall. But Arnold really doesn't
talk too much about Kindergarten cop in his twenty two
of autobiography, but he does mention the first time he
read the script for it, which was in the spring
of eighty nine, and he was a busy guy at
the time. He was filling Total Recall and expecting his
first child with Maria Shriver. He ends up giving his

(04:14):
first impressions of the script, saying, quote, one day, in
my trailer wedding through scripts, I came across a draft
of Kindergarten cop. I couldn't put it down. The idea
of a tough detective who has to go undercover teaching
a bunch of preschoolers made me laugh. People in Hollywood
always say, never act with kids or animals. They're impossible
to work with, and they look so cute on screen
that they steal the show. He says, I already had

(04:35):
experience with animals as Conan, and the book actually does
real quick, the book actually does.

Speaker 1 (04:40):
Wait, he's counting Conan as experienced animal? Yeah, yeah, like
it was it the giant snake or.

Speaker 3 (04:44):
A terrifying experience with the dogs? Yeah, exactly.

Speaker 2 (04:47):
Like the book does include a picture example, like right
next to the text of this, which was just a
production still of Conan punching the camel in the face,
which I thought was like a oh yeah experience.

Speaker 1 (04:57):
Okay, weird inclusion. He's like, e experience with animals, just
cut smash cut to them punching a camel in the face.

Speaker 3 (05:04):
Experience.

Speaker 1 (05:05):
I feel like every actor says that they couldn't put
the script down when they talk about whatever movie. And
I'm sure there's been a ton of bad movies where
they couldn't put the script down. You know, it's just
because it's bad. Yeah, I don't know.

Speaker 2 (05:17):
Uh, by the way that that picture is not in
the book, just making that clear.

Speaker 1 (05:22):
I want to make that clear, like it's one book,
but that picture is in the Camel's autobiography. That's when
he quit show business.

Speaker 3 (05:32):
They say, let me work with Austrians and they.

Speaker 4 (05:39):
So. Yeah.

Speaker 2 (05:39):
He continues by saying, quote, I'd already had experience with
animals as Conan and they'd been fine. But I'd be
interested in doing a movie with kids for years, and
the prospect of.

Speaker 1 (05:48):
The kid exactly.

Speaker 2 (05:52):
The prospect of becoming a dad inspired me. I thought, great,
let the kids still the show as long as the
movie succeeds end quote. He then says his next step
was to get The Twins director Ivan Wrightman on board,
who in the spring of eighty nine, I believe from
the timeline I kind of found, but I believe was
most likely in the middle of reshoots for Ghostbusters Too,

(06:13):
which from the little about it I read, seems like
it wasn't the most enjoyable movie to make. Just add
a bunch of problems, like pretty much from the get go,
and we're not going to get really get into it.

Speaker 1 (06:24):
Also, in my opinion, also was not an enjoyable movie.
I did not like that one. I liked that movie.

Speaker 2 (06:28):
But again, I think that's like nostalgia because like, I
loved that movie when I was a kid.

Speaker 1 (06:33):
Well, I loved the first one, so I went to
see the second one. I'm a little bit older than
you guys, so me and my friend went to the
second one, and we made the mistake of going to
a Saturday mattinee, so it was like us as teenagers
and then like a million children, which just made the
experience that much worse.

Speaker 3 (06:47):
Yes, I watched the second one first, so that was
like the same. Wow, I liked it more than the
first one for a long time.

Speaker 1 (06:55):
I mean I still do. We're shutting this podcast now,
so yeah, you.

Speaker 2 (07:01):
Should check out the behind the scenes stuff from nexuse.
It's interesting anyway. So from there, Arnold kind of skips
forward from there in his book, saying quote then I
asked Ivan wrightman, if you direct me again, we both
wanted changes in the script to add social relevance. I
wanted to add a physical fitness theme and he wanted
He wanted it to touch on broken homes, child abuse,
and family life.

Speaker 1 (07:21):
But we agreed to go ahead. You know that you
mentioned that it does kind of now that with that
in mind, it does kind of feel like those were
just sort of crammed in.

Speaker 2 (07:29):
Yeah, well there's a reason behind that too, so which
we'll get to in just a second. But he's He
finishes by saying, so, since I haven't already had Ghostbusters
two in the works for the nineteen eighty nine holidays,
we started planning Kindergarten Cop for Christmas nineteen ninety end quote.
That's basically all he had to say about the movie
in his book, besides like a mention that Kindergarten Cop
ended up being a hit, before transitioning into talking about

(07:52):
some movie made with James Cameron the next year. I
don't know, And I wasn't even gonna mention that arnold
quote from his book because it's pretty much just basic
info about the summary and the release date. But while
I was reading about Ghostbusters too, I came across a
pretty interesting article featuring Ivan Wrightman. That definitely made it
seem like he might have been going through some shit

(08:13):
right before signing on to Kindergarten cop So it was
a December nineteen eighty nine Los Angeles Times article titled
Hollywood's Hottest comedy director takes a break, and in it,
Ivan Wrightman discusses a few of the reasons that let
him lead to his decision to tell the studios behind
both Twins and Ghostbusters, which were universal in Columbia, that

(08:36):
he had absolutely no interest in doing sequels for either film.
He just done Ghostbusters, Too Yeah, So he basically told
him and he needed a break, with one of the
reasons being the negative reception from both critics and audiences
towards Ghostbusters, Too Yeah, which had been out for about
six months at the time and had been shipped on

(08:56):
by pretty much everyone except for.

Speaker 1 (08:58):
Me at the time. Still You'll come right, But he.

Speaker 2 (09:06):
Does give a good reasons for what why he why
the Ghostbusters sequel? I mean, I I've done as well
as the first film, which David tell me I can biased,
but anyway, same quotes.

Speaker 1 (09:15):
Actually, I'm gonna make it. I'm gonna make a new
podcast dedicated to shitting on Ghostbusters two and it's gonna
be called busting. Does not make me feel good Ghostbusters pooh.

Speaker 2 (09:29):
So he says about it. He says, in comedy, the
element of surprises everything. And I think once that element
of surprise is gone, once people know there's going to
be ghosts, there's going to be big ghosts, and they're
expecting something big at the end, a lot of the
tools that are at your disposals are gone. End quote,
which I found funny because that's like totally a similar
vibe to what Terminator three director Jonathan Mostow said when

(09:52):
he was looking back at that movie. He's like, because
Jonathan Mostow basically said about Terminator three, well, Terminator two
already did all this cool stuff, So what do you
what do you want to do? Like, they're not going
to be like thrilled, like uh, like wowed by anything else.
They already saw.

Speaker 1 (10:07):
The Liquid Metal Man. Is that the one that you
posted that like snippet from that interview with the guy
who wrote it about I was just shipping on everything.
Yeah no, no, that was that was the writer. Yeah, yeah,
but what it was about T three?

Speaker 2 (10:21):
Yeah, it was that was about T three though, But
that was that guy's if you should read that blog,
if you've seen that movie, it's just like bitter, very
very bitter. But that's like, that's true. Is that part
of the reason why you don't why it's ship like
just because it's this it's rehashing the same story beats
as the first one, or it's just it.

Speaker 1 (10:40):
Was just a stupid story. Okay, curious what was the story? Uh,
I haven't seen it since that first time in theaters.
I've seen piece of it here and there. But the
way I remember it is like it was just the
cheesiest like love conquers all, like I hold the villain.

Speaker 3 (10:59):
That is, it's kind of cool.

Speaker 1 (11:00):
You got they got New York together.

Speaker 3 (11:01):
Yeah, the Statue of Liberty comes to life. Yes, it
rallies all the New Yorkers.

Speaker 1 (11:05):
Yeah. Well, what's the song called I Liked by the world?

Speaker 3 (11:09):
Love keeps lifting behind, You're lifting higher.

Speaker 2 (11:12):
Yeah, it's like Jackie Wilson.

Speaker 1 (11:13):
Yeah, yeah, it's terrible, terrible so.

Speaker 2 (11:16):
Good anyway, So I've been right. Man also to expressed
his disappointment about Ghostbusters Too not doing as well financially
as the first one, with it only being nineteen eighty
Nine's seventh highest grossing movie worldwide and eighth highest grossing
movie domestically, which must have been just.

Speaker 1 (11:33):
Embarrassed that I was gonna say. That sounds like it's
not bad, but you gotta remember there are only eleven
movies released that year.

Speaker 2 (11:43):
It's just like that, poor guy.

Speaker 5 (11:45):
Yeah, although I guess comparatively, the first Ghostbusters was the
top grossing film of nineteen eighty four domestically, and then
the second highest grossing worldwide, which I think the one
that beat it.

Speaker 1 (11:57):
Out was Beverly Hills Cop.

Speaker 2 (12:00):
And then and then that same La Times article mentions
that Ivan Rightman's seven films prior to Kindergarten Cop had
grossed a combined total of three billion worldwide, making him
the most successful comedy director at that time. I'm not
sure if that's still the case.

Speaker 1 (12:15):
The case, No, no way, Like I was trying to
the appetite for sure, maybe like yeah, the one that
made the hangover.

Speaker 2 (12:27):
It, but yeah, yeah, I guess so. Like he did
have a few a few films after this, but they
weren't nearly as like big as as those anyway.

Speaker 1 (12:36):
Are we going to are we going to bate rules
where we're not going to fact check you. I mean
you can.

Speaker 2 (12:42):
One of the reasons this took the longest because I was, like,
I tried to make it clear when I couldn't find like,
it's all basically anything I found on IMDb. I let
you know, because everything on IMDb is it's just people
posting stuff on there. But anyway, so brought by the way,
the seven prior films were ghost was I can only
think of three of them Ghostbusters, two Twins, Legal Eagles,

(13:05):
which I've never heard of, ghost Legs, Yes, and uh
Deborah Winger? Really did you you watch?

Speaker 4 (13:12):
That?

Speaker 1 (13:13):
Was Winger? I barely know her. I've never seen that one.
I just remember it was out.

Speaker 2 (13:19):
Ghostbusters, Stripes, Meatballs, and then Cannonball Girls.

Speaker 1 (13:25):
His first ones. That one sounds fake? Is that a
real movie? That was it in the Cannonball Run Cinematic Universe?
Unrelated same thing?

Speaker 2 (13:33):
Actually I didn't look that one up, but I'm pretty
so we're gonna assume it's the same thing that that
was Sally Field's movie. Anyway, Okay, Sally Fields. I keep
calling her that because that's what I Arnold calls there
instead of just Sally Field. He could like in one interview,
he called ther Sally Fields.

Speaker 1 (13:49):
And now every time I do anyway.

Speaker 2 (13:50):
Yeah, So while looking up what those seven movies were,
I noticed that the box office numbers didn't quite add
up to the three billion total that was mentioned in
the ell.

Speaker 1 (14:00):
Are we end of conspiracy is just like a follow
of the money thing, like, well, we're going to get
the bottom of this.

Speaker 2 (14:04):
I was, But then I realized that they probably also
included VHS sales, which I kind of confirmed when I
saw the VHS sales numbers for the first Ghostbusters, which,
holy shit like released in October nineteen eighty five, sold
four hundred thousand copies by December or sorry, by February
nineteen eighty six, so it earned thirty two million dollars
in home video sales in the first four months that

(14:24):
it was released.

Speaker 1 (14:25):
Yeah, here's a little old man tibbot for you. When
VHS was new, Like, one of the first VHS casets
we got was Raiders Lost Arc. It was eighty dollars. Shit, yeah, no,
wonder the sales are so crazy for that. I'm curious how.

Speaker 2 (14:41):
I'm curious how that did on VHS because that was
was that one of the first ones.

Speaker 1 (14:46):
It was probably pretty early. Yeah, Okay, well, you guys
were all somebody you like live with, like the Rockefellers or.

Speaker 3 (14:52):
Something like that.

Speaker 2 (14:53):
Like shit, because was that like your Christmas and Birthday present?

Speaker 1 (14:59):
Or then that was yeah, we sold one of the cars.

Speaker 2 (15:06):
Anyway, As far as the VHS sales, even if you
don't include those sales, Rightman's four films prior to Kindergarten Cops,
which were twins, Legal Eagles, and the two Ghostbusters, still
made a combined total of eight hundred million worldwide at
the in.

Speaker 1 (15:18):
Box office sales.

Speaker 6 (15:19):
Jesus.

Speaker 1 (15:20):
Yeah.

Speaker 2 (15:21):
Apparently though his negative experience making Ghostbusters too was bad
enough that Rightman decided he just wanted to take a
break from directing comedy.

Speaker 1 (15:28):
Huh yeah, good for him, Yeah, with him.

Speaker 2 (15:31):
Telling the La Times that same on ELI Times article
saying quote, usually, as I'm finishing a film, I startes
dating an idea for the next film. I purposely sort
of forced myself not to this time. I think the
break will help me develop a fresh perspective on what
I'm doing. And this quote right here is what is
a pan of the ass about researching these Because that

(15:53):
quote and even just the timing of the La Times
article in general kind of contradicts what we just heard
from Arnold, because in his book he jumps from like
I said, asking Ivan Wrightman to direct to both of
them wanting script changes, to then finally them deciding to
shoot for a Christmas nineteen ninety release because quote, Ivan
already had Ghostbusters two in the works for the nineteen

(16:16):
eighty nine holidays, which actually, no, he didn't.

Speaker 6 (16:20):
Like.

Speaker 1 (16:20):
Ghostbusters two came out in June nineteen eighty nine. I
think we got to chalk that up to a Mandela effects.

Speaker 2 (16:26):
Yeah, well, we also figured out that he's like in
the it's it took me a while to realize, like,
I can't take what he's saying in the book because
like a like, I gotta fact check the book basically
because the dates aren't correct. So I'm like, wait, wait,
wait a second, I thought in this book he said
in the book he said this, and it's anyway, So yeah,

(16:46):
Ghostbusters two came out in July nineteen eighty nine, and
then Ivan Rightman quote I just read it from December
nineteen eighty nine. So it seems likely and this is
one hundred percent speculation on my part, by the way,
but it seems likely that Ivan Rightman was possibly in
full break mode when Arnold approached him about directing Kindergarten Cop.

Speaker 1 (17:04):
Should uh, should we get Ivan and Arnold on the
pod just to sort it out? Please?

Speaker 2 (17:10):
Let's yes, absolutely, especially Ivan Rightman actually would be a
get Yeah.

Speaker 1 (17:14):
So I think he's taking a break right now, unfortunately
taking a break.

Speaker 2 (17:23):
So but if that's true, and Ivan Rightman actually wasn't
a break in the eighty nine, then I'm guessing Arnold's
promise of script changes were probably one of the ways
he was able to convince him to direct the film.

Speaker 3 (17:34):
Yeah.

Speaker 2 (17:34):
And I only say that because in that same article,
Rightman admits what could bring him back to direct, saying quote, Oh, sorry,
I I see what you're laughing at.

Speaker 3 (17:44):
You just like, yeah, he just gives him the script
and he's He's like, I'm not really doing movies right now.

Speaker 7 (17:50):
He's like, you could put child abuse in it.

Speaker 2 (18:02):
Rightman says in the article, quote, all of the films
I've made to date have been relatively large scale films
with elaborate concepts, and I'd like to try a few
things on a more human scale and see how it
works out. It's not so much that I want to
turn to serious drama right now and bear my soul anymore.
That's then it's baared. It's just I think it would
be fun to tell a smaller story, less plot and

(18:23):
more characters. I think I have to move people emotionally
much more.

Speaker 1 (18:27):
H Yeah, end quote.

Speaker 2 (18:28):
But that definitely helps. Like Arnold's mention of the script
like it may helped it make it like it made
more sense on the script change, Like what I haven't
Rightman asked, Arnold' stuff already made sense with the physical
fitness stuffy exactly. I'm not sure why. I'm not sure why,
he said. Rightman was busy with Ghostbusters too at the time,
but whatever, like whatever, yeah, exactly.

Speaker 1 (18:50):
So interesting too, Like, based on what you said so far,
it seems like Arnold is the one who made this
movie happen, like he got Ivan to direct, which makes
me wonder how did he end up with a script,
because you wouldn't think like someone's writing the script with
Arnold in mind. Wow, damn, you.

Speaker 2 (19:04):
Just transitioning me like perfect right into the next dar Okay,
so before before we get there, but before we move
on from the director, there was one piece of trivia
from IMDb that I wanted to mention that says Ron
Howard was considered to direct as the film this is
per I think I copied this directly from my MDB,
but so the grammar anyway. Ron Howard was considered to

(19:26):
direct as the film was made by the production company
by his production company, Imagined Entertainment, which he founded with
producer Brian Grazer, but Arnold Schwarzenegger said he would only
do the movie if I've Bean Wrightman directed, so Brian
Grazer eventually secured Schwarzenegger to star in the film, and
Ron Howard went on.

Speaker 1 (19:42):
To direct Backdraft.

Speaker 8 (19:43):
Huh.

Speaker 1 (19:44):
That's actually kind of funny because that's like Ron Har's like, Hey,
I want to direct this, and I was like, fuck off.

Speaker 2 (19:48):
Yeah, sounds like it could be true, But I couldn't
find any mention of it besides the IMDb trivia, which,
as we've mentioned before, anyone with an email address can
add to and I'm assuming it's it's definitely have. My
favorite piece of trivia got on there, which says quote
Catherine O'Hara was considered for the role of Phoebiohara, Hence
the character has the same last name as the actress,

(20:10):
which she was busy with hom home alone and turned
down the offer. I'm like, because that's how casting works.
They always like to start with the actors that have
the same last name to anyone else.

Speaker 1 (20:21):
It makes it easier on the actor. They know what
their motivation is. They can relate exactly.

Speaker 2 (20:26):
Like I'm pretty sure Christian Bale was only high Like
it was only cast as Batman because the warlock hired
by Warner Brothers failed to resurrect John Wayne still.

Speaker 1 (20:35):
Waiting for Did you imagine John Wayne playing that would
be amazing? Oh my god? Okay, so uh moving on.

Speaker 2 (20:46):
Kindergarten Cop had a few different writers credited, with the
original story and screenplay written by former actor attorney. Is
that right? By the way I was, I was gonna like, Okay,
so it's a former He was a former actor but
he turned to screenwriter. Do you need to say the
former part when you say when you put four actor
turned screenwriter.

Speaker 3 (21:03):
I guess if he completely stopped acting, you would.

Speaker 2 (21:06):
Say former like nine nine percent Surrey he did, so
I see his point, though, they'd be like saying, they
might as well say former actor to present screenwriter.

Speaker 1 (21:14):
Yeah, yeah, so that's why it wasn't sure. Yeah, that's
why anyway, It's okay.

Speaker 2 (21:20):
Written by some guy named Murray Salem, who unfortunately ended
up passing away in nineteen ninety seven from complications related
to aids UH. And even though Kindergarten cop is his
only writing credit listed on IMDb, Salem actually had a
fairly successful career during the fifteen years he spent as
a screenwriter, which he ended up selling eight of his
nine scripts that he.

Speaker 1 (21:40):
Wrote, Wow nice. They were all based on police working
under covered to school.

Speaker 2 (21:47):
And this is this is all this information about Murray
Salem comes from a twenty sixteen article from it's called
Clevescene dot com. It's a Cleveland it's called Cleveland Scene.
It's a Cleveland newspaper anyway, But that profile of his life.
But yeah, seven of the eight, so seven of those
eight scripts he sold one unmade for more or less
being too similar to other projects, Like they'd either be

(22:09):
bought up and then eventually scrapped once a different studio
released a similar project, or a studio would buy his
script with the express purpose of shelving it due to
the premise being too similar to another project that they
are that they already had in the works, which.

Speaker 1 (22:22):
Well, now thinking he's written like Kindergarten Terminator just keeps
doing the same thing.

Speaker 2 (22:29):
Which that's awesome that he was able to make a
like a pretty good living selling of scripts. But that's
still kind of gotta suck, like at least a little
bit that you're.

Speaker 3 (22:38):
Yeah, that none of them get made, Yeah, for sure.

Speaker 8 (22:40):
Yeah, I mean it could be just the racket he's on.
He's like, oh, man, I hear they're.

Speaker 1 (22:45):
Making that two Volcano.

Speaker 8 (22:49):
Yeah, I got to write a movie Lava and they
have to buy.

Speaker 1 (22:53):
It just like sorry.

Speaker 2 (22:55):
I was just like imagining someone asking him like have
you written anything, and being like, well, have you seen
The Devil's Advocate.

Speaker 1 (23:00):
They're like, yeah, did you write that?

Speaker 2 (23:00):
He's like, well, no, but I did write something like
a similar story that Warner Brothers bought the script for,
but like job was just to make sure that no
one woind mails wouldn't make it first.

Speaker 1 (23:08):
Like, yeah, I don't have you heard of Kindergarten Advocate? Yeah,
I might keep going on that choking.

Speaker 2 (23:13):
The Devil's Advocate and The First Wives Club were two
of the ones that were excited as like reasons that
the studio bought up the scripts that were similar to it.

Speaker 3 (23:24):
I thought you were going to say. They actually started
off as very similar scripts.

Speaker 1 (23:30):
Anyway.

Speaker 2 (23:30):
So Murray Salem eventually decided that in order to make
a name for himself, he needed to switch gears write
something more commercially viable than his usual scripts, which seemed
to lean way more to the dramatic side. I think
one was about like like kids in like teenagers in prison,
and then the other one was about like a like
a argentine er Colombian revolution or something like that. But

(23:54):
then he also had the first wives Club one, and
the and the one about the devil falling in love
I think, so it's kind of all over the place anyway.

Speaker 1 (24:02):
So uh.

Speaker 2 (24:03):
He was inspired by funny stories from a like during
a twentieth high school reunion that a former classmate was
telling about teaching kindergarten.

Speaker 1 (24:10):
So, oh my god, now I'm picturing that that guy
watching the movie, like that motherfucker, I told him this story.
This is me. Where's my credit?

Speaker 2 (24:19):
Yeah, you see, you can't, you can You can't do
anything about that, right, It's just that son of a bitch, Because.

Speaker 1 (24:24):
At the end of every movie they put all situations.

Speaker 2 (24:28):
Yeah, so Salem Salem came up with a story that
was partly the weapon part baby Boom, which he wrote
specifically with Schwarzenegger in mind.

Speaker 1 (24:35):
But yeah.

Speaker 2 (24:36):
He ended up selling Kindergarten cop to Imagine Entertainment, which
brought Arnold on board to star.

Speaker 1 (24:41):
So he he just wrote the script is like here's
some crazy teachers thing. Yeah, didn't imagine. So now someone
had Imagine was like, you know who'd be good in this? Well?

Speaker 2 (24:50):
Can you you can? Like uh like he it's the
article said that he wrote it with Schwarzenegger in mind,
like you can?

Speaker 1 (24:56):
Can you do?

Speaker 2 (24:57):
They usually put like a Schwarzenegger type or something like and.

Speaker 1 (25:00):
Like yeah, a lot of scripts do that, like oh
this is like this character is like a Brad Pitt
type or Okay, especially if it's someone marketable Okay, yeah,
which I think Arnold was at the time.

Speaker 2 (25:09):
I'm not positive but I don't know, but yes he was.

Speaker 1 (25:12):
Yeah.

Speaker 2 (25:13):
So yeah, so Imagine brought in Arnold and then they
eventually brought I even write men to direct. They then
brought well Ivan write mean technically then ended up hiring
a couple of screenwriters to punch up the script and
handle those rewrites that Arnold mentioned which Murray Salem was
obviously not very happy about. But he kind of it
was out of basically out of his control, like he
knew he could do.

Speaker 3 (25:32):
Doesn't that happen to every writer? I feel like that
happens a lot.

Speaker 1 (25:35):
Yeah, a lot.

Speaker 3 (25:36):
Yeah.

Speaker 1 (25:37):
But it's also kind of funny because like he stole
his friend's stories to make a movie. His friends mad,
and then someone changed it and it's like, now he's mad.
So it just keeps getting like shifted up a little.

Speaker 2 (25:47):
By the way, these uh, these were the same two
writers that the writers that were brought in with the
same two writers I mentioned at the top of the
episode that I've been brought into rewrite Twins, Timothy Harris
and herschel Winegrond. Yeah, you know, the same guys.

Speaker 1 (25:58):
That he worked with on Trading Places. At least I
think I have been written down, so it's gotta be true.
So actually those two writers, that's what Trading Place was
based on, was those guys had a similar thing happened
in their life.

Speaker 2 (26:10):
Yeah, he kept they kept Trading Places with the original
writers of stories, but we barely met We barely bothered
to mention it in the Twins episode, but Harris and
Winingrod had been writing partners since the early eighties. In
addition to trading places in twins, they also wrote Brewster's
Millions and My Stepmother is an Alien in the eighties,

(26:30):
and then Pures Millions fun don't have watched that's see,
I get a mixed up product the toy which which wow,
that did not age well.

Speaker 1 (26:42):
Which I don't know.

Speaker 2 (26:44):
Bruser's Millions is the one where like he's guests to
spend like a million dollars in like a.

Speaker 3 (26:50):
Thirty million dollars in thirty days, and if he does,
he gets three hundred million. Okay, was like it was
just it's like an inheritance from an he.

Speaker 1 (26:58):
Can't have any of the show forty benefit from and
he just got a wasted.

Speaker 3 (27:01):
He has to be completely broke at the end of
the thirty days.

Speaker 2 (27:04):
I mean I could do that doing that now Millions
my stepmother is Nayalen.

Speaker 1 (27:11):
I didn't what that's like?

Speaker 2 (27:13):
Dank d yeah, kim basing here, uh, and then sorry.
In the nineties, they wrote Pure Luck with Martin Short
and Daniel Martin, which I.

Speaker 1 (27:22):
Remember the poster for but never watched. Yeah, it's uh,
they both have bad luck. I think you know, okay, yeah,
I remember that being pretty terrible. And then they wrote
Space Jam, which is just, you know, a movie. I
like it.

Speaker 2 (27:34):
But again, let's tell ja by the way, they did
not write Falling Down, which I credited them with writing
in the Twins episode, just throwing that out there. They
did produce it, though, so at least there's a connection,
which is good.

Speaker 1 (27:46):
I would think they wrote it's very similar.

Speaker 2 (27:48):
Yeah, it's a space jam, yeah exactly. Anyhow was as
far as kindergarten cop.

Speaker 1 (27:55):
But do you look quick Falling Down? Do you guys
saw that one?

Speaker 4 (27:57):
Right?

Speaker 3 (27:58):
Yeah? I actually haven't seen it.

Speaker 1 (28:00):
Oh my god. It's such a good movie. But it's
so interesting because like you start out rooting for this
guy and then he turns into the complete villain. Yeah,
so this is a very interesting take on a protagonist.

Speaker 2 (28:09):
I mean, I was still rooting for him. I've had
that kind of dates where it's like, just leave the
guy alone, like when.

Speaker 1 (28:14):
He's going to like murder his ex wife. You're like,
I thought he was.

Speaker 3 (28:17):
Just kind of business people alone to murder his ex wife.

Speaker 1 (28:20):
I just wanted to visit his kid, and like I've
all been there.

Speaker 2 (28:25):
I don't know why I'm siding with him anyway, just
like the wrong side.

Speaker 1 (28:29):
Trying to get canceled. Yeah, anyway.

Speaker 2 (28:32):
So as far as Kindergarten cop, crack dot Com interviewed
Timothy Harris, one of the writers the Well I Guess Rewriters,
in twenty twenty two for an article they were doing
about Twins, with Harris mentioning that Ivan Wrightman brought him
and Winingrod Herschel Winingrod in to rewrite Kindergarten Cop because
Rightman did not care.

Speaker 1 (28:51):
For the original script.

Speaker 2 (28:53):
Harris also said that kindergart the Kindergarten Cop script suffered
from the same problem that he felt was an issue
with the Twin with a Twin or the Twins script,
the original one, which was its forgettable action thriller b plot.
He then continued by giving an example while simultaneously like
patting himself on the back, saying, quote, people remember Schwarzenegger

(29:14):
in the classroom with those kids, but they don't remember
the even more complicated and in a way more central
thriller plot unquote and like real quick dumb question, but
would you guys say the secondary plot is the like
in Kindergarten Cops? I feel like it kind of switches
and then switches back, like as far as like the
central plot and then like the subplot or whatever, like.

Speaker 1 (29:34):
Well, does it does feel like disjointed in the sense that,
like the way I remember it, having just recently watched
it changed it a little bit, But the way I
remember it is like it's about it's a fish out
of water. Yeah, it's this guy trying to teach kids,
and then it's like, oh, yeah, he was also trying
to track down this drug dealer, like almost like they
just threw that ot for like, hey, we need a
purpose for this, so there you go, which I mean

(29:55):
worked for me well.

Speaker 2 (29:56):
And then the which he shited way more on on
the Twins one, but it was an article about Twins,
but that for Twins he was talking about the the car,
the stolen part that that Vincent steals. Like there, that's
that part of the story.

Speaker 3 (30:10):
Yeah. I feel like Twins has a way more like
sort of weird and outlandish b plot, like the whole
thing where he's got like this super secret piece of
technology that's worth millions and millions of dollars and there's
like hitman running around like taking people kind of like
I don't really know what it is, but it's something.

Speaker 2 (30:30):
It's a plain part turbine, something like a super.

Speaker 3 (30:34):
Plain jet engine. Yeah, that worth millions of dollars. But
he says seems really out of place versus like the
character stuff that they're doing in Twins.

Speaker 1 (30:43):
But that's what he's saying is like, that's supposed to
be the plot is like that piece of butts, and
you don't really think about that. Yeah, yeah, that's he said.

Speaker 2 (30:49):
That was a problem with both films. He also said
that part of it with at least Twins was that
Ivan Rightman isn't an action director, so that might have
heard it a little bit. I don't know anyways, Moving
on a to casting, so Arnold Schwarzenegger supposedly made twelve
million for the role, but like Dave mentioned during the summary,
there were a few different actors they considered to play

(31:11):
John Kimball. By the way, the two you won't you
only mentioned two, right, Dave.

Speaker 1 (31:16):
I forget probably okay, we'll fix it.

Speaker 2 (31:19):
By the way, there were a few that I kept
seeing but I couldn't find a source for besides being
mentioned on IMDb trivia. But before we get to those three,
I could confirmed could confirm with the first two. Sorry,
the first two we mentioned, which were Bill Murray and
Patrick Swayze, who book passed, and then the only other
one I know for sure was Danny DeVito, who they
supposedly passed on due to his height, although I couldn't

(31:41):
confirm that that was the actual reason because none of
the sites that I read that on bother to provide
any source. And it feels like such an obvious reason
because it's not like the producers were about to offer
him the role and then one of them is like, what,
he's only four to ten You fucking kidn't me now
past like they knew how.

Speaker 1 (31:55):
Short he was. Yeah, yeah, So see, this is why I.

Speaker 4 (31:59):
Go to you.

Speaker 1 (31:59):
I know of IMDb. I love Wikipedia. That's why I
get all my ships, Yes, because because they cite everything,
and all three of those you mentioned have links to
like articles.

Speaker 2 (32:06):
Yes, that's that's why. Uh, that's that's where I got those.
I gets most of the stuff and then trying to
do Google stuff.

Speaker 1 (32:14):
But yeah, IMDb could not imagine Bill Murray in that role. Yeah,
he's like so dry and so I don't know.

Speaker 3 (32:21):
I think Bill Murray would have been fine in the
classroom parts. I don't think that would have been an issue, Like,
like he had done meatballs and stuff with kids before that.
I can't imagine him as the cop part for sure,
like like in any way, not like there's no way
he takes that seriously enough to be a detective. I
don't know.

Speaker 2 (32:40):
See, I think Danny DeVito would have been great because
that's okay. Again, with a cop part, it might have
been like, okay, well, like he.

Speaker 1 (32:46):
Would have sold it. That would have been over the top.
It would have worked.

Speaker 2 (32:49):
But like with the kids, like to considering the fact
that he's probably only a few inches taller than most
of them, you got it pretty good interactions right there,
Like I don't know.

Speaker 3 (32:59):
I don't know, because he could play a really good
dirt bag and a dirt bag having to go in
and like play nice for the kids.

Speaker 1 (33:05):
I don't know. That's kind of funny. But we also
got to consider, like who were the other big action
stars that were also trying to branch out on comedy
at that time, because there was a stallone for sure
was a big one. Yeah, oh, you guys know the
sorry there's a way off topic, you know, the throw
Mama from not you know that story?

Speaker 3 (33:21):
Right, Yeah, how Schwartzenigger's tricked. Yeah, yeah, because that's great.

Speaker 1 (33:28):
Uh, Which was I think that he probably I was.

Speaker 3 (33:31):
Nineteen ninety, right, was it or was that earlier?

Speaker 1 (33:35):
I don't think it was in the same around the
same time. Yeah, I know it was around the same time.
I'm not sure exactly when.

Speaker 2 (33:41):
But well, I also have never seen a lot of
Stillon's like eighties besides like the like Rambow, like, I've
never like Cobra or I don't know.

Speaker 1 (33:50):
Octobra was so bad? Was it? Like? Was it like?

Speaker 9 (33:53):
Uh?

Speaker 2 (33:53):
Because it just reminded me of Rod Deal, like his
version of Raw Deal, which.

Speaker 1 (33:57):
It was just it was so much worse because there
literally was no plot, Like he was against these like
this cabal of like psychotic killers. But all they did
was they would stand in a warehouse and like clang
axes together like they had no there's just clips of them,
and then they would go fight stillone. It was the
dumbest thing in the world. That's amazing, amazing. Yeah, I

(34:19):
want to watch anyway.

Speaker 2 (34:22):
Okay, So for the ones I couldn't confirm, First off,
Jack Nicholson, who I would assume would just be.

Speaker 1 (34:29):
Like a PG.

Speaker 2 (34:30):
Thirteen from version of his character from Chinatown or something
like that.

Speaker 1 (34:33):
You know, it would have been fun from that era.

Speaker 2 (34:35):
Kurt Russell, that's actually one that I have, So that
one he's really keeps getting grouped together with a like
on a list with so Kurt Russell, Chuck Norris, and
Robin Williams. We're at three that kept getting grouped together
walk into a bar. Yeah, And there was one website that,
uh said that the claim, like the whole that rumor

(34:55):
of fact whatever came from quote the production team, which okay,
can you be like less specific about it because that's
pretty much anyone from what the director to like a
PA that was fired, Like did you hear from one
of the.

Speaker 3 (35:07):
Kids craft services?

Speaker 1 (35:08):
Yeah? Oh, circling back to stallone real quick, Yes, you remember
Tangling Cash. See I didn't watch that Rustling Oh so good?
Really said, but that was stillan trying his hand in
more comedic stuff. Oh yeah, it wasn't.

Speaker 2 (35:19):
There A was the action comedy Oscar too. It was
a comedy which I never saw.

Speaker 1 (35:24):
We don't talk about that. I don't even know. I
didn't watch that one either, but I remember being a comedy.
Nobody watched it. Yeah, what was not Turnern. Who was
the one you just said, tang on cash.

Speaker 8 (35:38):
Yeah, oh I love that one because great movie. Stallone's
like the the by the Book, you know, and Kurt
Russell's The Loose Canyon, and they're like, we're not going
to be.

Speaker 1 (35:48):
Partners, but then they have to be partners.

Speaker 8 (35:50):
I think at one point saloon they pull over like
a oil rig. I think it was the first scene.
So when I'm spoiling much and he like shoots it
and cocaine comes down, He's like, piece is it? It's cocaine?

Speaker 1 (36:00):
But how did he know? Yeah, it's just good. That's
exactly right, Yes, that good thing.

Speaker 3 (36:06):
It wasn't fucking oil in there. I was about to
say that everybody else you could do.

Speaker 2 (36:11):
Yeah, you start watching like the early nineties ones. I
guess minus Oscar because Demolition Man's good too, but that.

Speaker 1 (36:19):
Mush Man's great. You could argue that his first dabble
with comedy was over the top. That wasn't wasn't intended
as a comedy. I think it came off.

Speaker 2 (36:27):
I remember that one, that one, that one I loved
when I was a kid. Turn his hat around, I'll
become a machine, Like why wouldn't it be a cowedy
with that fucking pre It was just like, hey, man, what.

Speaker 8 (36:41):
If we like had a trucker who had a kid
and he's got to go around winning bresting tournaments to
like pay for his giits toy or so.

Speaker 1 (36:48):
I don't know, dude, I'm sorry to go with a soft,
far off topic, but I just went down a rabbit
hole earlier today. And do you guys remember the movie
or heard of the movie any which way you can?
Was it that's sequel to any which way? But loose?
But that's one of the way I met the first one. Okay, yes,
because the all promise is he's just a truck driver
who does bare knuckle fighting for extra money.

Speaker 2 (37:07):
And then but there's also there's also an orangutang in
it or something like that too, buddy.

Speaker 1 (37:12):
Yeah, yeah, that's just process that has nothing to do
with the plot. He gets met some motorcycle gang gets
mad at him, so fox with him for the whole movie.
It's just it's there's like nothing, it's the dumbest thing. Well,
but it's very over the top and in that sense
of like, hey, what if we just had a guy
who does that's.

Speaker 2 (37:30):
That's uh, what's kind of a thing with the seventies, though,
wasn't it, because like, uh, I the first I recently
watched when we did The Villain, I watched for the
first time. Uh can't well, I try to watch can outrun.

Speaker 3 (37:42):
But that was horrible.

Speaker 2 (37:42):
Smoking the Bandit, whoa you bite your tongue hilarious.

Speaker 1 (37:47):
I didn't get I didn't bring Jackie Chan. Come on,
there was.

Speaker 2 (37:50):
Really it was. It was just uh, kind of like
rat like, which was just the mad, bad, mad world.
But it was like rat race basically, right.

Speaker 1 (37:57):
Yeah, it's just the reason to race cars.

Speaker 2 (37:58):
Yeah, but uh, look in the Bandit I liked. It
was just like the same kind of thing to where
I was like, what the fuck am I watching? Like
what's going on? It was just I don't know.

Speaker 1 (38:06):
Yeah, I was back when plot was less important to
people just looking coolly like, oh man, Burt Reynolds is
so cool. Oh Burt Reynolds. He would have been a
kindergarten cop.

Speaker 2 (38:18):
He would have been a yeah, because he did his
version later with Cop and a Half, which I never watched,
but I assuming I liked as a kid.

Speaker 1 (38:28):
But I don't know if that's gonna hold up anyway.

Speaker 2 (38:31):
So moving on to the rest of the cast. And
by the way, all any rumored actress from here now
from here on out are all unconfirmed because I started like,
as I was looking up, I just like got over
it once like the fourth person, I couldn't find anything
on so anyway, But so for the the part of
Rachel Crisps Crisp slash Joyce, the actresses supposedly considered for
the role sound like a list from someone who was

(38:52):
told to name six nineties actresses in ten seconds, so seriously, like,
which is weird because I don't the timing of them anyway,
So they include Helen Hunt, Sandra Bullock, who weren't like
there would have been relatively new. This is for Joyce,
the Penelope and Miller's role. Okay, yeah, they would have

(39:14):
been relatively new at the time, so which whatever, Like
I guess if they auditioned for it. But Julia Roberts,
which is a big jump, like as far as like fame, Yeah, Brookshields,
Geena Davis, and then Sally Field for some reason, which Fields,
sorry Sally Fields, which I only find strange because she's
the same age as Arnold, which whatever, But like Hollywood

(39:36):
isn't exactly like the best with as far as age
gaps when it comes to casting, like the male and
female leads.

Speaker 1 (39:43):
But I don't know, like Tangent if if you haven't
seen The Substance a fantastic movie just because it talks
about topics of like aging actresses and shit like that
Substance is it new?

Speaker 5 (39:52):
Yeah?

Speaker 3 (39:53):
Yeah yeah.

Speaker 1 (39:56):
By the way, oh goo ahead.

Speaker 3 (39:59):
I was just gonna say, even if you compare her
to all the other people on them, yes.

Speaker 2 (40:02):
She's about twenty years older, and she's the same meters
she's the twenty years older, Like if John Kimball had
been played by Walter Mathow then I could see them
considering salad Field.

Speaker 1 (40:10):
But like, I don't know, it was just a good choice.

Speaker 3 (40:14):
Yeah yeah, just bad news bears again.

Speaker 1 (40:17):
Ye.

Speaker 2 (40:19):
So anyway, eventually they decided against that probably fake list
of actresses and went with Penelope and Miller, who at
the time had recently finished working with some of the
best actress in they of the twentieth century, like Seriously, she.

Speaker 1 (40:31):
Wor Robin Williams, Chuck Norris Forget Well.

Speaker 2 (40:34):
She worked with Marlon Brando in The Freshman, she worked
with Robert and Nero in Awakenings, and then Pee Herman
in Big Top Peewee, so like it's just like a solid.

Speaker 1 (40:43):
Dudes, Okay, Big Top Peewee. No, I'm sorry. The first one,
Peevy's Big Adventure. Yeah, I was recently reading about that
and where Paul Rubins and Phil Hartman like when they
came up with a script. They said, they just bought
Sidfield's book about screenwriting and just followed the formula, like, okay,
at page thirty, I lose my bike at page sixty
to get my bike back, Like they just followed the

(41:04):
beat points and wrote a story for him, Like that's
brilliant that and it worked perfectly.

Speaker 2 (41:08):
Yeah, I know they must have lost the books for that.
I like the second one, but for that second one.
But yeah, she was just the like when I saw
her in Kindergarten cop Instill, she just Pee's girlfriend that
loves egg salad sandwiches.

Speaker 1 (41:22):
I don't know.

Speaker 2 (41:24):
She sort of mentioned like working with them with these actors,
we might as Pee Herman, but working with like esteemed
actors during a two thousand and nine interview she did
with AV Club, saying quote, I think initially and working
with Arnold Schwarzenegger. But she said quote I think Initially,
I kind of thought, am I doing the right thing
for my career to be in this movie. She's talking
about Kindergarten Cop obviously, but she continues by saying, I

(41:47):
had just done theater and had just come off working
with Robert de Niro in on Awakenings, and I was
just like Arnold Schwarzenegger. He's like the Barbarian movies and stuff.

Speaker 1 (41:56):
But she then I was reading it and I could
not put the script.

Speaker 2 (42:01):
But she says, uh, but I think he did a
really good job in this film. It was funny, but
it also has it also had suspense, and it was
just turned.

Speaker 1 (42:09):
Out really well. End quote. But yeah, by the.

Speaker 2 (42:11):
Way, Kindergarten Cop was actually Penelope Anne Miller's fourth film
that was released in nineteen ninety. Yeah, with the other
three being Awakenings of Freshmen in Downtown, which never heard
of that yea me either. It was Anthony, not Anthony
Michael Hall.

Speaker 1 (42:26):
It's someone that's in Er Edwards. Yeah, Anthony Edwards.

Speaker 2 (42:31):
Yeah, they're pretty basically the same person.

Speaker 1 (42:35):
Was named Goose and yes, Goose and talk.

Speaker 3 (42:37):
Oh yeah.

Speaker 8 (42:38):
Yeah, and now he's also the point guard for the
Minnesota Timberwolves.

Speaker 1 (42:45):
Also Revenge of the Nerves.

Speaker 2 (42:47):
Yes, never mind anyway, So okay, so moving on, and
I don't have much for the rest of the cast,
but Christian Slater was supposedly considered for the role of
Culling Crew, the Arnold's nemesis.

Speaker 1 (43:02):
I was even say he was one of the careergartens
that would be great.

Speaker 2 (43:07):
Apparently he turned it down in order to avoid becoming typecast,
which I kind of called bullshit on this one because
from the looks of his IMDb at the time, he
seemed way too busy, Like he appeared in thirteen movies
within a three year period from ninety nineteen ninety one,
so he obviously wasn't turning anything down.

Speaker 1 (43:25):
So I don't know. I don't believe that one. Well,
we talked about I think in the other part we
talked about the guy who played Colin Chris was three
o'clock High.

Speaker 2 (43:33):
Yes, that's that's my uh because I got at this
point he was getting lazy. But my only note what
like as far as Richard Tyson was he was in
three o'clock Eye. He was also in one other movie
that War O'clockhaye, Yes, which was not which was actually
a prequel which is weird.

Speaker 1 (43:51):
As far as the uh it's four a M.

Speaker 2 (43:55):
As far as the rest of the list for that role,
it's kind of all over the place, which it includes
Kyle McLachlan, Val Kilmer, Robert Danny Jr. Kevin Spacey, and
then fucking space She's Daniel Stern.

Speaker 1 (44:12):
I don't know. To me the outlier, there's Kevin Spacey.
What was he doing around that time, because I don't
see him as being like the hey.

Speaker 2 (44:19):
We need a drug dealer, need to be like like
right around yes, I mean that was only a couple
of years.

Speaker 1 (44:27):
Yeah, before Usual Suspects?

Speaker 3 (44:28):
Right, Yeah, what was he before Usual Suspects? What was
Glenn Gary Glenn.

Speaker 1 (44:34):
Ross, Glenn Gary Glenn Ross. That was before I don't know.
I still haven't seen that movie. All you really need
to see is the Alec Baldwin speech. That's the rest
of it. Yeah, it's fine. I just pulled up Kevin
Spacey in one of the links is discography. I'm like,
I'm not clicking on that.

Speaker 3 (44:52):
Gary was ninety two.

Speaker 1 (44:53):
Also, he was in a bunch of stuff like right
before he blew up. Yeah, Like what I'm saying, it's
like he wasn't really a big name back then.

Speaker 3 (45:00):
Yeah, now, compared to all the other names on that list.

Speaker 2 (45:02):
I would have been a weird one to well, I mean,
was Daniel Stern big at that? I mean yeah, well
Homelo Alone and all that shit and city slickers and.

Speaker 1 (45:10):
Yeah, true, Home Alone hadn't come out. Home Alone came
out around the same at the same time as this.
I think it came out in ninety.

Speaker 2 (45:15):
No, it came out the same time as like the
same time as Kindergarten Cop. So, yeah, it was just
like it hadn't come out before they were when they
were casting anyway, they yeah, so they eventually hired Richard Tyson.
Luca said, which three o'clock eye? Is it actually good?

Speaker 1 (45:29):
I haven't seen since I was a kid.

Speaker 4 (45:30):
It is.

Speaker 1 (45:30):
It's such a fun movie.

Speaker 2 (45:31):
I remember loving it when I was a kid. Uh So,
Moving on the role of Arnold's partner, Phoebe O'Hara, Catherine
O'Hara obviously was considered.

Speaker 4 (45:42):
But.

Speaker 2 (45:44):
Everyone once once they couldn't hire an actress that had
the same name. They supposedly considered Emma Thompson and then
Harold Ramis when the role with the role supposedly rewritten
to being a female character after he declined, and then
they hired Pamela Ren Do.

Speaker 1 (45:59):
They try to go for the O'Hare airport Kindergarten air
traffic controller.

Speaker 2 (46:05):
My my favorite one from IMDb is definitely for Eleanor Crisp,
who was Chris a mom.

Speaker 1 (46:11):
Yeah Crisp anyway.

Speaker 2 (46:13):
Which says they offered the role to Audrey Hepburn, who
was at the time was basically retired from acting, like
she had semi retired from acting in nineteen I looked
it up nineteen sixty seven, only to returning for like
four roles before she died.

Speaker 1 (46:25):
In nineteen ninety three. Some say from regret Or regretted
passing on this role.

Speaker 2 (46:32):
Hall oh wait no, Wikipedia says it's cancer. Never mind, sorry,
but yeah, like, what's that?

Speaker 1 (46:38):
The one role that she she was.

Speaker 2 (46:41):
Like, oh man, like on her death when I got away,
that was like her rose Button moment was Kindergarten cut up.
I don't know, it was just like, Okay, that one's
probably not real.

Speaker 1 (46:51):
Instead of Rosebud Dad's saying it's not a tumbe doctors,
Actually it is.

Speaker 2 (47:02):
Well, she'd only done four movies and one of them
was by Spill like a Spilberg movie.

Speaker 1 (47:06):
So it's like she's like, I'm gonna do a.

Speaker 2 (47:08):
Spielberg movie, and then after that the next year.

Speaker 1 (47:10):
I'm gonna do an arm Schwartzeningger movie.

Speaker 2 (47:13):
Anyway, So, according to this totally real bit of trivia
from IMDb, b Arthur was also considered because but couldn't
get away because of Golden Girls.

Speaker 1 (47:21):
Which I don't know it would work, I guess sure.
And then Laura McCall it seems too comical because the role,
even though it's a silly movie, that role was like
kind of like mean and serious. Yeah, it's just kind
of yeah, yeah, I don't know. Laura McCall, Susan Randon,
was she old enough at the time. I don't think
she thinks so.

Speaker 3 (47:38):
No, I don't think so.

Speaker 2 (47:39):
And then finally the kids, who I just grouped together
as one individual because yeah, anyway, So these ones are
actually all true. But apparently the filmmaker's auditioned more than
two thousand children to play the thirty kids in Kimball's class.

Speaker 1 (47:53):
Can you imagine the nightmare of that cast? Jesus.

Speaker 2 (47:57):
I think he said they did it one hundred kids
at a time, I think, which sounds like way too many.

Speaker 1 (48:03):
But yeah, what are they Lord of the Flies? I'm like,
all right, put one hundred. I mean, if you put one.

Speaker 2 (48:09):
Hundred in a room and I don't know, I don't know,
that sounds horrible. Yeah, I was trying to think, like
what would you have to do just play like you
have to have them recite the.

Speaker 1 (48:19):
I just guess, well, because all it is is basically.

Speaker 2 (48:22):
Like I'm assuming these weren't I mean maybe they were
for the like the main kids, But if they weren't
for the main kids, you're basically just saying how how
they listen? Right, Like if they can listen?

Speaker 1 (48:30):
Sure, so yes?

Speaker 2 (48:32):
Or follow direction rather but anyway, so uh. Elijah Wood
has talked about how he auditioned for a role but
didn't get it because I guess it was the worst
audition he ever did. He didn't say which part I'm assuming,
so I'm just gonna assume it was for Zack's dad,
but he couldn't get it because he couldn't like believably
take a punch to the stomach.

Speaker 1 (48:52):
Anyway, he'd make a.

Speaker 3 (48:53):
Good loll with his his weird face.

Speaker 2 (48:56):
Anyway, for the role of Dominic. They were originally opened
a cast like Twins of either gender. Basically, they're just
looking for twins, right, so they can work them double exactly,
like because of those stupid child labor laws.

Speaker 1 (49:08):
And it was a bigger role but building for twins
because Arnold's obsessed ever since his movie Twins, Like we
got that needs to be a connection, did you guys?

Speaker 2 (49:18):
But okay, So the next things about the twenty twenty
cast union, like during like a so there was a
they did a partial cast reunion through Zoom in twenty twenty.

Speaker 1 (49:28):
That sounds sad, Yeah, partial reunion.

Speaker 2 (49:32):
And it was just the kids or a few of
the kids. So you had one of the kids that
played Dominic, the two girls like the twins, the kid
that spits out the cheetos on Arnold when it pulls
them up, and then the little redheaded mister kimbol are
you all right? And the one that says stranger.

Speaker 1 (49:51):
Yeah, that that kid?

Speaker 3 (49:52):
Oh yeah yeah.

Speaker 2 (49:52):
Anyway, so during that Zoom meeting, Tiffany and Crystal Matteris
who played the two Tune girls whose dad was a
sex machine, but they that they also like to fuck,
which was weird because in that interview they kept talking
about our dad. Loved that line. I was like, Okay,
all right, dad, he's actually that suggested it.

Speaker 1 (50:15):
It was just it was a very awkward interview.

Speaker 2 (50:17):
But they revealed that they auditioned for the role of
Dominic but eventually went to Joseph and Christian Cousins, who
one of the guys was on there. But so none
of you watched that, right, that Zoom reunion.

Speaker 1 (50:28):
No, I can't imagine why. No, exactly. That's like that
seems like when you go to comic Con and there's
someone who is a star in the seventies sitting alone
at an autographed booth and just go up and oh, yeah,
I do feel bad by walk by. I'm not gonna
go up to him. I'm not gonna be the one.

Speaker 2 (50:46):
You probably could like exchange information and stuff like that,
depending on how long he's been sitting there with no
one talking to him.

Speaker 1 (50:52):
The thing is typically, I mean, in my experience, at
least even though no one's there, they still are trying
to charge for stuff. So I'm not gonna I'm not
even this got twenty bucks. Maybe you can handle with
them at that point. It's basically panhandling on a different level.

Speaker 2 (51:07):
I'm doing it out here, I'm doing it outside the
he's like the convention Center. So I don't know, but
I ended up watching that Zoom reunion because of this,
and it's extremely awkward to start. And it starts because
it starts off with just some of the actors who
played the kids. As long is it it's about an hour.

Speaker 1 (51:25):
Oh my god, I was gonna say, if it's more
than fifteen minutes, it's just well, it's good doing.

Speaker 2 (51:29):
So about thirty five minutes into it, they start getting
a little more comfortable, and they're all they're doing is
talking about filming and just like stuff they remember about
it and some of it, which is stupid because I'm like, oh,
that's interesting, it's probably write that down, and then I didn't,
but then I'm not going to go back and watch
it again. So I was like, Okay, well, I guess
we're not going to mention that, So.

Speaker 1 (51:46):
Just stitch that hour into this pod right here.

Speaker 2 (51:50):
But about thirty five minutes into it, just as they
start getting more comfortable, the host brings in Arnold Schwarzenegger
and it just goes right back to awkward because he
basically takes over the meeting and of course what they
were talking about before, which I was actually enjoying because
like they were giving, like they were talking like trivia effects.
But he takes over the meeting and then like starts

(52:13):
asking each one of them what they were doing, but
like just the person and nobody else is talking, and
then the person will kind of answer, but you can
tell you can't really hear very well because he's like
he's basically how i'd imagine having a zoom meeting with
my grandpa would go like it was it's just weird
because he's like, and what were you doing? And then
that person will talk for a second, he's like oh,
and then one of them does magic. Now he's like
I love it, Oh okay, goodbye, and then it's like, okay,

(52:36):
well I guess he's.

Speaker 1 (52:38):
Gone, oh my gosh.

Speaker 2 (52:40):
Like we should we should do something again.

Speaker 1 (52:42):
Well I don't know. It was entertaining, but awkward anyway.

Speaker 2 (52:48):
Okay, So moving on, the last couple of things that
I have as far as the casting are just extra
little tidbits. So the first one, this one is possibly
intrue IMDb, but originally the principal was going to be
male and was supposedly they wanted Rick Moranis to play
the role, but he passed and they switched it to

(53:10):
female and hired Linda hun which again yeah, next this one,
actually I was I was able to confirm. But Stephen Root,
who's probably most what he's like Milton from.

Speaker 1 (53:20):
Office James Radio. Yeah, like, I don't know what else
is he to? Yeah, very anyway.

Speaker 2 (53:28):
So Stephen Root originally had five scenes that were part
of a subplot that ended up being cut from the film.
So do you remember how I mentioned that Kimbera and
O'Hara never contacted the story of police like that will Yeah, Well,
Stephen Root's character was credited as sheriff, so I'm assuming
it had that was like a subplot that was cut.

Speaker 1 (53:46):
I don't know.

Speaker 2 (53:47):
Yeah, so they actually did, but apparently no one noticed,
like because I didn't notice until this last time. But anyway,
the final bit of casting him for I could find.
So the baseball bat that O'Hara uses on Old Lady
Crisp was played by a Don Mattingly model Louisville slugger
who just hit that role out of the park anyway. Sorry, Okay,

(54:09):
So the film's budget was anywhere between fifteen million, which
was listed on IMDb and twenty six million, which was
from the Hollywood Reporter. So let's say twenty two million.

Speaker 1 (54:19):
That's a It's a pretty safe range, though sometimes you
see like ten million to fifty million.

Speaker 6 (54:23):
Right.

Speaker 2 (54:25):
Filming lasted from May thirty first to late August nineteen ninety,
with them starting in a story of Oregon or Oregon
for the first month, then filming the remainder in Los Angeles,
supposedly in skid Row and Downtown LA, and then the
mall scenes were shot at South Coast Plaza and Santa Ana. So,
speaking of the mall scene, according to the AMC story notes,
apparently that whole scene set there and possibly everything up

(54:48):
until they had to Astoria. They designed it down, like
down to the lighting and camera angles to parody the
look of the terminator, and I think it's up to
the plane scene. Like the AMC story note thing only
says it was for the first part of Kindergarten Cops.
So I'm not sure, but I can definitely see it.

Speaker 1 (55:02):
Yeah, we talked about that. Like you from the open scene,
you get that vibe. Yeah, he's that same kind of character.
It's the same kind of yeah, exactly, Like definitely in
the mall and even like that that that club which
was just like a chain ling fence around and like, yeah,
this is like dystopian futuristic. It's like in the first one.

Speaker 2 (55:17):
Was it called Club Noir or something like that tech
noir techno? Yeah, anyway, moving on a story. Elementary was
actually played by John Jacob. Astro Elementary School did a
pretty good job and with actual students from the school
playing extras and they were paid thirty five dollars a day,
which good for them anyway. Fun fact, the school was
actually used as a model for the school in the
very first Silent Hill game in nineteen ninety nine, which nice.

(55:40):
The last couple of things about filming in Astoria. Arnold
gave a commencement speech tonight the nineteen ninety graduating class
of Astoria High School.

Speaker 1 (55:46):
But it was very awkward. So you just want to
graduate a guardia? Okay, what are you doing now?

Speaker 2 (55:52):
Every single person that walked through and then A story
was actually the first place that Schwarzenegger laid eyes on
a humby which which I swear to God.

Speaker 1 (56:01):
This is true, changed the course of humans.

Speaker 2 (56:02):
Exactly, which he eventually had a hand in getting GM
to begin producing them for the general public.

Speaker 1 (56:10):
Right. Wow, yeah, he thought they were so cool. He
wanted one, like the actual old the military. Yeah. Yeah, yeah,
He's like, I want one of these. And then people like,
holy shit, he's driving a humbye and like we should
market this shit.

Speaker 2 (56:21):
Yes exactly, which, yeah, this is where he's the first
time he saw one.

Speaker 1 (56:25):
Uh Okay.

Speaker 2 (56:27):
So all the classroom scenes were shot at Universal Studios, Hollywood,
with the kids constantly climbing all over Arnold whiley when
they weren't shooting. And I guess which sounds weird, but
and I guess he would make I guess you would
make them do jumping decks to try and calm them
down a bit. He's like, I just incorporated the fitness.
That's his answer for everything, and he's never wrong about

(56:48):
it because apparently anyway it works. Yeah, apparently filming those
scenes with the thirty kids was just super fun, with
Ivan Wrightman telling the La Times in nineteen ninety quote,
after the first day of filming, I was in sweat.
I was in a sweat, my shirt was all wet,
my voice was hoarse, and I had this really panic
look in my eyes. So I developed the five Rightman
rules of filmmaking, which were listen, act, natural, know, your character,

(57:12):
don't look in the camera, and discipline. I think those
are just for kids, but he doesn't say that works
for Arnold too.

Speaker 1 (57:20):
End quote.

Speaker 2 (57:21):
But he then says the Pledge of Allegian scene was
difficult to shoot due to it being a close up
dolly shot, as it's like moving down a lot of
kids and they wouldn't stay still, so to get their
attention or to keep their attention rightman said he quote,
He's like, I would walk behind sorry, I would walk
beside the camera waving something so they would be distracted.
And I was constantly talking while filming was going on,

(57:43):
reminding them what their lines were. I kind of became
a cheerleader, which I just think it's funny. They're like
babies to where it's like.

Speaker 1 (57:49):
You said when he said he said it was difficult
to shoot that scene, I first thought, I was like, oh,
because the parents up there are very like I don't
know if they're like anti government and fascist.

Speaker 2 (57:57):
Say that, yeah exactly, And for some reason, I'm I'm
not sure why, but he never did another film like
with kids after this, so because his.

Speaker 1 (58:07):
Five rules didn't work.

Speaker 2 (58:08):
Yeah, So, Penelope an Miller told People magazine in nineteen
eighty three that she taught Renald Schwartzenegger to kiss on camera,
which had he not kiss. I was just thinking, like, yeah,
because Kelly Preston, at least Kelly Preston. So there was
a quote. It was something like, you gotta you can't
like make it look like you're swallowing each other. You
got like I So I kind of told him like

(58:28):
to like hold me behind my back and bring me
in slowly and then kiss me or something like that. Yeah,
so just to like, I don't know, maybe he.

Speaker 1 (58:38):
Just like, yeah me compare that to ConA when he
tried to kiss that camel.

Speaker 2 (58:43):
He missed and it got his fist. Yeah, punched it accidentally.
He was trying to kiss it, wasn't trying to punch
it anyway. So as far as the release, Cone or Sorry,
Kindergarten Cop was released domestically on December twenty first, nineteen
ninety probably making eleven point two million on its opening weekend,
but I don't know. Box Office Mojo has it listed
at seven point nine million, but Kindergarten Cop is the

(59:04):
only movie they have listed that weekend, So unless every
theater was like fuck it, Kindergarten Cops coming out. We're
closing down and we're only playing that Like that's those
numbers aren't right, So we're going with the other one.
Eleven point two million debuted at in the number two spot.
It's opening weekend with Home Alone taking that number one spot.

Speaker 1 (59:21):
Yeah. By the way, Home.

Speaker 2 (59:22):
Alone had already been out for six weeks at this point,
it was still the number one movie.

Speaker 3 (59:26):
So yeah, God, that movie is a fucking.

Speaker 2 (59:28):
I didn't actually look how long it was it like
stayed in the number one spot, but I'm assuming it
had to be through Christmas because this is what I say.

Speaker 1 (59:34):
This was December.

Speaker 2 (59:35):
Oh, I mean that was through Christmas first Yeah, yeah, yeah,
because yeah, it was a Christmas movie too. So uh. Anyway,
as far as the rest of the weekend's box office
top ten, it's.

Speaker 1 (59:45):
A pretty it's actually a pretty good list for the
most part.

Speaker 2 (59:48):
Like you had Edward scissor Hands at number three with
six million. Number four was Dances with Wolves with five
point nine million. This was also usually December's around the
time they release Oscar Contenders too.

Speaker 3 (01:00:00):
Yeah, a lot of Awards movies, yeah, which.

Speaker 2 (01:00:02):
Is what our next one was probably that's probably why
it was released, which was look Who's talking to with five.

Speaker 1 (01:00:08):
Point eight million.

Speaker 3 (01:00:09):
Yep, strong contender.

Speaker 2 (01:00:10):
Number six was The Russian House, The Russia House, sorry,
with four point four million, which I've never heard of before.
I remember that, but was also it was released the
same week and it starts Sean Connery.

Speaker 1 (01:00:21):
And Michelle Talker. Yeah, yeah it was.

Speaker 2 (01:00:23):
It says it was about a British publisher sent is
sent a manuscript detailing Soviet and it basically the Hunt
for October two. It sounds like, yeah, Soviet and.

Speaker 1 (01:00:32):
Nuclear missile capabilities. Anyway.

Speaker 2 (01:00:35):
Number seven, which was also released that week, was supposedly
really bad, which was The Bonfire of the Vanities.

Speaker 1 (01:00:40):
I didn't watch that. Oh yeah, that was a mess,
just production wise. I never saw it, but I just
from hearing all the stories about what a nightmare was
to make that movie? Was right?

Speaker 4 (01:00:48):
Was that?

Speaker 1 (01:00:49):
Tom Hanks, Tom Hanks, Bruce Willis and Tom Hanks, Melanie Griffith.

Speaker 2 (01:00:54):
Griffith, Yeah, that made four point two million, and I'm
pretty sure ended up bombing too. But number eight was
Misery with four point one million, which is a good movie. Yeah,
that was on its fourth week, but see that's where
it like sounds right. Number eight fourth week I mean
right ish, But anyway, So number nine was Three Men
and a Little Lady, which made three point five million,
and I definitely remember being bored while watching that in

(01:01:16):
the theater, Like I know, I went and watch that one,
which what if horrible?

Speaker 1 (01:01:21):
Like this movie sucks. I was gonna see look Who's
Talking too?

Speaker 2 (01:01:23):
Yeah, I like that movie. That's that's I mean, it's again.
I'd probably have to watch Three Men in a Little
Lady again. I'm like, it probably might. It might be
like I'm like, this movie is so good, but as
of right now, look Who's Talking? Two is definitely better.

Speaker 1 (01:01:35):
Anyway.

Speaker 2 (01:01:36):
Number ten was Mermaids, which made three point three million,
and yeah, share Window and a writer in Christina Reachigency,
I only saw. I haven't seen a lot of those ones,
but it was a good list.

Speaker 1 (01:01:45):
I think. Was that one an Oscar one solid or no,
I don't, I don't know, I don't remember. I probably
should have looked that up. I don't think I've seen
most of those.

Speaker 2 (01:01:53):
I yeah, I've only seen I've seen Luk Who's talking,
Dancing with Wolves and Misery and then the first two. Yeah, anyway,
as we mentioned during the summery Kindergarten Cop had a
fifty two percent critic rating on Rotten Tomatoes, with most
of the critics that gave it a better view like
The Reason for It, where they decided the violence basically
as a reason why, but.

Speaker 1 (01:02:12):
Mostly didn't like I'm punching that abusive dad. Yeah what,
Mostly he's just trying to keep his family in line.
That was actually one of the reviews.

Speaker 2 (01:02:31):
His last review too, anyway, But yeah, it was mostly
because it was heavily promoted as a family film, and
they were like, what the this is not really a
family film? Got and their prudes apparently, but Roger Eiber
gave it three out of four stars, and it's really
the only one that matters, isn't it. Like Yeah, for sure,
Gene Sisko didn't like it, but he'd be dead soon,
so what doesn't matter. Sorry, I'm not the cut up

(01:02:54):
what I said, And we can leave with due sit there.

Speaker 1 (01:02:58):
Anyway.

Speaker 2 (01:03:00):
Kindergarten Cop ended up making ninety one point five million
domestically and then two hundred and two million worldwide, and
was nineteen ninety's ten tighest grossing movie worldwide, which just
like must have eaten up Riven Wrightman just like, oh
ten kidding me, And I'm pretty sure it only got
like worse from there as far as his top ten,
so he shouldn't relish that anyway. This comes from IMDb,

(01:03:24):
so but it sounds like true.

Speaker 1 (01:03:26):
Include anyway.

Speaker 2 (01:03:27):
When the release date was announced in for December nineteen ninety,
Universal Pictures as well as Arnold Schwarzeneer and Ivan Wrightman
were unaware that Home Alone was supposed to be released
at the same time. So it says while Home Alone
continued to stay on top, which is bullshit because it
had been out for six weeks at the time.

Speaker 3 (01:03:43):
But yeah, I was about to say, they probably just
didn't know it was gonna be that, So.

Speaker 2 (01:03:46):
Yeah, he says, while Home Alone would continue to stay
at the top, Schwarzenegger started like pushing.

Speaker 1 (01:03:51):
I thought it would hurt, call it talking around. Yeah,
I think you're better than me. Mar Here.

Speaker 2 (01:03:58):
He started pushing for a Universal had tried to delay
the movie to spring of nineteen ninety one, supposedly because
he didn't want to compete with it, but they said no. Apparently,
Schwarzenegger said that he felt that it unperformed compared to
Twins due to the competition from Home Alone, which could
be true.

Speaker 1 (01:04:14):
I don't know anyway.

Speaker 2 (01:04:15):
Maybe either way, Like, I'm sure Home Alone didn't help.
It didn't help that Home Alone was released this because
obviously it would have been in a number one movie.
But Schwarzinger did end up saying years later that the
film could have grossed an extra twenty five million, which
is very specific, by the way, Yeah, like if.

Speaker 1 (01:04:30):
It was less violent, It's just like, why do why
twenty five million? Half? Where'd you come up with that?

Speaker 3 (01:04:34):
Yeah, he's calculated the price of every.

Speaker 2 (01:04:39):
But I even Wrighten encountered by saying that he felt
the violence quote had to be there, the film would
just peter out at the end.

Speaker 1 (01:04:44):
I ryme, was like, we needed more violent.

Speaker 2 (01:04:46):
Yeah, she wouldn't have a fight club between the kids.
Studio wouldn't let him.

Speaker 1 (01:04:52):
Okay.

Speaker 2 (01:04:53):
By the way, they did end up making a Kindergarten
Cop two, which I guess.

Speaker 1 (01:04:57):
Was they I guess Universal, which.

Speaker 3 (01:05:00):
Yeah, just a studio.

Speaker 2 (01:05:01):
It was actually considered a remaking, not a sequel though,
because it.

Speaker 1 (01:05:04):
Was Dominant's people. He's like, you know what, let's do
this again.

Speaker 2 (01:05:07):
Which wouldn't surprise me because I don't know what those
kids are doing. But By the way, I lied when
I said Kindergarten Cop was the only credit from a
Screenwtder Murray Salem because he also has Kindergarten Cop two
on there, so he's got two credits. But yeah, that
it starts Dolph Lungern and I think Bill Bellamy, I think,
but I'm not positive. Anyway, that sounds awesome. Yeah, well,

(01:05:28):
we're gonna end.

Speaker 1 (01:05:29):
Up doing it eventually.

Speaker 2 (01:05:30):
I think it was twenty seventeen or nineteen or something
like that that recent Yeah, it was real way, Yeah.

Speaker 3 (01:05:36):
Jesus, So is Dolph I don't know. I guess we'll
do it eventually. But is Dolph Lundgren the teacher?

Speaker 1 (01:05:42):
Well, he's the cop, the cops last teacher. Let's see
it came out in twenty sixteen. He got twenty sixteen, shocking. Yeah,
that means like twenty years we'll get like Kindergarten Cop
three excited.

Speaker 2 (01:05:54):
Yeah, starring someone I can't think anyone. Okay, So anyway,
apparently Arnold also won a Nickelodeon Kid's Choice Award for
Favorite Movie Actor for this movie. So for the role, yeah,
which I should have looked up. Who he was going
up against is nineteen ninety No it would have been

(01:06:16):
ninety one because this came out dece I don't know
how those awards work.

Speaker 3 (01:06:22):
It would have had to be for this thing came
out come out.

Speaker 1 (01:06:25):
I wasn't like ninety two or something.

Speaker 3 (01:06:28):
Was it. I don't know.

Speaker 2 (01:06:29):
I don't know anyway, anyway, I'll get you guys talking,
then look it up. The second thing was that basically Okay,
so he did the show with what stan Lee called
Superhero Kindergarten.

Speaker 3 (01:06:40):
A superhero kindergarten, yes.

Speaker 1 (01:06:42):
Which I don't think is what it's called that. It's
a Netflix show.

Speaker 3 (01:06:46):
Oh I don't think it was called that, but I
could be wrong.

Speaker 1 (01:06:49):
Oh yeah it is.

Speaker 2 (01:06:51):
Yeah, stan Lee's a superhero Kindergarten.

Speaker 3 (01:06:53):
That is a bad name for that.

Speaker 2 (01:06:54):
All right, so he did he did that show came
from desire to do a sequel to this kindergarten cop Well, yeah,
so is.

Speaker 3 (01:07:03):
He actually in it?

Speaker 1 (01:07:05):
Yes? I look.

Speaker 2 (01:07:07):
I took a quick look at the IMBB credits, which
I'm assuming we'll get to it eventually. Maybe sure, it'll
just be like a there's got to be like an
episode that's where it's just like all the extra crap.
But anyway, I don't mean crap but except I'm sure
it's a nice show. Anyway, Yes, he's in every episode.
I believe he plays like the teacher I would assume.

(01:07:29):
But okay, anyway, okay, so let's move on to the
clips promo stuff. So pretty much any clips I could
find to promote Kindergarten Cop we're kind of eh.

Speaker 1 (01:07:41):
They were fine.

Speaker 2 (01:07:42):
There was kind of born like just regular interview clips,
but I was able to find one from the same year,
so we're gonna watch that, and then I have two
more that are from random years, but they all feed Arnold.

Speaker 1 (01:07:51):
This time. There was in our Sittingill Hall.

Speaker 2 (01:07:53):
One that I found that was like disappointing. He was
just playing it very straight, like he's usually like kind
of jokey, like Yeah. There's one Perterminator two as well,
which I was like, oh, like I've been looking forward
to watching it because I was like, all right, or
sending you Hall. But yeah, anyway, okay, So this first
one is from a nineteen ninety interview Rinold did with

(01:08:15):
Lisa Gibbons from for Entertainment Tonight, and it's to promote
the Tales from the.

Speaker 1 (01:08:21):
Crypt episode that he directed.

Speaker 2 (01:08:23):
Yeah, they eventually end up talking about his newmorn daughter Katherine,
and how he likes being a dad.

Speaker 1 (01:08:27):
So yeah, let's take a look at that.

Speaker 3 (01:08:30):
Cool.

Speaker 6 (01:08:31):
On top of his directing debut, Schwarzenegger recently made his
debut as a daddy, seeing here leaving the hospital with
wife Maria Schreiver and baby Catherine, now nine weeks old.
It's the most exciting thing that has ever happened to me,
is having this new little baby and being a girl.

Speaker 1 (01:08:52):
On top of it.

Speaker 6 (01:08:52):
You know how he spoiled little girls, and so I
have such a wonderful time playing with it every morning
when I get up and I'm home at night, you know,
the hangout isn't sitting there in my arms since just
watching it. It's just really absolutely fantastic. But the most
admirable thing of all is obviously the woman about this
whole thing.

Speaker 2 (01:09:13):
I don't know why, but I absolutely love love when
people who aren't used to being around babies refer to
them as it.

Speaker 4 (01:09:22):
Mean.

Speaker 2 (01:09:22):
They usually don't realize they're doing it. It just makes me
laugh every single time, like you know, you're calling the
baby it right, Like yeah, it's just always funny to me,
And you.

Speaker 3 (01:09:31):
Know, anybody could do it once by accident, but he
did it like four times in a row there, so
clearly that's like how he thinks.

Speaker 2 (01:09:37):
Of it, and he did it in the Arsenion one too,
but it's just I don't know which I get because
is a new new dad, not used to being around kids,
but it's sure, it's just always funny to me anyway. Okay,
So this next one is a twenty thirteen interview that
Arnold did with The Sun, which I believe is the
kind of like the UK version of TMZ I think,

(01:09:58):
but I could be wrong on that.

Speaker 3 (01:10:00):
I think they're like mostly a tabloid.

Speaker 1 (01:10:01):
Yeah.

Speaker 2 (01:10:02):
Anyway, it's for a new web series from the Sun
called Bizarre Live web Chat, and it's not the whole video,
so I'm not exactly sure who's interviewing him, but he's
there promoting The Last Stand and there are two parts
I wanted to show you guys. So the first one
is him talking about which movie he regrets not taking,
So yeah, go ahead.

Speaker 9 (01:10:21):
There are great Hollywood stories about people like Tom Sealey
turning down the chance to be Indiana Jones. Is there
one film that you really regret or one part you
regret turning down from King Kuna?

Speaker 4 (01:10:30):
Yeah, I remember that Jerry Bruckheimer came to me with
the script for The Rock that the John Connery ended
up doing and Nicholas Cage, and I was offered the
Nicholas Cage pot. But there was like eighty pages and
with scribbles and handwritten stuff over this is shit and

(01:10:51):
that's not to do this page and let's rewrite this.
I looked at this thing as I was in a
little of filming, and I looked at this script and
I said, what that? Because I can't commit to that.
I said, why didn't you get the act together and
come back with a good script. Well, in the meantime,
they did get the act together and then they hired
the you know a Nigga's Cage, and I really loved

(01:11:14):
that movie. I thought it turned out fantastic. And by
the way, Niggas Cage did an extraordinary job. So I
don't know if I would have been able to do
as good a job as he did. But I mean,
I was mad that I turned down the draw because
it was really a great role. So those things happened.
But in the meantime there's also other situations where I

(01:11:34):
fought for a script and you know, to get away
from someone else right, and it ended up being a
great script. So he said, yeah, it's both ways. Like
I said, there's really no science behind it.

Speaker 2 (01:11:44):
Okay, first off, I that movie would have been like
accent horrific if he would have played that part that
was going.

Speaker 3 (01:11:51):
To I can't believe it was for the Nick Cage,
but like, I know, he's not as old as Sean Connery.

Speaker 2 (01:11:56):
But exactly the character.

Speaker 3 (01:11:58):
Yeah, the character like that just sets.

Speaker 2 (01:12:00):
So that's exactly my next note, which is like Nicholas
Cage's character was like the more he's like mild mannered, practical,
like some not submissive but like uh like that, well.

Speaker 3 (01:12:09):
He's like subdue, yes, neurotic though, yeah, in that, which
Arnold doesn't really do.

Speaker 2 (01:12:15):
So I'm assuming you would have had to be rewritten
if Arnold signed on to it, because Sean Connery's character
was the Schwartz, the neigarian character.

Speaker 3 (01:12:22):
Of exactly like I would expect him to be playing
the former foreign spy who broke out of alcol who
was like the one man who broke out of Alcatraz.
I don't know, I just feel like he fits that
role way better.

Speaker 2 (01:12:33):
Yeah, and you also can't really have all the leads
in the movie playing the same character, so he like
he would have had to play a different character otherwise
you just end.

Speaker 1 (01:12:41):
Up with sabotage, which yeah, saw that.

Speaker 2 (01:12:44):
One, and then like the other thing was is The
Rock also came out in nineteen ninety six, like two
weeks before E Racer, So there's like some alternate universe
where Arnold's stars in The Rock with Sean Connery. But
then that misses everything up because then like does a
racistar Nicholas Cage or does he end up doing Daylight
and Sylvester Saloon signs on to do a racer? Because

(01:13:07):
who else was there John Clauwe Van Dam, Stephen Segall.
Neither of those Jebbronis had the chops to handle a
racers like big old fat ass. You know, I don't know,
like I was just thinking about that because I was like, sorry,
I ended up looking up what they were doing. All
those actress were no, not not cigall like Vandam. They
weren't going to get those parts. Yeah, definitely not so yeah,
definitely not the well, yeah, because he doesn't have a
sense of humor, it seems like. But Van Dam was

(01:13:30):
actually apparently huge at this time because This was like
when he was on Friends, So I'm assuming that's when
he was huge.

Speaker 3 (01:13:36):
That's your that's your metric. Yeah, that's that is Yeah
makes sense because that was also like who else was there?

Speaker 2 (01:13:43):
It was like Bruce Willis who was doing nothing. I
think he did a He did a movie where he's
wearing a fedora.

Speaker 8 (01:13:50):
You need twelve Monkeys coming around?

Speaker 2 (01:13:52):
That was his next movie. I think after this Hudson.

Speaker 3 (01:13:55):
I thought Hudson Hawk was earlier. I thought that was
like early nineties.

Speaker 1 (01:13:59):
No, Hudson.

Speaker 2 (01:14:00):
No, it's it's like Last Man Standing or something like that.
He was on that show. I don't know what it
was that John Belushie.

Speaker 3 (01:14:07):
No, that's that's the Tim Allen show.

Speaker 2 (01:14:09):
Okay, yeah Tim Allen, No, sorry, he was. He was
doing a movie called Last Man Standing where he's weren
a fedora doora in the the poster. But yeah, Stallone
was doing like Daylight, which I like. But is I
don't know, more just a flood. Yeah it's a flood movie.

Speaker 1 (01:14:26):
Oh okay, because who could have who could have done
a racer? Anybody? I guess did you guys have received
Twelve Monkeys?

Speaker 3 (01:14:33):
I still haven't seen it.

Speaker 1 (01:14:34):
I did once but I was really high. I don't remember.

Speaker 8 (01:14:37):
Yeah, he's really good.

Speaker 3 (01:14:39):
Really, I've heard nothing but things about it, but I've
never watched.

Speaker 1 (01:14:41):
I love that movie.

Speaker 2 (01:14:42):
You don't direct se is that like Terry Gilliam or
oh yeah so it's weird? Yeah yeah, yeah, I think
that was the movie he did after this was between
because wait, Paul fiction was like ninety four, wasn't it
ninety four?

Speaker 1 (01:14:55):
Yeah?

Speaker 2 (01:14:56):
Okay, but there was a little gap where he did
a like some show called it was like a cartoon
called Brute because you know, like his his like Bruno
was like his like character that.

Speaker 3 (01:15:07):
Yeah, that's it, that's his like music persona.

Speaker 2 (01:15:11):
Yeah, yeah, yeah, he'd like little Bruno. That was a
cartoon that he did around that time. So I just thought, like, oh,
a little Bruno anyway, okay, sorry, oh yeah. The second
thing I wanted to show you guys from this interview
is just Arnold talking about an unusual encounter with the fan.

Speaker 1 (01:15:29):
So yeah, go ahead, Okay, where's the.

Speaker 9 (01:15:31):
Most unusual place you've had one of your catchphrases repeated
to you?

Speaker 4 (01:15:36):
Uh in really weird places. I mean I was sitting
one of them in the toilet. And let's start to us,
I said, next door, I heard the loud thought, I
heard the toilet flashing, and then someone spitting, and then
all of a sudden, I'll be back to open up

(01:16:00):
that big is in toilet. It's a really weird places,
but it's really interesting those lines, because you don't know
when you do the movie.

Speaker 2 (01:16:11):
You can, yeah, puse it there if you want, because
we've heard he's that's what he said during the during
the like we did the other one press cover.

Speaker 1 (01:16:18):
Yeah, I don't know. That's just sound like a shitty situation, stupid,
That's that's.

Speaker 8 (01:16:27):
Yeah.

Speaker 2 (01:16:27):
I'm like, just go first thought, best thought, and it
was not the best thought anyway, Okay, and then this
last one we were.

Speaker 3 (01:16:36):
Just kept getting better though.

Speaker 1 (01:16:38):
Yeah.

Speaker 2 (01:16:40):
This, this last one is from the year two thousand,
with Arnold appearing. By the way, every time I say that,
because this is writing it down, all I could think
of was the coner Brian. Yeah, because that's how I
heard it in my head all the time whenever. This
is the year two thousand, anyway, So with Arnold appearing
on the view to promote the sixth Day, and this
is Barbara Walters asking him how things around the house

(01:17:00):
due to the upcoming two thousand presidential election.

Speaker 7 (01:17:05):
Right, you probably get to the cloning business and without
you know, without talking about candidates and presidents.

Speaker 1 (01:17:11):
I just want to know.

Speaker 2 (01:17:12):
What it is like, what is like to use these
last couple of weeks when you and Maria are diametrically
opposed in who you are or wherefore?

Speaker 6 (01:17:21):
Well, it's one of these odd things, you know.

Speaker 4 (01:17:23):
Venever, the GOA was ahead with the in the polls.

Speaker 1 (01:17:28):
Maria was the nicest woman in the house. Oh honey, darling,
don't worry about it.

Speaker 4 (01:17:34):
Maybe the next four years something better will happen and
you're still wonderful, Honold, you're the greatest as soon as.

Speaker 1 (01:17:41):
Push as the head in the polls.

Speaker 6 (01:17:42):
So she started locking the bedroom door.

Speaker 1 (01:17:46):
What's going on?

Speaker 9 (01:17:50):
How you feel your life might be better?

Speaker 6 (01:17:52):
If Gore is it up with you?

Speaker 1 (01:17:55):
It's tough.

Speaker 4 (01:17:57):
The other day I said that Maria has let's make love,
and she says, okay, cover me up.

Speaker 2 (01:18:06):
Okay, that's good.

Speaker 1 (01:18:09):
Fucking Rodney Dangerfield.

Speaker 2 (01:18:12):
Seriously, I don't know.

Speaker 1 (01:18:14):
They're an old dangers.

Speaker 2 (01:18:18):
They're just like some interviews where he's on fire, like
with the stories and jokes. It's great because it has
like a similar vibe to like a live comedy show
and a comics killing and the crowd is just like
hanging on every word. But I don't know, he's definitely
knew well with that one. But yeah, that is the
last one I have for this, so it all right.

Speaker 3 (01:18:38):
That's gonna wrap it up for our production episodes. Thank
you very much Dave for being on our episode again.

Speaker 1 (01:18:42):
Yes, thank you last.

Speaker 3 (01:18:43):
Yeah, absolutely, and uh, I guess there's really only one
thing left to say.

Speaker 1 (01:18:48):
I'll be back.

Speaker 3 (01:18:49):
Yes, yes, definitely.

Speaker 1 (01:18:51):
It's not a tumor.

Speaker 3 (01:18:56):
If you enjoy our show, please consider giving us a
positive review on Apple Podcasts or your podcast app of choice.
You can follow us on Twitter and Instagram at the
Potty Richter to make sure you never miss an episode.
See You with the Potty Richter is a production of
tape Deck Media. Follow tape Deck on Instagram at tape
deck Underscore Media, or look us up on Facebook for

(01:19:18):
more hilarious podcasts.

Speaker 1 (01:19:21):
This has been a tape Deck Media production. Thank you
for listening.

All Episodes

Episode Transcript

Popular Podcasts

On Purpose with Jay Shetty

Stuff You Should Know

The Joe Rogan Experience

.css-15opob5{left:0;position:absolute;top:0.8rem;} All Episodes

.css-14f5ked{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:2;overflow:hidden;}Kindergarten Cop: Production Notes & Promo Clips

Episode Transcript

Popular Podcasts

.css-r6mb8g{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:1;overflow:hidden;}On Purpose with Jay Shetty

Stuff You Should Know

The Joe Rogan Experience

All Episodes

Kindergarten Cop: Production Notes & Promo Clips

On Purpose with Jay Shetty