Episode 14: Funny Farm (1988)

Mike, Mark, and Chris take a closer look at Funny Farm (1988), Chevy Chase’s turn as a New York sportswriter who relocates to small-town Vermont in search of a simpler life—only to find frustration, isolation, and a town that seems determined to break him. 

Directed by George Roy Hill, the film mixes dry satire with broad physical comedy, offering a darker, more cynical take on the rural escape fantasy. The trio discuss how Funny Farm fits within Chevy’s late-’80s filmography, the tonal balance between charm and bitterness, and whether the film deserves its reputation as a solid entry in his career or a footnote. 

Episode Transcript

Speaker 1 (00:04):
Weird.

Speaker 2 (00:45):
Speaking of whistling out of our assholes, White, this show
actually has an opening never mind. Hello everyone, and welcome
to the Chasing Chevy Podcast. I am one of your hosts,
Christashue from the Culture Cast, and I'm joined by my
two friends all the way from Cambridge and Mashawn, which
is in Fresno, California. You're a friend and mine, Mark.

Speaker 1 (01:06):
Begley just call me mister Ramfries and all.

Speaker 2 (01:10):
The way from the Projection Booth podcast, He's Mike White.

Speaker 3 (01:14):
I know it. You know it. Even Yellow Dog knows it.

Speaker 2 (01:18):
Yellow Dog. And on this episode of the Chasing Chevy Podcast,
we're taking a look at one of the last Chevy
Chase vehicle films. I think that there really was out there,
at least in the eighties, talking about nineteen eighty eight's
Chevy Chase Madeline Smith starring Funny farm So. The film
is directed by George roy Hill, based on a screenplay
by Jeffrey bum based on a book by Jay Cronley

(01:38):
of the same name, and the film stars Chevy Chase
as Andy Farmer, a sports writer who moves with his
wife to Vermont to start work on his novel Hilarity ensues,
and if you think that the title of the movie
is funny, it might be the only thing that we're
laughing at. Mike, I'm gonna kick it to you first.
What did you think of Funny Farm?

Speaker 3 (01:57):
Well, apparently I liked it a lot more than you, Chris.

Speaker 2 (02:02):
There was a European vacation episode we did with the
three of us where I was the one going, I
like this a lot. You two were going we didn't.
So maybe it's time for that to be a thing
here on this show. I don't know.

Speaker 3 (02:16):
I had a lot of fun with this movie. I
tried reading the book. The book was not necessarily a slog,
but it's just basically like, this bad thing happens, then
this bad thing happens, then this bad thing happens. So
after a while I was like, yeah, no, And then
I started to read the script and it was very
much the same, and the movie's pretty much the same.
Just bad things happening to people. But as long as

(02:38):
they're happening to Chevy Chase, I'm really okay. I feel
a little bad for his wife at being married to him,
but yeah, I don't mind seeing Chevy Chase suffer whatsoever.
So I was totally done with this, and hey, secret
Christmas movie as well, so didn't realize that either. That
was a lot of fun. But you guys know, I
love character actors and so many great faces showing up

(03:02):
in this one. I was really happy about that. A
lot of people where, you know, I just was like, oh,
I know that person, I don't know their name. But
then every once while I'm like, oh my god, look
at rain or Shine or Mike Starr, you know rain
or Shine. I think this is the youngest I've ever
seen him. I mostly think of him in things like
Fried Green Tomatoes, but here he's just super young. Barely

(03:27):
in the movie gets to tell you what lamb fries are.
I thought that was a lot of fun. I'm glad
that he, you know, continued to eat those lamb fries
after I almost called them Clark, but Andy left the restaurant.
So it feels almost like the Griswolds go to Vermont
kind of thing with all of the bad things happening.
But yeah, that was what I thought.

Speaker 1 (03:47):
How about you, Mark, Yeah that was what I was
thinking too. I mentioned I don't know if it was
on podcast or off podcast, that I recall seeing this
one a bunch. It became a staple of cable TV,
which we finally had by this time. And I kept
saying that and kept thinking to myself, well, this is gonna,
you know, strike all these memory chords, but barely barely anything.

(04:11):
I remember the Mailman, I remember the dogs, and I
just thought there was a lot more town weirdness than
there was.

Speaker 3 (04:22):
It was like there should have been, But well, I'll
definitely get into it.

Speaker 1 (04:25):
Yeah, that's yeah, because that's what I was thinking. Towards
the end of the movie. I'm like, they're the whole
setup of the trying to sell the resell the house.
I'm like, yeah, but were any of these people really
all that weird to you? So yeah, we'll get in
more into that. But I actually didn't remember all that much,
like the opening scene when he's leaving his job. Must

(04:46):
have been making some books as that sports writer, and
didn't remember any of that. And it took so long
after that. Once they get to Vermont, there's that long
stretch where they're waiting for the movers. I remember nothing
about the movers not getting there, and that kind of
just didn't really pan out as hilarious hilariously as I
thought it should, And yeah, I didn't really remember all

(05:09):
that much of it. I always remembered enjoying it though
when I watched it then, and I enjoyed it this
time as well. I was surprised that it was a
George roy Hill film, although I do see little little
connections to World according to Garp, which is one of
my favorite movies.

Speaker 3 (05:26):
Yeah, big time.

Speaker 1 (05:28):
I love that movie.

Speaker 3 (05:28):
Connections to that, Yeah, yeah.

Speaker 1 (05:30):
A couple of I mean, like very similar scenarios throughout
The Mailman for one, and just that idea of kind
of put upon. Garp's a little differently put upon than
Andy Farmer, where it's mostly his own fault and for Garp, it's,
you know, just the absurdities of the of the world
we live in. But you know, I mean George roy Hill,

(05:51):
He's made some of the greatest movies to ever be made,
The Stained Butch Cassidy and The Sundance Kid, Slap Shot,
Slaughterhouse Five. I enjoy It's got its flaws, but he's
got a real interesting track record, and that this was
his last film is interesting.

Speaker 3 (06:10):
I was very surprised to see that Miroslav Anderchek was
the DP of this. It's one of my favorite Chech
Dps mostly worked with Forman when he came over here,
but did a lot of stuff. And then I don't
know why, I didn't realize that A Quick Change was
based on a book, but then to read that it
was same author Ja Cronley, I'm kind of curious to

(06:31):
read more of his things. So this idea of reading
comedy type books, I don't know. I generally go for
more like science fiction and detective stuff. But yeah, maybe
I'll give it a shot.

Speaker 2 (06:43):
How about you, Chris, Well, yes, I would think that
y'all maybe liked this movie a bit more than I did.
Music by Elmer Bernstein, which is a weird thing that
just was it is part of this movie.

Speaker 1 (06:56):
Yeah, I wouldn't have guessed that in a million years. No,
you just played the score for me.

Speaker 3 (07:00):
Yeah, there's just one part where I'm like, oh, this
sounds very much like the music played over the college
Life from Animal House. Otherwise, yeah, I didn't really catch that.

Speaker 2 (07:10):
Nay either. All of that to say, I, you know,
doing the research ahead of time, reading the reviews and
kind of the thoughts of the movie at the time.
It's interesting to me how this movie has been kind
of received in the year's subsequent its release, because it's
been received as like a Chevy Chase like kind of

(07:30):
like unsung classic, like you've seen Funny Farm, Like it's
like a cult classic. I don't get it. I mean,
I let me walk this back. I get it, but
I get it in as much as there aren't a
lot of Chevy Chase vehicles after a certain year that
are worth watching, and if you only go in the
circle of like four or five movies, you really only
have four or five movies. So at some point people

(07:52):
kind of have to make, you know, concessions, as it were,
to be like, well, this one's pretty decent if you
can get past you know, X, Y and And it's like,
I don't know if I want to get past X,
Y and Z. Because for me, with Funny Farm, chevy Chase,
I think is about as likable in this movie as
he is in anything else we've seen, So I don't
think it's him per se. I just find the plotline

(08:13):
of this movie to be so fucking pedantic. It's not
even funny. It's like, oh, two people go and move
out to the country, Okay, Like I don't I just
I don't know. It does it strikes me as no
different than that Tim Allen Karen Allen movie that came
out in the ninety or Holy Matrimony or so many
of these like fish out of Water stories where I'm
just like, I don't know how much I care about

(08:36):
a city slicker being out of their element in the country,
Like I don't know. For me, that doesn't do anything.
You know, There's another great movie that kind of has
that set up, but it kind of takes a hard right,
and that's Beetlejuice, Because Beetlejuice has these two people who
are like kind of out of towners who then die
and they're stuck there, and like that for me, takes

(08:56):
this scenario or this concept and flips it on its
head in a way that I'm actually interested in. This
is just played straight and like completely straight. Like there
is a moment towards the end of the movie where
I was like, what in the flying fuck is happening here?
Where he's like, I'm gonna pay everybody to be a
normal town. It's like this is a normal town, Like
these people aren't like hanging from the rafters, Like I

(09:19):
don't understand what's unnatural about this place. Other than the
fact that you, as someone from the city, don't understand
what lamb fries are. Like. That's the one part of
this movie that I have never forgotten for as long
as I can remember, is chevy Chase eating a plate
of balls, and that being like the climax of this

(09:41):
movie effectively is Chevy Chase eating a plate of animal
nut sacks, and it's just like, Oh, yeah, champion, Yeah,
the animal nutsack Champion, the lamb fries champion. Like the
fact that that is kind of my big takeaway from
every time I have watched this movie. I'm not gonna
say that this movie is thoroughly unfunny, but I think

(10:01):
it's up there with modern problems in terms of being
like mostly unfunny. Throughout there are a couple moments where
I chuckled a little bit, but not a whole lot
of chortling coming out of me with Funny Farm, And
that's unfortunate because it kind of has the trappings of
everything that one would want from this kind of movie,
but it just doesn't do anything with the time that

(10:21):
it's been given. And it's hour and forty five minutes too.
This ain't a short movie. It's pushing the two hour
envelope almost and for a comedy in the late eighties,
like that's that's a novel concept to have an hour
and forty five minute long movie. So no, I did
not like it as much as y'all, but I can
see where you would like it. Though It's not like
this movie is beyond reproach, if that makes sense.

Speaker 3 (10:42):
I mean, I will grant that the pacing of this
film is pretty strange. Like I was talking about how
I was reading the book and reading the screenplay. With
the book, it feels like the movers show up pretty quickly,
and with this movie, I think it's like twenty minutes
before they finally show up. So we're almost done with
the first act of the film. So I'm like, oh, oh, okay,

(11:05):
we really took a long time this part. But yeah,
the whole idea of the out of towners and the
city people not being able to deal with the country people,
I mean, obviously that's been a trope in movies for
the longest time. I mean, going back to even like
It Happened One Night with you know, Claude Colbert and

(11:26):
Clark Gable and not being able to figure out what's
going on with some of these country people with some
of the cows that they're seeing all these kinds of things.

Speaker 2 (11:33):
But then you've got a pup of caddyshack, like the
snows versus the slobs, like we've seen this before with
Chevy Chase of all people. Like it feels like.

Speaker 3 (11:41):
There was something going on around this time because the
movie I kept thinking this was going to be more
like was Doc Hollywood, where it's like Michael J. Fox
takes a wrong turn, cracks up his car, and then
he's stuck in this town with all these country bumpkins
and they can never get his car repaired. That's my
thirty forty year remembrance of that movie. But then you

(12:03):
even get things like my cousin Vinnie, like that whole
thing of how out of touch Vinnie is with the
rest of the town and especially with you know, the
judge played by fred Wynn. So I don't know if
what was going on as far as like the country
versus city thing, but it's, you know, it's kind of
a kind of a classic thing. Oh yeah, Elvira, I
was glad you mentioned shit. Which is you mentioned you

(12:27):
mentioned another one? Oh, I'm glad you mentioned Holy matrimony
because I thought of that one as well as far
as the fish out of water ness.

Speaker 2 (12:34):
What about too, wang Fuo? Like again another thing where
it's like, you know, out of water. This was like
a thing in the eighties, like you know, like the
lovable weirdos come to town and the and it's one
of two things. Either they teach the town people a
thing or two about lovable weirdos, or the towns people
teach them a thing or two about being simple simpletons.

(12:58):
I don't know, like maybe they're both right, yeah, good
people at both sides.

Speaker 3 (13:03):
That's what it's funny because as soon as you mentioned
to Wang Fu, I was like, wasn't Alice Drummond in
that as well? Because she was. She's barely in this movie.
She's in like two scenes. But then the wife keeps
talking like I'm gonna go live with missus Dingis, and
I'm like, okay, you have that good of a relationship
with her, but.

Speaker 2 (13:21):
Are you missus Dingis menstruating ryle?

Speaker 3 (13:24):
It feels like there's a lot of stuff that we're
not seeing to your point, Mark where it's like these
are lovable weirdos, It's like, are they like I like you?
Go to town like once you know, you don't get
very much. Like there's the the picnic slash, fishing stuff slash,
I'm in the antique store. But there's not a lot

(13:45):
of interaction with these other people.

Speaker 1 (13:47):
How are they weird other than the guy umping the
well the mailman, and that's not even weird. That's more,
you know, antagonistic.

Speaker 2 (13:55):
But Danger is.

Speaker 1 (13:57):
The umpire you knowing in his back brace. But they're
not doing anything to him. They don't even on the
fishing expedition. He's the one that fucks all that up,
does They're not doing anything weird to him.

Speaker 3 (14:13):
And take the bookkeeper from the Untouchables and punching him in.

Speaker 1 (14:16):
The Yeah, that's where a lot of those character actors
showed up. The guy that gets clocked in the head.
I'm like, oh my god, I know that guy and
he's he's great in Triggrit in his scene.

Speaker 2 (14:31):
Bill Fucking Bill Foger's bach is in this movie the
guy who believes Patrick's sorry.

Speaker 3 (14:36):
Yeah, as I heard his voice, I was like, oh
my god, it's a guy from.

Speaker 1 (14:40):
Coach and our r pal Johnny from Police Squad is
the guy in the rocking chair that won't give them
directions to Red Butt.

Speaker 3 (14:49):
How do you know my name? Yeah?

Speaker 2 (14:51):
Also also in Elviran, I'm pretty sure.

Speaker 1 (14:55):
Yeah, Reggie Cathy shows up at the beginning, the guy
riding along with Mike Starr. I'm like, oh, I know
that dude from somewhere. He was on er a Bunch
and he.

Speaker 2 (15:05):
Was in Saw. He was in one of the size
he was in Saw too, I believe.

Speaker 1 (15:08):
Huh, yeah, all those guys, all those great faces and stuff,
but they don't ever act. I don't think they act
strangely enough to warrant this whole town hall meeting thing
at the end. And then the the other thing is
that it seems like with a lot of these movies
were missing gags. The famous lamb fries scene, there's no
build up to that. They're just in the restaurant and

(15:30):
he's downing like his fifth or sixth plate already. There
isn't a setup of ooh, this looks good, I'll order
the lamb fries and then we see him eating. You know,
they could do cutaway shots of plates being taken away
and they're sitting at the counter, of all things. Why
aren't they at a table.

Speaker 2 (15:47):
It's just weird because they had to interact with the
people at the diner, Mark Bagley and the scriptwriting one
on one like Jeffrey.

Speaker 1 (15:56):
Boonded the dogs the the first dog that they get
that takes off. We're missing the third gag with that exactly. Yes, Yeah,
I was waiting. I kept I thought of that. I
thought of you, Mike, because I was watching Now I'm like,
when when does the dog come back for the third
and final time? And it would have been a.

Speaker 3 (16:16):
Perfect post credit sequence. Or right at the very end
of the fill Samuel L.

Speaker 2 (16:21):
Jackson where he comes in with the dog exactly like.

Speaker 3 (16:24):
The cold of the dog are forming a team.

Speaker 1 (16:28):
Yeah, or he could have been the one that found
the skeleton remain instead of Yellow Dog. Yellow Dog.

Speaker 2 (16:36):
Yellow Dog is the best character in this movie.

Speaker 3 (16:38):
Yellow Dog's pretty awesome, especially the tail and the fire thing.
I thought that was great, especially the sizzle when he
moves the tail and puts it on the stone and
you just sear that.

Speaker 2 (16:51):
I should mention because again y'all don't have any frame
of reference for this, because I don't think y'all have
seen it. This movie also reminds me a lot of
Fletch Lives, but somehow Fletch Lives is better because in
Fletch Lives he goes to like the Bayou of Louisiana
to deal with his like old aunts, like plantation essentially,
and hilarity ensues. Doesn't that sound like this movie? I mean,

(17:13):
like a guy from the city goes to the country.
What was the deal in the eighties with these kinds
of fucking movies? Like you could do a whole podcast
on like Fish out of Water movies from the eighties
or just like body swap movies from the eighties. Frankly,
like this was like there's like a cottage industry of
these movies coming out, Like.

Speaker 3 (17:30):
Well, it's funny too, because it's not just American movies.
There was a whole bunch of I know, Hong Kong films.
There's one called like was it Slickers versus like City
Slickers basically, and there you go, there's another one. City
Slickers was yet another one of these. But yeah, they
would have like bumpkins versus slickers and that was like
one of their you know tropes type of thing. But
they even had a movie called that, I believe. But yeah,

(17:53):
city Slickers city Slickers too. I mean that's right around
this time as well, I think that was what eighties
nine ninety something.

Speaker 2 (18:01):
Yeah, I mean Fletch Fletch Lives is we're covering that
and I think four episodes and that was eighty nine,
so I don't. I mean, I understand it from like
a storytelling perspective, because it's it's a it's an easy layup, right,
like these jokes right themselves. But in this movie, do
they like chevy Chase eating a plateful of nuts? Like

(18:22):
what is the gag? They go back to it only once,
which was the real missed opportunity. We have the opportunity
to keep riding on the fact that chevy Chase ate
a plateful of nuts, and they bring it up one
time and they're like, oh, he's the winner, He's the
you know, lamb nut Champion or whatever, you know, Andy Farmer.
They're like, oh, zac guy, and that's it. Like this
should have been like a reoccurring gag. I go, it's

(18:43):
the guy who ate all the balls? Like Nope, they
not couldn't be bothered to bring back up the fact
that he ate like twenty eight so that's like what
fourteen animals worth of fourteen?

Speaker 3 (18:55):
Oh well, that their gag doesn't work. At the end though,
because she goes she rara twenty eight, writes twenty nine,
then erases that, and then writes thirty, and then he
leaves after thirty. But then she erases the zero and
writes the zero again. I was like no, because like,
she didn't write thirty one, and then he spit out

(19:16):
thirty one and she went to zero. So it's like, yeah,
that was kind of a bad either edit or just
the continuity. It was like, Okay, Yeah, even though I'm
ragging on this movie, I did have fun. I really
like the Waife character, and I really especially well. I
like when she's eating the apple and everything and just
kind of fucking them over with that. But I really

(19:37):
like her reaction to his book, just how awful it is,
and then that she writes her own book, names the
main character after her husband, and then kills the main character.

Speaker 2 (19:51):
So does she hate her husband?

Speaker 3 (19:53):
I think she resents him for this whole country adventure.
And that's another thing. I guess. There was an opening
scene where you got to see more of her and
her teaching. I guess Sarah Michelle Geller was actually in
that scene. According to IMDb. There scenes to leave it.

Speaker 1 (20:09):
I kept looking for her. Yeah, oh, she gonna end
up teaching at the end and we see her.

Speaker 2 (20:14):
Yeah.

Speaker 3 (20:14):
Well, I was kind of hoping that it would be
more of a speaking of the classic fish out of
Water Green Acres, where it's like she does not Ava
Gabor right, the Jajah's sister does not want to be
in the city. She gets allergic smelling. Hey, she'd much
adore she'd much rather have a part penthouse view, you know.

(20:35):
And I'm like, oh, I would have liked there to
been more like what are you doing to me? Like
at one point she's complaining to missus dingis and she's
just like the bugs and the dead bodies and then this,
and I'm like, yeah, I don't know, Like it doesn't
feel like that, like she's bothered by the dead body,
of course, but like when she mentioned the bugs, I
was like, did I miss something? But there's one scene

(20:56):
where she's like adding away some bugs and then she
turns around and goes the house, and I'm like, Okay,
that wasn't that bad. Like I was expecting like real
nasty bugs in the house or just it's the country,
isn't isn't you know? For a person like me who's
in the city, Like there's a lot of things where
I'm just like, eugh, I hate this whole thing. Like

(21:16):
they've got indoor plumbing, they don't have to worry about
outhouses or any of that kind of stuff. And once
they get their furniture, it feels like, okay, well they
should be fine now to go into town by their
groceries and start living there.

Speaker 1 (21:29):
Yeah, she does that when they have the picnic at
the beginning, she's bothered by mosquitos or whatever. And once
again at the house, and then I think, one maybe
brief second inside the house, there was a bug. But
it's again it's.

Speaker 3 (21:42):
Not well, yeah, the snake, of course, too flowing the snake.

Speaker 1 (21:45):
Yeah, it's not hit. None of that stuff has hit
hard enough to make it seem like they're absolutely miserable.
And there isn't enough tension to warrant the reaction that
she has when he steals her book. I mean it,
I'd probably be that pissed off too, But up to
that point, it doesn't seem like there's this She doesn't

(22:07):
seem to be maybe as put off as we're led
to believe, or maybe it's the way she played it
or something, But I was expecting more of that tension,
like he's doing all this because he wants to write
the great American novel, and yeah, she doesn't maybe like
it there that much, but it's not constant. Again, it's
not a constant problem. It's not every mishap that could

(22:31):
possibly go wrong happens to her. You know, they don't
they don't have a phone. Well they actually do, but
you know, they've got to pay it, they've got to
use it like a payphone. Or it's just never nothing
ever seems as dire as we're led to believe at
the end at the town hall. So I don't I
don't know, it's missing something either scenes or they decided

(22:54):
to kind of go a different direction, And I think
there should have been more tension between them to justify her,
like immediately leaving when she finds out what he's done.

Speaker 3 (23:04):
Yeah, that should have been a last straw scenario, whereas
you know, even like finding the corpse in the garden,
maybe if they hadn't put the corpse in a box,
that she finds the bones and finds a skull like
that would have been a lot worse than finding a
box and then being like, oh, there's a dead body

(23:25):
in the box, and of course the box falls over
and the corpse is there, and they're like, oh, it's old,
mister Musselman, and but okay, like again, make it horrific,
and like even give us the reverse shot of what
she's looking at so that we can see just how
awful and twisted it is, because otherwise it's just like,
all right, yeah, sorry, it was bad that you have

(23:46):
a corpse in your in the ground, but you know,
nobody seems bothered except for the wife.

Speaker 2 (23:51):
Yeah, yeah, well, and the other I feel like, the
other issue that I have with the movies kind of
usage of the wife chevy Chase's wife, is that I
mean again, you know, we all know that these kinds
of characters and these kinds of movies tend to be
the most thankless role of all, like the nagging wife.
But she has a point the entire movie. Chevy Chase

(24:12):
is a fucking asshole. He's an asshole. He steals her book,
which like, what did you you know, my personal life
aside and my personal feelings on divorce's side, what did
you think was gonna happen when you did that? You
fucking degenerate sack of shit? Like, I I guess you
know what, My most the most unrealistic part of the

(24:33):
movie is that she takes him back at the end,
Like this guy was trying to steal your livelihood out
away from you, and he has no talent as a writer.
It would seem at least not in terms of trying
to do what he's trying to do, which is right,
like Mark said, the Great American Novel, but he literally
just stole your book. Like I don't understand why. I

(24:54):
don't understand why take him back? I don't understand why
we didn't just have the movie end with them just
like downhilling into a wall, you know what I mean?
Like I understand that we needed to have like a
happy ending at the end, but did we Like did
Chevy Chase's character deserve a happy ending all of a sudden,
just like why I didn't want to get divorced and
me either, And it's like where is this coming from?

Speaker 3 (25:13):
Like what?

Speaker 2 (25:14):
What? Like it's so unbelievably unearned in a movie full
of things that are unearned, in a movie lacking the
laughs that a movie should have had. Because if this
was the Griswolds go to the Country, I guarantee you
what would have been funnier than this movie is, which
is to say, almost negatively funny in a lot of ways.

Speaker 1 (25:33):
She should have ended up staying in the town and
doing her thing, becoming a successful writer and teaching, and
he's schlepping it back to New York to try and
get his job back. Yeah, I don't get it, Like
why why Yeah, go to a lesser paper, you know,
I don't know. Of course, he was trying to write
Oceans rewrite Oceans eleven for sir right, and so.

Speaker 2 (25:56):
She was just writing a book about a squirrel named
Andy Well. And that's what I don't understand either. Did
she think he wasn't gonna read the book and go
this is clearly me? Like, that's what I don't get.
Like they're kind of so antagonistic towards each other, and
I don't feel like the movie does enough to show
us that, because they do get to a point where
they're both like I want a divorce, the other one's
like me too, and then within like ten minutes that's

(26:17):
walked back like after he steals her story John Tuturo
Secret Windows style, you stole them story. I mean, it
does take place in the country. Yeah, this is a
lot of parallels here. He's still what a fucking what
a weird ass movie? But what again another like person
out of Water like fish out of Water story, Oh,

(26:40):
he goes to the country to finish his book, Like
what is it with authors? Jesus, you know how many
how many episodes of Twilight Zone eighty five Night Gallery
have we seen where it's like author goes to somewhere
to go right and shit ensues? Like maybe authors just
need to stay home where they live and sit at
their desk and write and bad things won't happen, because
isn't there an episode of Twilight's so in eighty five

(27:02):
or Night Gallery where they like they moved and then
there was like don't move the chest, don't move the
crate in the yeah right, yeah, yeah, it's like, don't
move the crate, and what do they do immediately move
the crate Like I don't know? Like again I again,
I will go back to the word I use before.
These kinds of storylines in twenty twenty four are pedantic
because like, I've been to the country. Yes it's weird,

(27:23):
but like the people in the country are no less
or more weird than the people that live next door
to me. I know that for a fact, Like they're
just I think a little bit more hamstrung because they
live somewhere where it's imminently harder to cover up the
fact that you're weird. You know, in the city, you
can live behind the anonymity of suburbia. In the country,
people can see your shit shack from a mile away,
you know what I mean. Like in the country, everybody

(27:45):
is visible to one another because of the amount of
distance between them and the disparity between people here. Like
that's the thing, Like, the weirdest people are the people
in the suburbs, not the people in rural areas. Like
I mean, people in rural areas are weird, don't get
me wrong, But I guarantee you people living next door
to you are much more weird than the people in
this movie are. And again back to the whole idea
of the third act of this movie, nobody in this

(28:07):
movie is weird enough for you to pay people money
for them to stop acting weird. Is just so fuck
it's such a weird conceit. And then at the end
of the movie, they're like they have to deal with
it legally. They're like, well, legally you don't. It's not binding.
It's like I didn't think anybody actually cared.

Speaker 1 (28:21):
But okay, you had to clarify that.

Speaker 2 (28:23):
Yeah, I guess, just to make sure because we were
all very invested.

Speaker 1 (28:27):
Another fish out of Water thing that came to mind
when you were talking about Twilight Zone was in the
Mouth of Madness.

Speaker 2 (28:33):
Oh yeah, all better movies that I'd rather be watching
than this one. Wouldn't you rather watch funny farm meets
in the Mouth of Madness?

Speaker 3 (28:43):
Do you eat sunder Kane?

Speaker 2 (28:47):
I'd watch that. I mean, then you pray much? Yeah right, yeah,
then you pretty much just describe nothing but trouble, which
again is another one of these kinds of movies, like,
you know, people get stuck in a weird place full
of weirdos. But that's the thing. When we get to
that movie, I actually think we're gonna enjoy it more
now given that we watched this movie, because it actually

(29:08):
makes good on the fact that the people in the
town are weird. Like, imagine paying those people fifty dollars
to act normal, Like they couldn't act normal for thirty seconds,
let alone five minutes. Like the people in this movie,
they're just They're just rural people. There's nothing weird about
them other than the fact that they like money apparently,
which I like money too.

Speaker 3 (29:28):
We should be Fred. I like money.

Speaker 1 (29:30):
We should be Fred. Thank you, Mike.

Speaker 3 (29:33):
Yeah, I I mean really. The only thing that follows
the rules of three that we've been talking about so
much or I have is the thing with the sheriff
not being able to drive his own car and getting
the First we see him taking a taxi, second we
see him failing as driving test and driving right into
the water. And then third we see him when he's

(29:55):
at the whole town event and he gets out of
the car and the car still in and just kind
of rolls off and ruins the Christmas tree. There's no
consequence to that, Like, there's no like, oh my god,
we have to get Christmas tree up before these weirdo
you know, the city people come out of the uh,
the diner and after eating lamb fries, and again there's

(30:17):
money to be had or comedy gold to be had
with Oh you should really try these lamb fries, you know,
something like that, you know, but.

Speaker 2 (30:25):
One over on them. I don't understand why they.

Speaker 3 (30:27):
Would like exactly like, oh, if you a local delicacy.
You should really try this, and they cook them here
better than any place else.

Speaker 2 (30:34):
Yeah, it's weird to me that they have these opportunities
that they do with other characters in the movie and
then they don't do anything with them later on, like
you were were you not setting this up for later
in the movie or was this just meant to stand
singularly on itself as its own thing, because it doesn't
work if that's the case, And if you're gonna do that,

(30:54):
then you actually have to follow through with the second part,
which is bring it back and then bring it back again.

Speaker 3 (31:00):
Yeah, it well, and even like missus Dingis is a
weird person to have as counsel, because that should have
turned into the joke of everything in her antique store
has a personal memory to it and it would be
really bad to buy it from her, like the whole
thing of like oh that's my mother's tea cup or
oh that's my husband's chair and he died in that chair.

(31:20):
Like had she been able to tie something to every
single knick knack in that store and again, just do
it one more time rule of three. Just give me
one more laugh out of this. But instead it's like Nope,
I find out about the rocking chair. I stand up
next thing I know, you know, the wife is is
crying and talking about how awful things are, and it

(31:42):
kind of doesn't feel like it's built up enough to
that point, Like I really just wish something else had
happened by that point that would have made her be
like this is just so incredibly awful, like something on
top of the snake, like amp it up even more,
and it should have just been amp amp amped up.

Speaker 1 (31:59):
Yeah, the house keeps falling apart or something. Yeah they pit, yes, yeah,
money pit scenario. Otherwise, like I said, when the movers
finally get there, there's a little bit of tension there
with Mike Star throwing the chair in the water, but
they get moved in and then it looks like a
normal house.

Speaker 3 (32:17):
Well, and they cut away because after he throws the
chair in the way, like I don't remember him throwing
the chair in the water in the script or maybe
it was in the not in the book. But they
obviously are pissed at chevy Chase, especially the way that
he approaches them is like where the fuck were you
guys kind of thing. They just take all of the
furniture out and they leave it in a huge pile.
It's either on what I was or in the house. Yeah,

(32:40):
and then it takes them forever to have to pull
everything apart and move it, you know. But yeah, they
just cut away after the chair and then the next
thing you see is him with the chair now in
his office, putting the towel down, and then you hear
all the water hit the floor when he sits in it.
It's like, Okay, yeah, that's funny, but it's like I
would have liked more tension, more, just like, look at

(33:00):
how awful this situation is. The thing after thing after thing.

Speaker 1 (33:04):
Yeah, and that also implies that they got that stuff
moved in really quickly, that the chair is still soaking wet, right, exactly.
Missed opportunities yeah, yeah.

Speaker 2 (33:15):
And lots of them, I mean a lot in a
way that again it makes me wonder, well, not wonder
so much. It's just like I appreciate that people want
this movie to be good, and frankly, I think this
movie is closer than the things we've watched on to
this point that aren't the overwhelming Chevy Chase favorites. Like
we've watched a lot up until this point, like we're

(33:37):
we're effectively halfway done with this show at this point.
And you know, Spies like Us, Deal of the Century,
Modern Problems under the Rainbow, like movies that I think
are not broadly considered to be great film. But then
you have ones in there like Vacation or European Vague
and I know where you guys came down in European Vacation,
but Three Amigos and Fletch and like again, I think

(34:00):
movies that people broadly like, and I just I think
everybody wanted to give Chevy Chase the benefit of the
doubt really hard, and I think that I'm in a
lot of ways, I get it. In a lot of ways,
I'm okay with that. But at the same time, a
lot of these movies that we've watched of his aren't
as close as this movie is to being good. Like
Spies like Us, Deal of the Century were really atrocious

(34:22):
in a lot of ways. This movie it's close. It's
I think it's closer. It's closer than we've seen anything
else be close in terms of the things that we've
watched that aren't just like, oh, that's a classic, like
Fletch that's a classic, or the Vacation movies. Those are classics.
Like nothing else that we've watched that has kind of
failed has come as close as this movie has. But
I mean again, when you have movies like the Vacation

(34:44):
Films or Fletch in your filmography, like those are pretty lofty,
funny films to live up to. Like I watched Fletch
and I laugh still every time that I see it.
I've seen that movie a million times at this point,
not literally, but you know, metaphorically figurative. I've seen this movie,
ahm full of times and I don't think I've laughed once.

Speaker 1 (35:02):
I got some chuckles out of me. I don't know
the last time.

Speaker 3 (35:05):
No.

Speaker 2 (35:06):
Yeah, it needs it needs to do. It needs to
do more than that. It's a Chevy Chase movie in
the eighties.

Speaker 1 (35:11):
Hey, you know he just got out of rehab. Give
the guy a break.

Speaker 3 (35:14):
Oh sorry, that's true.

Speaker 2 (35:15):
Yeah, I can't be funny at the Funny Farm because
I'm on those meds.

Speaker 1 (35:20):
Bro. No, I just I had I kind of forgotten
about all that, and you know it's in the IMDb trivia,
and I just think it's a little ironic that he
was at the Betty Ford Center after you know, playing
Gerald Ford for All The Center right live years earlier.

Speaker 2 (35:35):
How much do we think that actually affected the film? Oh?

Speaker 1 (35:39):
I don't not at all. I mean, it was just
I'm just it's funny to note that his break, you know,
that's why we have a two year break, is because
he was in rehab.

Speaker 3 (35:48):
What's been a weird like kind of pulling back the
curtain on for the listener, like you'll hear this. We're
recording in January twenty twenty five, and you'll hear this
few months from now. Just you know, like two weeks ago,
there were two news stories of what was it Jason
Wrightman getting called out for by Chevy Chase about the

(36:11):
Saturday Night Live movie and just how inaccurate it was,
like big fucking surprise, and then also a story about
who was it was?

Speaker 2 (36:18):
Its Chris Kaluppis. Yeah, I'm glad you brought it up,
because I was going to bring it up if you didn't.

Speaker 3 (36:24):
Yeah, no surprise, Oh no, no surprise at all. I'm
trying to remember which movie that was that they were talking.
Thank you, so yeah, and just like you were a drummer,
what a dickhead Chevy Chase's Yeah, I'm like, okay, yeah,
so I don't know how he got along with these
people in this movie. I imagined that Madland Smith has

(36:46):
some stories to.

Speaker 1 (36:47):
Tell, but yeah, yeah, I was looking for that in
the in the trivia. That's the main reason I read
the trivias to see who had an issue with him
during filming, whether it was the director, which it seems
to be a lot, or the co star. And you
know her. Speaking of Madeleine Smith, she looks like somebody
that I have seen in a million things. Then I

(37:09):
was looking at her credits and I'm like, she hasn't
been a hard I know, I've seen her in other stuff,
but it feels like it's been way more than that.
So I don't know who I'm thinking of when I
see her face. But I looked at her credits and
I'm like, she wasn't in them very much. She was
in The super though I don't think i've seen that.
I mean, it's a film where that Joe Pesci plays
the superintendent.

Speaker 3 (37:30):
Of a building. Oh god, I do remember that. Okay,
she was in Cheers. She was in rehearsal for Murder,
which we'll probably talk about Chris because it was written
by Lincoln Livinson.

Speaker 1 (37:40):
Oh, I figured out why all of me is on
that on the Funny Farm homepage, because she's in all
of me.

Speaker 3 (37:47):
That's right.

Speaker 1 (37:48):
But yeah, it's not those movies though. It's got to
be like Urban and Cowboy. That The thing that threw
me off was the picture on her IMDb pages of Cheers.
On my she must have been a recurring character. She
was on one episode. Hey man, you ever looked at
there people that are in Barney Miller. They have their
picture from Barney Miller on their iobb is And it's.

Speaker 3 (38:10):
A terrible picture too, because you've seen more of Carla
than her.

Speaker 1 (38:14):
Yeah, yeah, it's weird. I'm looking at this going, Okay,
I've seen a few of these. I probably saw that
episode of Cheers, but I wouldn't be recalling that when
I see her face. So it must have been from
seeing this movie a bunch of times when I was,
you know, in my late teen's, early twenties. Because I've
never even seen Olive Urban Cowboy. I've only seen bits
and pieces of it.

Speaker 2 (38:34):
What about the Caller with Malcolm McDowell.

Speaker 3 (38:37):
There were so many photos from that one.

Speaker 2 (38:39):
I know, and that from rehearsal for Murder with Jeffrey Goldbloom,
very young chef Golden.

Speaker 1 (38:45):
So I don't know who I'm thinking of, unless it's just.

Speaker 2 (38:48):
I think she looks like somebody else.

Speaker 1 (38:50):
It's either that or it's strictly from this film, because
when I saw her in the Cusp, I'm like, oh, yeah,
that gal. Then I went to see, Oh yeah, what
do you know, We're from none of this stuff.

Speaker 3 (39:00):
She's a little Jane Seymour esque, like I was thinking
of Jane Seymour and a heavenly dog. And the way
she looks.

Speaker 1 (39:07):
Yeah, the eye she's got big eyes like her, Like.

Speaker 3 (39:11):
She doesn't have the HETEROCHROMEA or anything. But no, no,
but she's got kind of a similar nose, I think.
But yeah, she's I thought she was great. I really
liked her in this movie, and I just kind of
wish that they had had more of her and more
of her breakdown. So then when uh, you know, she
ends up breaking that story, it's more of a good
for you, like I'm already like good for you, a

(39:31):
way to go, like take the power back kind of thing,
and then more of when he steals her story, it'd
be like, well fuck this guy. Like I really was
rooting for her. She's pretty much the protagonist of the film.
For me, I don't really care about Chivy Chase's character.

Speaker 2 (39:46):
I don't think you're supposed to. Like that's that's my point, Like,
I don't get why they just didn't have her have
her own agency in the movie, Like it doesn't make
any sense.

Speaker 1 (39:54):
Like, yeah, a lot of these films boil down because.

Speaker 3 (39:57):
This one feels also like The Great Outdoors if you
guys for that one.

Speaker 1 (40:00):
With John Candy, Yeah, that was eighty eight, same.

Speaker 3 (40:04):
Year, Yeah, aproid in Candy. Yeah, and oh yeah, and
that ben Somebody was just telling me about the end,
that Benning scene where she talks about getting off from
the vibrations from the washing machine. I guess I have
to watch that one again, though I really don't remember
like you mean it at all. I just remember the
eating contest. There's another thing, because of the whole he

(40:27):
had to eat every part of the steak, even the gristle,
and did he have to eat the bone too? I
can't remember.

Speaker 2 (40:34):
I've never seen that movie before, clearly.

Speaker 1 (40:36):
I don't think I have either.

Speaker 3 (40:37):
Oh wow, okay, yeah, that one I saw at the theater.

Speaker 2 (40:40):
I'm not a huge Candy John film fans, he's fine.
The most of the stuff I've seen him and has
been like I guess the one thing, say splash is Spaceballs.

Speaker 3 (40:51):
Oh okay, which I've only seen that movie once.

Speaker 1 (40:55):
Really Yeah, wow, interesting, he's good and Uncle Buck uncle
Buck is ever seen it.

Speaker 3 (41:01):
I really like his role in Home Alone as brief
at as it is. And then of course, uh play
Strands and Automobiles, which I don't like nearly as much
as other people do.

Speaker 1 (41:11):
Yeah, I like that one.

Speaker 3 (41:11):
I saw that in the theater Candy cast.

Speaker 1 (41:14):
No, it wasn't draw Candy cast.

Speaker 2 (41:18):
Well, I mean it wasn't, you know, not the way.

Speaker 1 (41:22):
Yeah, until he wasn't.

Speaker 2 (41:24):
I remember same thing with John Candy right like literally
like go watch the movie that he made that he
made right before he passed away. It's like people were like,
oh no, no more John Candy movies with a shame.

Speaker 1 (41:35):
It's like those SCTV people were never a big I
don't ever remember seeing an episode of SCTV when I
was grown up, so none of those people had that
kind of draw to me like the SNL people did.

Speaker 3 (41:48):
Yeah, I watched a lot of SCTV, but they always
felt like it was like the SCTV people were more
supporting characters than the stars of the films, and some
way would do the stars of the films like ash,
what was that called? Was it Disorganized crime? Now? That
the one with like Candy and Levy and Eugene Levy. Yeah, no,

(42:12):
but see what I mean, Like they were the supporting characters.

Speaker 1 (42:15):
Right, And that's what I remember them as is popping
up in movies, you know, I mean even Blues Brothers
with John Candy, And when I first saw that, well
I didn't know. I didn't really know who he was,
so it didn't it didn't have any meaning to me
at that point. Splash him popping up as the obnoxious
brother and you know, so on and so on. But
to go to a movie because he's the lead, Nah,

(42:38):
not like with Chevy Case, Chevy Chase, John John Belushi. Yes,
they were draws for me.

Speaker 3 (42:44):
I kind of wonder if Martin Shirt would have had
the movie career that he did without because he was
you know, prime SETV guy, but then also Saturday Night Live,
so if that really put him more on the map
and so then he could thank all those Francis Webber remakes.

Speaker 2 (43:01):
Yeah, those were so man wouldn't that have been a
shame to not get those movies Chris and Mike didn't
have to watch those in a previous past life. Yeah,
what a shame. For instance, that was last year. It
feels like twenty years ago.

Speaker 3 (43:16):
Well, we got to talk about if there's gonna be
a Mike White March or May this year, because I've
already been thinking about what we're gonna watch and you're
not gonna like it.

Speaker 2 (43:26):
Oh good, lovely not look forward to? Yeah good, my
my Years, Deadly Moore, Body Swap more movies.

Speaker 3 (43:38):
Yeah yeah, I thought that that Keanu Reeves wasn't a
body swap movie. I never knew of what. Yeah, yeah,
it was like a made for TV movie, and it's
a body swap film. I think it's an age regression
body swap.

Speaker 2 (43:50):
Oh oh well, it's probably filmed in the late eighties
early nineties, so oh yeah, like all the best comedies were,
like Funny Farm filmed in the late Oh yeah.

Speaker 3 (44:00):
We've been doing the whole series of Whoopye Goldberg movies
over on the projection booth, and those are all late
eighties films that are somewhat funny and somewhat more action oriented.
Which was an odd choice.

Speaker 2 (44:12):
Whoopy Goldberg Action Star.

Speaker 3 (44:15):
Yes, of course, don't you remember Burglar and Fatal Beauty.

Speaker 2 (44:19):
I also remember to Theodore Rex.

Speaker 3 (44:21):
That's one of them that we're talking about. Yeah, Jumping
Jack Flash, Jumpy Jack Flash, that's the fourth.

Speaker 2 (44:27):
Yeah, Full Powerhouse, Whoopy Goldberg Yester Act.

Speaker 3 (44:32):
Yes, so we're not talking about that one. That's an
unknown quantity. A lot of people don't know about these
other movies we're talking about. Of course, all the people
listen to this podcast do because they are diving deep
with us on funny Farm.

Speaker 2 (44:46):
I guess, so the funniest farm there ever was Hilarity ensues.
But hey, at the end, they decided to stay in
the town because the charms of the town have won
them over and they have a kid. Yeah, and it's
so pastoral and so American, and you I just hate
it so much. You just want to flush it down
the fucking toilet. Like the way the movie I did
was so saccharine and gross. I was like, why do

(45:07):
you think you earned this ending movie? Like, explain to
me where you earned this in the last hour and
forty five minutes because I'm waiting.

Speaker 1 (45:14):
Because they realize they're just as weird as the town's folks.

Speaker 2 (45:17):
Oooh okay, duh, all.

Speaker 3 (45:20):
Right, I do take it back. She did write thirty
one on the board. I just double checked, so then
she takes it down to thirty. The book ends with
them not selling the house, but instead of them living there,
they rent it out to filmmakers who want to make
haunted house movies and want to use their house, which

(45:40):
would have been an interesting thing again if there was
a ghost or something even worse with the film or
with the with the house that they live in. And
then the script ends almost the exact same way, except
there's a I don't know what you would call this,
like a running around the bases type of scene. They
are they do a whole Okay, let me read this

(46:03):
to you because you guys are gonna love this. So
they have their whole thing. And by the way, Andy
has a voice over the entire movie, not just the
very end of it.

Speaker 2 (46:15):
Yes, yes, why didn't we get that release the George
roy Hill cut? You fucking cowards?

Speaker 3 (46:21):
Though as a novelist, I turned out to be a
pretty good sports writer. We finally found the change of
heart we were looking for. So we've got him writing
that and then cut to exterior the playing field end
title sequence. The two opposing softball teams and all the
spectators in the bleachers are comprised of cast and crew members.

(46:43):
The camera locates each participant as his or her credit
comes on screen. All positions are up for grabs, but
the empire will definitely be Gus lotter Hand. Lotter Hand
still wears his chin brace, which works fine when he
bends over to call strikes and balls, but when he
stands up, he's looking straight into the clouds. The sequence
will consist of a typical red Bundian blunders and continue

(47:07):
with a play at home play as a runner as
a and a ball arrive at the same moment the
catcher tries to make the tag, the runner slides, a
dust cloud consume them both, and Gus Lotterhand, looking straight
into the sky, makes his call safe.

Speaker 2 (47:25):
The end, I guarantee you somebody read the end of
that script was like fuck that shit, We're just shooting
and ending. God damn you, We're not doing this fucking
parade salute to arms people, none of that fuck off,
Like no, we don't have we have time for this.
Can you imagine the script notes like no, no to
like the last four pages of the script.

Speaker 3 (47:46):
Home script is one hundred and twenty seven pages, so
this movie would have been over two hours long. So
when we're talking about the jokes being removed and things
that making sense, it's probably from putting this stuff just
right out rather than trying to rewrite it.

Speaker 2 (48:02):
You're telling me that cutting the punchline of a joke
is not the right way to.

Speaker 3 (48:06):
Do things, or the opening of the jokes, like, yeah,
the setup is just as as that punchline. No, no,
it's crazy.

Speaker 2 (48:15):
Banana say you didn't get the part of the beginning
of the knock Knock joke, but I told you the
end of the knock Knock joke. It's still funny.

Speaker 3 (48:20):
It just works, still has to be funny. Yeah, because
the punch line's there.

Speaker 2 (48:24):
God, oh well funny farm huh because they're crazy, get it?

Speaker 3 (48:29):
Yeah, they're not farmers. There's no duck that lays an
egg on top of Andy's head.

Speaker 2 (48:36):
I know, what a shame. Where's that scene movie? I
want the scene with Chevy Chase having eggs laid on
his head.

Speaker 3 (48:41):
Yellow dog does not put on a hat and ride
on a tractor.

Speaker 1 (48:47):
He does, though, And I get that poster bit. Yeah,
the one that they're choosing is the image. I don't
get it.

Speaker 2 (48:53):
Chevy Chase looking like Frankenstein with a very flat head
with an egg smashed on top of it. Did you
know chevy chase head has an exceedingly flat head?

Speaker 3 (49:02):
Where else are the eggs gonna land.

Speaker 2 (49:04):
And crack open and then comically slide down his face?
Why are we talking about eggs sliding down chevy Chase's face?
That's the real question.

Speaker 1 (49:12):
It's the end of the episode.

Speaker 2 (49:14):
Thank Christ. Yeah, this, this I think is up there
in terms of like the movies where I'm like, I'm
glad we don't have to watch this again or for
anything else in the future, or spend any amount of time.
This movie came out a month before die Hard. Can
you imagine going to see this movie and then a
month later going and seeing a good movie, like an

(49:35):
actual good film, and looking to your friends and being like,
remember how we went sof Funny Farm a month ago? Guys,
I'm so sorry.

Speaker 3 (49:42):
Another Christmas movie?

Speaker 2 (49:44):
Yeah, the secret Christmas film that make sure that this
makes your rotation this year. Funny Farm. Yeah, this is
one of those times where I'm like, even I'll could
see Diehard is more of a Christmas movie than this
fucking movie is Jesus Christ.

Speaker 3 (49:55):
Even singing the carols and everything. The thing I do
like is and the mailman finally shows up and just
the way he comes in and is so pleasant and everything,
and that that bit works because we've seen him just
be a complete asshole the entire time and then him
coming in Kevin Conway playing a fucking fantastic role, him

(50:17):
coming in and just being so super nice, Like had
we had that turnaround for all the characters, but none
of them start off as assholes, and like the one
guy who is openly antagonistic with him is the guy
that he was punching in the face, So no wonder.

Speaker 1 (50:31):
He writes, that's yeah, that's what I mean about that
whole fishing scene. He Jimmy Chase is the one that
screws everything up. He doesn't even he's not even the
one that hooks him in the throat.

Speaker 3 (50:42):
Right right, yeah, which he should have been. It should
have been him hooking the guy in the throat and
then punching him in the face to try to knock
him out to remove the which still do. That just
doesn't even make any sense.

Speaker 2 (50:53):
We gotta knock him out, punch him in the face
a bunch of time. I think Chimmy Chase does wanting
to punch somebody in the face.

Speaker 3 (50:59):
Yeah, and Brad Sullivan, you mentioned slap Shot before he
was in slap Shot as well as Sister Ekt too, So.

Speaker 2 (51:10):
Conway is still having movies coming out as recently as
this year.

Speaker 1 (51:13):
He's still like guy's name, That guy's name can't really
be rain or Shine, can it? Is that a pseudonym?

Speaker 3 (51:19):
I'm pretty sure it's a pseudonym, just kind of like
rip torn.

Speaker 1 (51:23):
Yeah, that's so amazing.

Speaker 3 (51:25):
Yeah, I love that guy. I mean, he's just such
a great hit character. And I love his IMDb picture too.
That's amazing.

Speaker 2 (51:33):
Yeah, Rainer Shine is such a fucking that's so great.
Come on, come on, so good.

Speaker 1 (51:40):
That's German, doesn't it.

Speaker 2 (51:41):
Kevin Conway from fucking Funhouse.

Speaker 3 (51:43):
Mark Begley, thank you.

Speaker 1 (51:45):
Yeah, yes, I didn't look him up, And I'm like,
I know that dude from somewhere too. I know all
those people from somewhere. That's that's the beauty of it.

Speaker 2 (51:53):
He's on a first name Mark Begley is on a
first name basis with all these people.

Speaker 3 (51:56):
Oh well, that's good. Yeah. I would love to interview
Rayner Shine one of these days, because he's just every
time he shows up, I mean even in small stuff
like The Quick and the Dead, you know, he's he's
always great.

Speaker 2 (52:07):
I was gonna say, why didn't why didn't you get
Mike Starr.

Speaker 3 (52:10):
For this episode?

Speaker 2 (52:10):
He was in this movie.

Speaker 3 (52:11):
Yeah, I could shoot him in text right now if
you want, Hey, you want to join us? He gets
very quickly. He doesn't remember who I am, but he
will get back to me.

Speaker 1 (52:24):
That's so great. He does a lot of Mike Starr man.

Speaker 3 (52:27):
Oh yeah, it's great to be able to drop him
and know and be like, hey, I'm watching Funny Farm.
You're great in that.

Speaker 2 (52:32):
So I'm not sure you would say that, though I
guess he was. He was fine. He had he was
absolutely fun. He didn't do anything wrong. All right, Mike,
Now go throw that chair into the water. All right, good,
good shot. We're wrapped for the day. Thanks.

Speaker 3 (52:43):
How was it to work with the Chevy Chase, Mike?
Everybody started, everybody's got a Chevy Chase story. I bet
it's like Steven segall story. Everybody's got a Chevvy Chase yeah. Yeah, Well,
and there's a when we talk about uh never say
never again. There's a great kind between Jason Schwartzman's dad

(53:03):
and Steven Sagall. I was just reading about last night,
so Steve to his friends, m M yeah, no, I'm sorry.
I still call him Stephen or mister.

Speaker 2 (53:14):
I don't think he deserves that qualifier.

Speaker 3 (53:16):
Okay.

Speaker 2 (53:17):
So on the next episode of the Chasing Chevy podcast,
we're going to be taking a look at a movie
from two thousand and six. We're taking a jump into
the future to I guess one of I guess this
might be one of the last Chevy Chase vehicle films,
Funny Money from two thousand and six, which you know,
with funny in the title, it can only be one thing.
Hilario probably won't be. I don't know, I've never seen it.

(53:40):
I feel like this one. There are some of these
on this list that are my fault. Specifically, this movie
is one I blame you. I'll take all the credit
if you're giving it out. But until then, where can
people find you and the things that you work on?

Speaker 1 (53:56):
Mark Begley, you can find my two shows, Wake Up
Heavy and cambrid jem Sean on Wordingwaynmedia dot com.

Speaker 2 (54:02):
What about you, Mike White.

Speaker 3 (54:04):
Right here, just look at the shirt Weirdingwaymedia dot Com.

Speaker 2 (54:07):
He's a walking advertisement.

Speaker 3 (54:09):
I am. I'm a billboard. I'm a shill for the corporation.
It's the big corporation that is Weirdingwaymedia dot Com. Where
all those sons of bitches and bitches of bitches, daughters
of bitches, you know, let's just say, sons of.

Speaker 2 (54:22):
Bitches, bitches of bitches.

Speaker 3 (54:24):
Sure, yeah, where all the the the all the awful
corporate shills go, like uh, mister Beast and Paudiepie and
all them, they all have shows of Wordingway Media. It's
just a really it's a layer of evil like l
A I.

Speaker 2 (54:40):
R or like l like layer or layer or layer.

Speaker 3 (54:44):
I think it's l A I R.

Speaker 2 (54:45):
Yeah, not l A y e R. It's a layer
of evil on top.

Speaker 3 (54:50):
You have to get through the layer of evil into
the into the crunchy nugudy center center.

Speaker 2 (54:57):
Yeah. Well, if you want to see my crunchy nugitty
center headed over to weirding Way Media as well. No,
that was not some sort of weird sexual thing, I promise,
But that's where all the audio diversions that I work
on can be found, including a whole host of ones
that I had nothing to do with, like eighties TV
Ladies or Cambridge and Wishan or Wake Up Heavy, which
I think Mark Begley still does.

Speaker 1 (55:17):
I think when it.

Speaker 2 (55:18):
Happens great, well, if it happens, it happens.

Speaker 1 (55:23):
Weiry lazy fair about that one.

Speaker 2 (55:26):
Don't use big words on this podcast. We're dummies and
like Ray and review this show on iTunes. Please, regardless
of where you get it, go engage with us on iTunes.
That helps us out and as always, we'll catch you
on next month's episode of the Chasing Chevy podcast.

Speaker 1 (55:50):
Thanks