Interview with Neil S. Bulk and Dan Goldwasser on Ferris

This is Matt Verbois from La La Land Records

and you've entered the La La Land Lounge on GeekCast

Radio. Hello and welcome to the La La Land Lounge

here on the GeekCast Radio Network, the flagship

podcast. I'm, of course, TFJ1Mike and it's time

for another interview. I talked with MV Gerhard

and Matt Verbois earlier this year. We talked

about their San Diego Comic -Con adventure and

all the superhero Star Trek and wonderful Wonder

Woman stuff they had at Comic -Con, but today

we have a returning guest in Neil S. Bulk. Hello,

sir. Hey, good afternoon, or whenever people

are listening to this. Yes, and last time we

talked to Neil, we figured out that none of us

are too old for this shit, because we were talking

about lethal weapon at the time. And joining

us for the first time here on the GeekCaster

Network, so we're going to have to get some background

information on him, is Dan Goldwasser. Hello,

sir. Hey, morning or afternoon or evening, wherever

you may be. That's enough from the peanut gallery

over there. Thanks, Neil. My number one fan.

Oh, you guys worked on the Danny Elfman Batman

thing, right? Yeah. We did? I can see Neil saying

now, Dan, you are my number one guy. Actually,

that was Dan's project, and I sort of got called

in at the last minute on Batman, where there

was some difficulty finding material. And we've

worked together ever since. Awesome. But not

all. Yeah, not always, but you know, collaboration

is usually done well when it has like minds in

it and whatever else. Between the two of you,

you guys have worked on so much stuff, and obviously

we're going to focus on what mainly the La La

Land Records company has released, because it

wouldn't be the La La Land Lounge if I wasn't

focusing on what that company released. Just

to get some quick background information Dan

had you always wanted to be in this line of work

when you were growing up? Did you think that

you were you know you had You enjoyed the music

enough that you wanted to do this or was there

another path for you when you were younger? I

kind of fell into film music. I was a big fan

of film music as a kid. Back in the 80s, there

wasn't a way of going to see the movie over and

over again. So you got the novelizations. And

as a kid, your parents aren't going to take you

to see that movie five times. So you got the

novelization, and you get the soundtrack. And

then you kind of feel like you're reliving the

film. When I moved out to LA, though, I came

out here for visual effects. Ended up falling

into film music. I traded soundtrack .net and

did that for about 10 years doing film music

journalism. And in the process, established a

lot of connections and contacts. here in the

film music industry and through that actually

MV Gerhard was one of the first people I met

when I moved to LA coincidentally and then he

had a record label and I started doing some liner

and art direction so that's kind of how I fell

into that whole bond. Awesome and you also right

now you're running the website warm butter design

where you have all of the soundtracks that Yeah,

so warm butter. I mean that was kind of my own

side thing. I was doing freelance web design,

you know, when I moved out here and kind of stuck

with that through the various things I've done

working out here in LA. Most of my clients are

film composers, but through that again it also

led to doing art direction for albums. I've been

doing a lot of artwork mainly for La La Land,

but a few other labels and freelance things as

well. Awesome, awesome. And you guys collaborated

and worked on Ferris Bueller's day off. We've

been waiting 30 years for this folks Yeah We

we finally got that batter to swing So what was

it like working on this Neil like when you were

approached to do the project what were your Excitements

about it. What were your trepidations? Did you

have a plan right away? Or how did that all come

about for you? It was it was it goes back a few

years actually before this project, you know,

before I even knew that this project was gonna

happen. And I didn't realize that Ferris Bueller

didn't even have the soundtrack album. And I

was at a party in 2008 where somebody said, hey,

what do you do? And I said, well, you know, I

started working on soundtracks. He's like, hey,

I got a great idea. And this is what usually

happens when you... When somebody finds out you

work on soundtrack albums, they go, hey, I got

a great idea for an album. But you know it's

never had a score release, and it's great. And

usually it's some movie you've never heard of.

And you're like, oh, that'll sell three copies.

And he said, Ferris Bueller's Day Off. And I

was like, wait a minute, what? Ferris Bueller

never had a soundtrack album? And he said, no,

it didn't. And there's this song in it called

Beat City. and it was only available on a 45,

and it's never been on CD, and people would want

it, and it would be a great album. I went, okay,

great, you know, that'll happen, you know, facetiously.

And then it turns out, no, Lolland was actually

pursuing Ferris Bueller's stay off. And then

when we got the tapes, when they were all transferred,

the first thing I looked for was Beat City. That

song and sure I was like here it is we have it

we absolutely have it and it was just like this

has to be on the album like I don't care what

happens this song has to be on here and and Thankfully

we were able to get it on there. Um It was you

know, it was in terms of you know, was I happy

sad or anything? It was it was just like any

other project I was grateful to have the work

and I was gonna do the best I could to make sure

that It was an enjoyable album, right? What about

you, Dan? Kind of the same thing. What was your

approach to it? Well, I worked with La La Land

to sort of get them in a paramount back in the

late 2010 or 2009. And one of the first projects

we had, actually at the top of our list, was

Ferris Boomsday Off and Beverly Hills Cop. So

you look at that, and we kind of hit two holy

grails this year, which is really exciting. But

it took a few years for Ferris to come around.

And the main problem was not so much just, hey,

we got to do the project, but it was that the

amount of songs that you would have to get cleared

and licensed to have a good album. Was just so

daunting and overwhelming that we didn't want

to take that on as one of the first paramount

projects So, you know work with the studio make

sure they're happy with the work We're doing

for you tackle something that is such a high

-profile project for them. So around 2013 we

actually really started looking at Ferris more

seriously and You know again, it's just you kind

of took a kitchen sink approach wanted to get

everything we possibly could on this album and

you know, over the course of the next few years,

I mean, it took about another year and a half

to figure everything out and get it really going

to the point where we were transferring material.

Even then, the licensing kind of beast kept rearing

its head as not a roadblock, but a hurdle to

get around. And as I'm sure you have the final

album, in the end, you know, there are a few

songs we couldn't get, we could not get the licensing

for, which, you know, is always, on a personal

level, a bummer. Because you want to make this

the best album you possibly can but at the same

time I mean You know as Neil pointed out as long

as we had the stuff you couldn't get like beat

city, you know I'm afraid or even the you know

the score and things like that, you know the

other songs We couldn't get you know, you can

get on iTunes. They're available So it wasn't

going to be, you know, such a tragedy of epic

proportions. It's disappointing, but it's still,

this is one of those projects that, I mean, it's

such a dream come true to have anything out from

Ferris for Thursday off that I'm happy with what

we have. Yeah. When I first got the disc and

I put it in and I added it to my iTunes and all

that stuff, At first I just made one playlist

of the whole thing and then after one listen

through I said okay well I love the songs I love

the actual songs and that's all great because

my number one thing was and I'm sure it's out

there somewhere I'm sure Yellow has you know

an album version of it somewhere but I wanted

it I wanted oh yeah on the Ferris soundtrack

and it is But for me, after listening through

the whole thing once, I'm like, okay, I need

to separate this. I need to have one that's just

the songs and one that's just the score. Because

as Neil will tell you, I am one of those people

and I think I'm a very rare person that can do

this. I can turn on a score, any score, it doesn't

matter, as long as I enjoy where it comes from.

Turn it up as loud as I possibly, basically blow

my ears out. Basically make my headphones explode,

close my eyes and just enjoy the music. and just

immerse myself into that and i can remember and

think of various parts of you know parts of the

film from like you know you got uh... on the

first score just as an example you got cameron

in bed and ferris goes away and well we all know

what that is from that is from the very beginning

of the movie when we meet cameron he's in bed

and ferris calls and says get over here you're

my best friend yours but you know and all that

so we uh... you know i i can envision that scene

in my in my in my brain as i'm listening to it

and yeah there there are a few songs you're missing

like the one with the english beat and all that

but as you said you know you can still get them

elsewhere would have been great if that english

beat song would be on here yeah sure absolutely

cuz everybody remembers that because that's obviously

the at the point of the movie when ferris runs

home But no, I mean I am so and I'm so happy

this came out this year Because this is the 30th

anniversary of the movie, right? We wanted to

get this out earlier around 2013 or even 14 But

just the again the timing and the way things

were working with the clearances It just ended

up being one of those situations where fortuitously

Our release date ended up coinciding with the

30th anniversary, so we made a concerned effort

to get it out this year. All right, so before

we move away from La La Land's day off here,

I'm going to ask each of you, Neil, do you have

a favorite score track and a favorite song that's

on the Ferris release? Okay, I think my favorite

song is I'm Afraid, with the lyrics. It was just...

It was fun to work on that one. There were some

challenges with the audio, and it was really

nice to get it in releasable shape and get it

remixed, and really listening to the lyrics to

that one, you go, oh my gosh, this song's really

about Cameron. In film, there are no lyrics.

It plays as score in the film. That's why we

have two versions of that song in there. But

I really enjoyed it with the lyrics. score a

cue When I first started cutting the score I

Think I don't even think I was cutting the score

at that point I think I was just looking at the

tapes in total. Yeah, I found the moment Ferris

Bueller's online too. Yep Thinks he's talking

to Ferris Bueller, but it's a whole it's all

you know the scene with the telephone absolutely

yes, it's great horror sting that you know as

soon as you hear it you know it's Ferris Bueller

and So sorry Dan. I think I'm gonna pick that

one No, that's fine. We picked these earlier

Neil really quick before I let Dan go and pick

his his choices off of Ferris talk to us You

know you said about that there were complications

with I'm afraid what what were some of those

complications? It was very strange. The audio

or the lyrics didn't line up with... I had it

as two three -track elements. I had a three -track

band, which allowed us to do the instrumental

version. And I had three -track vocals, which

were the lead vocal on one of the channels and

chorus on the other two channels. And they weren't

lining up. Oh, wow. all there was complete it

was like there was nothing lining up so I was

really freaking out about this and then one of

the things we had for reference on this project

was the John Hughes produced seven inch single

which one side was beat city the other side was

I'm afraid so I said okay I've already transferred

this in let me line up the music to this 45 and

then I'll line up the vocals to the 45 and it

should all come out perfectly and it did but

it just it required you know a lot of paying

attention sitting down and chopping up little

sections and sliding things and getting it all

in shape and I you know it's it's seamless you

can't tell so I'm very proud of that. Absolutely

all right Dan what about you your favorite song

off of Ferris and then favorite score cue? Well,

my favorite song is the instrumental of the Dream

Academy, Please, Please, Please Let Me Get More

Than I Want. And it's just one of those songs,

when I first saw the film as a kid, you know,

it really, I thought it was score, you know,

part of the score, because there's, again, no

lyrics, but it's just really one of those evocative

sort of moving scenes, you know, they're in the

museum and Cameron's staring at the Sunday afternoon

painting. And it just really was an emotionally

edged piece of music that I really just love.

And in terms of score, it's got to be Rooney

on patrol, which is kind of the big band swinging

music that Ira Newborn did, very much in style

of his police squad and naked gun music. It's

all late records produced by Dan Goldwasser Neil

Esfalt. Yes, that's right. That's right Gotta

get the plug in we have a nice three disc box

set of music from all three naked gun films available

So yeah, that was I think that was one of the

other things that Neil and I had talked about

a couple of years ago We talked about lethal

11 and we talked about naked gun. I think at

the time I think naked naked gun was out in 2014

wasn't it? Yeah Sure, yeah, I think so For me

It's got to be oh, yeah And it's got to be the

the source cue for ballpark baloney because I

just love the hay batters I just love the hay

batter scene. I just love that Let's go to Detroit

and then fly to Beverly Hills because I remember

when Matt and MV had said, when I interviewed

them, they had been teasing something about a

certain maverick. And I'm like, please let it

happen. Please let it happen. Another 30th anniversary

movie if that, you know, if they got, you know,

Top Gun. And nothing yet. They've kind of said

maybe it could happen, and I've teased it like

heck everywhere, but I had also said to them

something about, and I didn't even know that

this was happening, something about Beverly Hills

Cop, and they're like, oh, just wait until December.

You're going to like it. I'm like, OK, fine.

And then, hey, look, Beverly Hills Cop 1 and

2. There you go. So. Yeah, ain't that the truth.

So Neil, working on this one, were there any

complications or was this fairly easy to come

by? Because you guys have pretty much the full

score as well as certain selections of the songs

from Beverly Hills Cop 1 and 2. Talk about Beverly

Hills Cop 1 first. Well, I'll talk about them

together because I did them right back to back

and there was very little difference between

them on my end. On this one, it was a matter

of we had the digital multi -track tapes transferred,

and they had four -track mixes on them that we

needed to mix down to stereo. So that was really

my job on this one, was just to take the raw

cues and make them presentable to Dan, something

he could use to shape the album because he was

producing it. The big challenge was, and this

was a surprise, because again, it's digital.

There shouldn't be this problem. But as I was

mixing Beverly Hills Cop 2, which I did first,

I was listening to this opening track like, wow,

there's a lot of hiss on the right channel. Well,

that's weird. It's digital. Why is there hiss?

And it was present throughout the whole thing.

So that needed cleaning up. And I just paid particular

attention to that and made sure that didn't come

through to the album, that it was cleaned up.

Otherwise, I don't really recall too many challenges

on this one. I've really enjoyed both movies.

I've always enjoyed Beverly Hills Cop 2. I think

it's a very stylish film. It's a very influential

film in terms of action filmmaking. If you watch

the first one, the first one is not too far removed

from a 70s era pulp crime film. It obviously

has Harold Faltermeyer's score, which elevates

it and brings it into the 80s. But if you watch

the film, it's very gritty and dark. And the

second one is a complete departure from that.

The second one, I think, is a huge influence

on directors today, like Michael Bay, where you've

got these orange views of the sky, and it's very

glossy and slick looking. So I've always enjoyed...

Part two, I've always appreciated it. So I don't

know if I answered the question, but there you

go. Go ahead, Dan. I'd like to interject here

about the change in tone between the first and

second films. The second one also, you have to

keep in mind, was not only these were both Bruckheimer

and Simpson productions. but they were also,

it was Tony Scott directing this one. And he's

like, you know, before Michael Bay, I mean, he

was the king of the filters and even in the crazy

editing and really kind of pushing the bounds

of what cinema could do with action. And I think

Bay came from that school through his music videos

and the other influences he'd had, certainly

working with Jerry Bruckheimer as well. So I

think it's more, it's a question of like, is

it the chicken or the egg? Is it the, is it the

Bruckheimer connection or is it the, you know,

Tony Scott connection? But I think the combination

of the two of them is really why that film feels

so different from the first one. Right. And I

even remember when the first, when the second

one came out, people were complaining about how

loud it was, that it was such a loud movie. And

you look at it, you go, you know, I could see

that, you know, that opening scene is pretty

noisy. I think the only other noisiest opening

scene movie I've seen in my lifetime is The Dark

Knight. The very beginning of The Dark Knight

when they're flying through the city and they're,

you know, because they're just showing you the

jokers on the roof and all that. The beginning,

I have to turn my volume on my computer almost

all the way down because the music from Zimmer

in that beginning part of the scene is so loud.

With Beverly Hills Cop 2, I originally, and I

was seven when it came out. I was probably eight

or nine when I saw it. My mom, and I've said

this on other podcasts a billion times, my mom

pretty much let me watch anything I wanted to

watch. It didn't matter what the rating was as

long as it was on VHS. And I always remember

seeing COP2 before COP. It wasn't for a few years

that I'd saw COP1. I only knew of COP2. And the

whole, I'm undercover deep now. But I now have

to go deep, deep, deep, oh god. And the difference

is, you're right. The first one is kind of dark

and gritty. It has some humor. But by the second

movie, we're to understand that Axel, Rosewood,

and Taggart, and Captain Bogumil have all known

each other for a few years now. in the very beginning

in the first one they were all just meeting for

the first time so that's kind of awkward phase

of their styles mixing with actual style and

by the second one it just kind of all messes

together and i mean you know then you got what's

in there but what's in bill is like kibbles and

bits it wasn't that's yeah i can you just know

in part two and i and again i'm i'm a i like

part two isn't strange that actual fully is portrayed

as this street smart cop And then there's a conversation

where he says he's going to teach people how

to fish. What does a guy from the city know about

fishing? Yeah, I'm not sure. And I think this

is the only movie of the 80s, and I could be

wrong, I'd have to actually look at this, but

I think this is the only action movie of the

80s that actually featured Hugh Hefner in the

Playboy Mansion. Alright Dan, talk to me about

the album production side of this as far as getting

the score together, the Fulcher Meyers score,

plus adding in the songs to both of them because

when I looked at this I was like... When I first

saw the announcement I'm like, okay as long as

the majority of the score is there as long as

the actual F theme is there I'm fine and then

I saw oh they're adding the songs and for me

I've had a Ripped copy of shakedown for the longest

time. I don't think that's on any of Seeger's

other albums I've never seen it on any of his

other albums and I saw that on Beverly Hills

cop to him like yes Finally a legitimate copy

I'd have to double check on Shakedown. I mean,

wasn't that on the original soundtrack? It was

on the original album, yeah. Oh, okay. Is that

out of print? Maybe it's out of print. I think

that's what it is, yeah. No, it's one of those,

again, Beverly Hills Cop was at the top of our

list of projects we wanted to do when we kind

of met up with Paramount, and the limitations

of this is that it's a co -licensed situation

because there was a soundtrack that had been

released. Previously as we all know so that was

MCA records at the time for both Beverly Hills

Cop 1 & 2 which means Universal Music would have

to be involved and so There was on there were

a few limitations in terms of getting this project

going. We don't want to again like Ferris We

didn't want to kind of hit the ground running

at Paramount with the hardest projects to clear

but Even though we could get Universal Music

on board having done other co -productions with

them The bigger problem was that there was a

Beverly Hills Cop TV show in the works So Paramount

had flagged Beverly Hills Cop as a property that

really no one could touch right now. You know

what? Just not right now. We got a new thing

coming out with it, so we'll have to wait. And

as you may or may not know, they did shoot a

pilot for a Beverly Hills Cop TV show. I think

it focused on Axel Foley's son. Eddie Murphy

was in it. It was for CBS, and they passed on

it, and it went away. So, great, so we're gonna

be able to do Beverly Hills Cop now. No, no,

actually they're gonna do Beverly Hills Cop 4

and Brett Ratner's gonna direct it. Oh, okay,

so now we, so, again, a few years go by. It actually

got to the point where, because we had done Days

of Thunder, you know, the Tom Cruise movie, which

again, Tony Scott and Jerry Bruckheimer, and

Bruckheimer was involved with that project. We

worked with him on it and... So we had a connection

over at Bruckheimer, and it was through him.

It was personally approved by Jerry Bruckheimer

that, you know what, let them do Beverly Hills

Cop 1 and 2. Because if anyone's gonna be working

on any future Beverly Hills Cop sequels, and

now I hear it's happening with two other directors,

and who knows where it's at, at least, you know,

why should we have to keep waiting? So thankfully,

once we got the green light from Jerry, that

was it. there were no more limitations. We had

Paramount on board, we had Universal Music on

board, and we just hit the ground running. And

as Neil said, the transfers were pretty straightforward.

Once we had the material, it was just a question

of the songs. And for the majority of the project,

we built it as a two -disc set, which is going

to be Beverly Hills Cop 1 and 2. We then discovered,

you know, these things just happen with the licensing

limitations that Universal Music was requiring

that they be individual albums. So, OK, so we'll

do a Beverly Hills Cop album. We'll do a Beverly

Hills Cop 2 album. No problem. Then there became

the question of what songs do we put on there?

And we'd always I'd always taken the approach

of let's only put the songs on our album that

are in the film, because, you know, as we all

know, back in the 80s, there was this sort of

trend of putting music from and inspired by the

movie. And Beverly Hills Pop, the original song

album, I mean, there's like five or six songs

on there that just aren't in the film at all.

So why would we license them for our album? So,

you know, kind of went with that approach. But

then there became the question on Universal Music's

end, hey, maybe we have to include all the songs,

which means we would have to have two disc versions

of each film because we want it wouldn't all

fit on one disc. So luckily it all worked out.

We were only We only had to put the songs on

that were in the film which were the ones we

wanted there were still some songs We we would

have loved to have but couldn't get you know

that these are the the limitations of licensing

You know the versions of some songs like we can

only put the version that was on the original

album So we're not gonna you know film version

of something versus an album version of something

It's like you know again the dream project would

be a six disc set of everything But what are

you gonna do so Once all of that had been kind

of worked out, and we had our album assembly,

and Doug Schwartz did an excellent job mastering

it, I gotta say. I think it sounds excellent.

You know, it just kind of all came together pretty

quickly, and that was that, I guess. I will say,

in Beverly Hills Cop 1, and maybe this was just

the thing that was going on in the early 80s,

in the film itself, you'll notice this, a cue

will just stop. There's no elegant end to it,

it just stops. Well, the thing is, that's how

the cue was. It's not like the music editor just

kind of cut it there. The cue actually just cuts

right there. It just stops. So there were a few

instances where we had to create a more sort

of elegant ending to the album with a fade or

a little ring out or something to make it feel

like you didn't have a broken CD. Right. You

know and and that was pretty much it there was

um I can't remember the exact track off hand

because I don't have it but there was one sting

kind of like a little overlay swell that just

we didn't have but it's in the film and we had

access to the uh the mono music stem so I was

able to sort of sneak that in at the head of

one track just so it felt like this is how it

was in the film so you didn't get that weird

abrupt entrance as well right absolutely All

right, so Dan what is your favorite cue from

one and two and what is your favorite song from

one and two? Well, see this is where it's like,

you know, the old Chevy chase I was informed

there would be no math So I don't have an answer

prepared if I had to make up an answer on the

fly I'm just gonna go with the discovery you

score cue from Beverly Hills Cop. Favorite song

of course is going to be The Heat Is On. For

Beverly Hills Cop 2, I'd have to say it's gonna

be shootout. it's actually going to be bad guys

which was one of those songs that you couldn't

get because it was only available on harold's

sort of solo album but it was the main theme

from the film and he did a song of it and no

it was never on the album so i'm glad we have

that on this one first then you can get to two.

You know what, I don't even remember. This wasn't

my project so I don't even remember so much about

it. I'm gonna go with Neutron Dance. Okay. I

actually have always liked that song. Again,

I love the opening of the movie, so the Adrianus

opening cue is great. And of course the Axel

F theme from part one. And for song, I like Shake

Down. It's a great opening title. Yeah, Beverly

Hills Cop 2 has... the best opening and closing

songs. It's got Shakedown in the beginning and

it's got Better Way from Ingram at the end. Yeah,

that is a great song. Because by the end of the

movie, when they say, Axel, is that really your

uncle's house? Of course it is, trust me. And

he has that classic Axel F, Eddie Murphy smirk,

and he drives off in his little convertible.

And I never expected, nor did I ever really want

a third movie, but it's there. Right. It's there.

I will fully admit without any embarrassment

that I have never seen it. Really? Yeah. I've

never seen Beverly Hills Cop 3. And I'm a John

Landis fan too. I mean, he's a cool guy. So it's

like, it's on my list of things to see eventually.

I just haven't felt compelled. I saw it opening

day. Of course you did. That's the thing is,

no one has given me a good reason to rush out

and see it. I mean, I will see it. I watch a

lot of bad films, so, you know. Well, you can't

say it's bad because you haven't seen it yet.

I know, but I'm just giving what other people

have said. I'll tell you, there's a moment in

that movie, I saw it in 1994 when it opened,

and the theater I saw that had recently opened,

and it was the first THX theater that I'd ever

been to. and it was 20 minutes from my house.

So that, I mean, it was like, well, that's the

theater I'm going to from now on. It's THX certified.

Then they lost the certification at the end of

the year. But I went to see Beverly Hills Cup,

their opening, Beverly Hills Cup 3, their opening

day in their THX certified theater in DTS sound.

And there was a scene in that movie that scared

me more than any other film has from their, purely

from sound design. It involves a moment where

Axl Foley's on a payphone, and someone takes

a shot at him, and the shot came from the left

surround channel. Oh, gee, yeah. I'm like, oh

my god. Shot in a theater. There was a one surround

sound moment in Urban Legend. You remember that

horror film? now it just I swear it was it was

just a glass breaking that they hear off and

they kind of all turn and look but it was like

in is one of those perfectly placed moments and

it's just in the left rear or something like

that and it just you thought someone dropped

something in the theater yeah yeah so that that's

what really for kids like oh my gosh I'm like

getting shot in the movies well yeah Beverly

Hills cop 3 I don't want to spoil it for you

Dan but it's got some interesting Moments, I

will say I don't think this is a spoiler because

I'm sure if people look it up They'll they'll

know this at this point. So in the first movie

we had Bronson Pinschot as Serge and He returns

in the third movie. He wasn't in the second one

and it's interesting how he returns because yeah,

that was I I don't even know how to describe

that. That's that's not a spoiler. It was in

the trailer. Oh well That's why well he said

he never saw it so I assume he never saw the

trailer either Now I know what I'm gonna be watching

this weekend, you know I remember a few years

ago when I first got Netflix streaming and it

was always funny It was like well, they don't

have Chinatown, but they have the two Jake's

And it's like well, they don't have Beverly Hills

cop one or two, but they have Beverly Hills cop

three Guess I'll watch that. So I actually did

watch it a few years ago again. Well, I will

definitely be checking it out. I know and MV

has mentioned this as well. It's something that,

you know, it's on our list of things to consider

looking into. It's not, you know, at the top

of the list right now. But, you know, certainly

it would be a nice thing, I think, personally,

eventually to have kind of, you know, wrapped

up the trilogy, as they say. Yeah. And did that

even have an album? Do we know? I don't think

so. I believe the the answer to that is a resounding

no. Oh wait no no no I apologize the answer that's

resounding yes of course it was Nile Rodgers

so he did indeed have a song album which featured

a Patti LaValle track and you know Tony Tony

Tone the supreme so it's kind of kind of you

know It was an MCA records thing. It's something

that there's no score on except for his version

of Axel F that Nile Rogers assembled. So I haven't

seen the film yet, so I'm admitting it fully

and freely. Once I see the film, I'll see. This

is not a spoiler, but you just mentioned the

Supremes are on there. There's actually a very

funny scene in the beginning with the Supremes,

involving the Supremes. Well, then there you

go. And as a John Landis film, lots of famous

directors show up in it. Good. Well, I'm just

more curious where the See You Next Wednesday

reference is going to be. You know, I can't,

I don't remember where it is in that, but I'm

sure it's there. I'm sure it is. Do you know

about that, Mike? Do you know about See You Next

Wednesday? uh... not off the top of my head all

but let's let's leave it there at mike explore

john landis and see you next wednesday and to

have one of space odyssey uh... that's the uh...

i was there are certain folks things that my

mom allowed me to watch in the certain things

i just avoid it as a kid and i've never actually

side no of the hell nine thousand but i've never

actually seen the whole movie uh... i'd that's

probably something i should do at this point

uh... with their wheels cop three uh... Just

make sure you don't get trapped into doing the

okie -dokie shuffle. That's all I'm gonna say,

Dan. Hey, so talk about Beverly Hills Cop 3.

Yes. Talk about the Ferris Bueller television

series? Please, no. Oh, okay. I just... I just

faked your viewer then. It was... It was... Parker

Lewis Can't Lose destroyed it, I think. Parker

Lewis Can't Lose was a very good show. Yeah,

and it destroyed the Ferris Bueller Day Off series.

It did. It was the better version of it. like

you know about this yeah i think i know you can

go and tell the story but i i think i remember

hearing about it in in nineteen ninety two shows

debuted on two different networks nbc had ferris

buehler's i think it was called ferris buehler

and fox had parker lewis can't lose completely

different shows but they were very similar and

they involved you know high school kids uh...

getting away with stuff basically yeah and and

it turns out that the one that was based on ferris

bueller's day off was not as successful as the

one that was you know completely independent

of that of that franchise yeah and see that's

the thing like there are certain movies that

can spawn off tv series animated short -lived

animated series like star trek and things like

that even though star trek animated series is

god -awful at best. I disagree. It has limitations.

It has some good moments to it. And for me, it's

one of those things where... I was fine with

Beverly Hills Cop 1 and 2. I did not necessarily

need 3, and I'm still of the strong opinion that

1994, between 1994 and 1987, that was too long.

Back then, movies were releasing one every two,

two and a half years, waiting more than two and

a half years, and, you know, in that time, it

just seemed like it's too long. Like, what was

it? We just had a move, oh yeah, Independence

Day. Other's 2000 yes, there's that and then

there's Independence Day waited 20 years to make

that sequel so that no No, no, no resurgence

for you will fair Wow not Will Ferrell will Smith

there you go With the with Beverly Hills Cup,

huh? So will Smith lucked out Yeah, he wasn't

in it. Yep You know, and I've heard the rumors

of Beverly Hills Cop 4 in the TV series, and

I really think the movie's franchise... Well,

Beverly Hills Cop 3 is more of a full -on comedy

slash action. Like, I would not bill it as an

action comedy. I would bill it as a comedy action

movie, because it's more comedy than... I mean,

there is action in it, but it's not really taking

the series as serious as it... You look at 2

and 3... Two is comedy and action together. Three

is more of, hey, let's go for the blow the belt

stuff. There's just too much comedy for man three.

I don't know. What do you guys got coming up,

Neil? Anything you can reveal that won't get

you in trouble? Dan and I are working on the

Wonder Woman soundtrack album for La La Land

Records. I produced it, and Dan did the artwork

for it. And that's coming along very nicely,

actually. It was supposed to be out right now,

actually. So we're way ahead of schedule on it.

But the Warner Brothers has a big new Wonder

Woman movie coming out next year. So they're

going to tie it into that release? They would

like to have a marketing campaign where we're

going to be They're going to release all this

great Wonder Woman stuff. And look, here's also

a soundtrack album. So hopefully that'll happen.

So we're hoping it'll be out sometime next year.

You know, spring, summer, hopefully. So you guys

are working on the TV show soundtrack. Are you

also going to be working on the movie soundtrack

or is that something completely okay? We're working

on the the Linda Carter television series. Yeah,

I think Water Tower Records is probably just

going to put that out there themselves. The the

new one that is right. Yeah, and and me I actually

independently I've been producing the digital

single releases of songs from Family Guy so if

you're a fan of Those crazy songs from Family

Guy eight of them are hitting iTunes over it,

you know every two weeks We're releasing one

and I think we're at numbers six or seven this

week. So by the time you hear this, it's probably

already out, but the Emmy nominated song Down's

Syndrome Girl is going to hit iTunes and other

digital retailers. So that's a project I've been

working on for about eight years or so. This

is stuff from Family Guy. That's awesome. Is

that also, was that on the La La Land release

or is that completely? No, it's separate. La

La Land's album was just the score. Okay, and

and because of limitations on that one that one

was just the score from the first three and a

half seasons of the show Originally I had I had

a two -disc set of music from you know select

episodes from the first 12 years of the show

and We unfortunately hit a roadblock there, but

at least you know that that one came out on la

land But the songs were always kind of a separate

thing that's just me working with Fox doing that

it's kind of been a long journey ever since I

I asked Seth MacFarlane back in 2008, hey, how

come there's no songs from Family Guy released?

Well, I know the answer. So it's been a very

long journey. But at least there's stuff coming

out digitally now. Hopefully some fans will enjoy

that. So Dan, is it going to be eight songs total,

or are you going to keep doing it? Well, this

first batch is eight songs. And depending on

how well they do, hopefully then Fox will see

reason to do more. And that's my hope and dream.

So I'm trying to. let people know about them

as best I can. I'm like a one -man promotional

machine, which is not to say much at all, but

I do have the Fox, the Family Guy, Facebook and

Twitter do go down to the releases as they hit

every other week, so that helps a bit, and hopefully

the fans will discover them. You know, it's kind

of like a slow burn thing, but hopefully it'll

all make its money back to the point where Fox

says, hey, let's do more, because there's a lot

of great songs that we have not released that

people do want. Yeah, I mean, you guys could

do... You know, you said the La La Land copy

was from the first three seasons. I mean, they

could technically do the next three, the next

three, the next... Yeah, they technically could.

The limitations were on the union side of things.

So, unfortunately, there's a sort of a time lock.

To leave it at that. There are restrictions in

place that are outside our control. And so we'll

have to sort of take a wait -and -see attitude

to that one. For the score at least. Yeah, for

the score at least. So, yeah, we've got a bunch

of cool stuff coming up here, folks. I've got,

on La La Lounge, let's see, the next episode

after this interview, the last episode you guys

heard was, I find that when they send me stuff,

that I like to combine them, because the La La

Land, if anyone's listened to the La La Land

Lounge, hopefully you are, they're short podcasts,

because they're short album reviews. Like, I

don't spend a half an hour talking about a one

-disc release. I spend about between 8 and 12

minutes on each one. So I've been combining one.

So the last episode we had was episode 5, where

I took Primal Fear and Ferris Bueller and titled

the episode, The Primal Fear of Ferris Bueller.

So coming up after this interview, we're going

to be doing the Beverly Hills Cop 30th anniversary

release for the second because next year is the

30th anniversary of the second film. So we'll

do that. And then we've got Legends season one

and Arrow season four coming and a whole bunch

of other stuff. And hopefully I'll have Dan and

Neil on here again soon too. Talk about any new

projects they're working on. Dan, do you want

to give your social media stuff out like Twitter

or anything like that? No. Okay. I'm sorry, that

made me laugh. They can actually, what I will

say is, you know, I also, aside from the web

design and the album stuff, I do ScoringSessions

.com. So it's the only real website on the internet

that focuses on film music scoring sessions,

galleries and, you know, that's about it, galleries

and news items of those galleries. So, for instance,

I just put up my Moana scoring session coverage.

So, you know, that's sort of, they can check

me out there at ScoringSessions .com. What about

you, Neil? You got a website or anything you

want to give out to people? You can follow me

on Twitter. It's at NSBulk. Those are my initials.

My first two initials and my last name. NSBulk.

And I generally tweet about geeky stuff, but

in light of current events, I've been tweeting

a bit too much, probably. It may not have been

quite as entertaining as it used to be. I apologize,

but... You better be careful, the new president

might take your Twitter account away. I haven't

burned a flag yet. Did we just get political?

I'm so sorry. make this podcast go in a better

way. So we're going to get the heck out of here,

folks. You can find me on Twitter at TFD1Mike.

Also follow at Keycast Radio for all of the network

updates. I want to thank Neil and Dan. I'll ask

you guys to hold the line. And like I said, folks,

next time on La La Land Lounge, we're going to

be celebrating Beverly Hills Cop 1 and 2 with

a review of those scores. So head on over to

lalandrecords .com, where soundtracks live, and

we will catch you next time.