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[0:14] Jesse McAnally: Hello, I'm Jesse McAnally.

[0:16] Alan Seales: And I'm Alan Seales.

[0:17] Liz Eston: And I'm Liz Eston.

[0:18] Jesse McAnally: And welcome to Carrey'd Away, a podcast where we explore the films and television shows starring the one and only James Eugene Carrey.

[0:26] Jesse McAnally: And you guys, we actually have a very special guest today.

[0:29] Alan Seales: Our first special guest.

[0:31] Liz Eston: Woo!

[0:32] Jesse McAnally: Who is he or her or them or they?

[0:35] Alan Seales: Tell us!

[0:36] Jesse McAnally: Join me in welcoming an actor, singer, and writer who you may know from School of Rock, Goosebumps the Musical, Phantom of the Auditorium, and Beetlejuice on Broadway. It's Alex Brightman!

[0:52] Alex Brightman: I like to think of myself as more actor, writer, singer. But yeah, thank you. Thank you. These days, it always kind of there's a it's shifting. There's a roiling going on right now in what's in what I'm prioritizing. But yes, for currently, uh actor slash writer, singer, and then a big space, and then dancer.

[1:11] Alex Brightman: Oh major space. Not far from the top, actually. One of my hobbies I had and really crafted over the pandemic was I cooked a lot. Um so I would actually say unironically, probably chef's up there.

[1:27] Jesse McAnally: Wow. That's a lot.

[1:30] Alan Seales: Um and then where would you put con men trying to like get five million dollars? Where would you put that in your list?

[1:38] Alex Brightman: Uh I would put that like a couple lists over and to somebody else's list.

[1:46] Jesse McAnally: Oh, that's a fine transition. This week we are talking about a very, very obscure film, but it actually a film this time. We've gotten to actual movies here. This week we are talking about Finders Keepers. Get ready for Finders Keepers.

[2:02] Jesse McAnally: And find the hidden five million. Is it in the car? Is it in the house? Is it in the bathtub? Heaven only knows. Join Michael O'Keefe, Beverly D'Angelo, and Louis Gossett Jr. in Finders Keepers. Rated R starts Friday, May 18th. Check newspapers for theater.

[2:25] Jesse McAnally: Which was released on May 18th, 1984, written by Charles Dennis, Ronnie Graham, Terrence Marsh, and directed by the one and only Richard Lester, who has one of the most storied careers in filmmaking history. The plot of this film is on the run from the police and the female roller derby team, scam artist Michael Rangeloff steals a coffin and boards a train, pretending to be a soldier bringing home a dead war buddy.

[2:49] Alan Seales: The train ride home turns into far more than Michael bargains for.

[2:54] Jesse McAnally: Alright. That is the most comedy premise pitch I've ever seen.

[3:08] Alan Seales: We need to figure out how to say that. We need to figure out how to say something else. Because I feel like anytime I see that now I'm like, alright, got it. And I don't need to watch it. Because it's like, okay, yeah, sure. Enemies become friends, friends. It's like all these cliché things.

[3:20] Alex Brightman: Yeah, exactly.

[3:24] Alan Seales: Um is another one. By the way, though, it is, I will say the biggest flaw most movies make is that they make a promise with the log line or they make a promise with the premise, and then they don't make good on it. Uh this, that premise is pretty much it. That's kind of exactly what happens.

[3:43] Jesse McAnally: Alex, I am very curious how you got roped into this. Like, who did we kidnap to force you to be on the show and watch Finders Keepers? And what was your experience in watching this film?

[3:54] Alex Brightman: Um the way I got roped in is because I accidentally gave Alan Seales my phone number one day. Um so I that's and so I got a text. Uh but also because I enjoy I like doing podcasts, number one, but also I like Jim Carrey a lot, so this is perfect. And uh, you know, I can't I think that no comedian, physical or otherwise, hasn't crafted some part of their life around something Jim Carrey, if they're my age or around my age. So I mean, this was an easy thing to say yes to. Um, but I do want all of you to lose my contact information after I've seen this movie now.

[4:28] Alex Brightman: Um, my experience watching the movie, yeah. We well for I was also I had never heard of this movie, so which makes a lot of sense now that I saw it. And um it but honestly, my experience watching this movie right when I started it, because I started taking notes when I was watching it, and that fell to the wayside. I would say like 30 minutes in just because I was like, I'm not sure I'm gonna be noting anything very novel in this movie. And then I my note after I stopped taking notes was where the fuck is Jim Carrey an hour and what 30 minutes into an hour and 35 minute movie, he comes into this and he's in an hour and like two minutes in, and it is whatever it is.

[5:15] Alan Seales: Yeah, right. But you're like, yeah, and there's no real character development. Not that there are, you know, not that there is with any human being in the movie, but it's just madcap. And but I will say, this is what I'm getting to is that I grew up loving, truly loving Airplane, Lethal, like uh Naked Gun, all that kind of stuff. Like, and it has a lot of that, like, it's like lightly there. It's not so over the top, like where it's it's winking at itself as a movie, but like it has a lot of like, you know, uh using what is it, the Beach Boys I said that I wrote, did they get the rights to just this song and just use it as much as they could? Like they were just really squeezing "I Get Around" on the Beach Boys.

[6:11] Alex Brightman: These are the kinds of movies that heavily utilized back then, this like real good contingent of saxophone players that play these like incredible chase music. It's like insane. Um, and just a guy going bananas over like a very like and just a guy like GE Smith, you know, from SNL going absolutely bonkers on a saxophone. Uh a guy oh I what I wrote is this is the kind of movie where a guy would shove a gun in a guy's asshole. And he and he does.

[6:48] Alan Seales: Before we dive more into Finders Keepers, which promise we will, what I'm I think since me, Liz and Alan have really talked about our histories with Jim Carrey, what was yours? What was your first introduction to him and what do you mean to you coming up? Because he kind of was your generation, same with Alan.

[7:04] Alex Brightman: Yeah. Well, I mean, we met when we were kids, and um no. Uh my coming up with him, I think. I mean, what does it have to be? It has to be like my first memories. I don't know which one came before the other, but I'm sure it was like the Ace Ventura of it all, was probably where I first fell deeply in love with a human being. I'd never seen do anything like that on screen. It was like I loved old, old comedy stuff for a very long time because my parents raised me, or my dad really raised me on sort of the 2000-Year-Old Man with Carl Reiner, History of the World Part One, you know, but like really funny stuff in really funny situations.

[7:40] Alex Brightman: And so I also love things like Buster Keaton. And so, like, Jim Carrey is like the Buster Keaton that speaks, you know what I mean? Like he's like, he's the guy that like is super physical, but then also is funny when he talks, and neither one has to take a seat for the other. So I thought Ace Ventura really tapped into something that I liked as a very flamboyant um loudmouth, give me the spotlight kind of kid. I was like, see, he can make money doing this. Why can't I? Um so like, you know, I followed from there. I mean, I can't imagine there's not a human being like me from my generation. I'm 35 years old that doesn't have if it's not something that's not in their top 20, is not at least five of them have Jim Carrey films in it from even if they're not funny.

[8:22] Alex Brightman: Like I know that like Truman Show is a movie that changed me, I think. Like, I don't know if that's a too strong of a term, but I remember being in that movie, watching the movie, watching his performance in that movie, knowing that this is the guy from The Mask and both Ace Venturas and Bumblebee Tuna, and you know, Chicago, you know, all that kind of stuff. And then getting to the point where I was so moved by his performance that I genuinely thought I had a watch for the first time in my life during that movie. It's important to the story. And I looked at my watch for about two minutes in the movie because I was a hundred percent sure there was a camera in it after watching the Truman Show. I was like, I am him. How egotistical is that? How narcissistic to watch that movie and to make it about me, by the way.

[9:08] Alex Brightman: Um there is a psychological disorder based on that film with that exact kind of form of I have for sure. Uh but like that. I mean, and then you follow from there. I don't think I've missed a Jim Carrey movie. You know what I mean? Like even the one like, what is it called? 13 Numbers, number 13?

[9:27] Alan Seales: 23, number 23.

[9:28] Alex Brightman: Yeah, I've seen that. Which I that was my introduction to Jim Carrey.

[9:33] Alan Seales: Oh, really?

[9:35] Alex Brightman: Yeah. I don't know if that's the right introduction. Even, you know, even after watching Jim and Andy, the documentary about uh Man on the Moon, you know, and people he came out of that not looking so great to people like he, what a huge fucking asshole that he would do that to an entire crew and company of people.

[9:50] Alex Brightman: Yeah, I think two truths can be in the same world. Like, yes, of course, but also hard to deny the performance in that movie on both ends, the Tony Clifton and the Andy Kaufman of it. That movie is one of my favorites. So yeah, I mean, as a spectator of Jim Carrey, I'm all about whatever he wants to do, as long as it's not actually hurting people. I'm all in. I'm genuinely I'm all in on Jim Carrey.

[10:13] Alex Brightman: So I I say that with the, you know, in the last five years, anybody that goes, I'm all in on this person, I'm gonna find out that he like murders cats in his basement or something, I'm sure. So but I you know what? I even even then I think that I'm I'm good to to be a Jim Carrey fan for life. Now, did Finders Keepers change any of your opinion on that?

[10:34] Alex Brightman: I do have an opinion, actually, that I've been thinking about. I do, I really do, genuinely. Um, and it is, you know, the easy answer is no, obviously. But what was what fascinated me about this little moment he had in this movie is for because he's 22 in it. It's hard to look at it now without any sort of like what you know about him now, right? So it's hard to like look at him as just a guy you've never seen on screen before, because you have, you can't unsee that. But I was thinking about it. Like, if I had seen if this movie came out today and someone like him was in that scene, and I had never seen someone like him before, I would go, the fuck is this? What is he doing?

[11:08] Alex Brightman: Like, I would be like, What? Hi, Uncle Mario. Why didn't you tell me you were married? I'm not. Don't you lie to me? Your wife was at your funeral. What's her name? Well, how should I know? You tell me. I could have been drunk or something. Maybe if I took a look at it, where is she? No, no, no, you stay right here. She's leaving tomorrow morning. You're leaving tomorrow afternoon. Count on it. Like, what a even in this madcap, like weird performance, like slightly performance art comedy of a movie.

[11:46] Alex Brightman: Like it's it it's like insisting you to hate it. Like, um, I you look at his performance and it just his performance, and you're like, this is a bit over the top. Like that's and that's saying a lot for the movie, but I was thinking genuinely being like, I I I what I look for when I look in movies and stuff, my my wife and I will do this a lot, and it will call them extra extras that are like the extras in the background that are like doing so much that like they take their they take you right out of the movie. I feel like that's what he like a lot of people watching are like that must be some producer's son, because he's not good in this.

[12:19] Alex Brightman: He's doing like he crosses a surprise reaction in the background, like Yeah, or like people that are dancing in a club and like one guy's like and like it's not even the same beat. And so you're like, well, there's no music, clearly, but this guy obviously didn't get the message. But like even when they ask him to put their hands up and cuff him, he like he like flamboyantly like throws his hands up and crosses his arms like he's like a like an SNL dancer or something.

[12:42] Alex Brightman: And but the whole thing you I was watching it going like, that's classic Jim Carrey. But it wasn't. That's not classic Jim Carrey. And I thought that was Yeah, that's what I'm but I'm saying. It's like nobody knew that, and like it's cool to me as a human being who has like, I think in my to personalize it's something I clearly do all the time, Truman Show gives me like a nice comfort to know that like what I was doing the whole time in school in community theater and you know, being called every name out of the book and looked at like some weirdo that now like having done Beetlejuice and School of Rock, being given the opportunity to do that, and let people go like, well, that's yeah, that's clearly what he does.

[13:20] Alex Brightman: It never used to be. I was made fun of mercilessly for doing the things that I now make a living doing. So I like really in that moment was oddly heartwarmed by going, wow, this kid is sticking to his guns. This Jim Carrey kid knows what he's gonna do. And he never ever wavered from that. And I think that that is the one only silver lining I will say of how much of a waste of time this movie was for me. Um I uh this period in Jim Carrey's career, which is his very early, early days. I I have dubbed his earnest period, where he doesn't quite get to that wisecracker or rise cracking Bugs Bunny like I know better than everyone, kind of where he still is doing the wild, flamboyant things, but it's under the appearance of being super earnest and super like, hey, what's going on?

[14:11] Alex Brightman: Come on, which doesn't work toward that in any way, which is part of him developing his own style.

[14:17] Alex Brightman: Like, but it's just a strange misuse of such a great talent at this point.

[14:22] Alex Brightman: Well, that you know now. I mean, people then this could be this was a tick. I mean, this was a very, very, very persnickety ticking time bomb type thing where you have to cut the right wire to make sure this guy's gonna make the day. I mean, it make the difference here because it's like it you could see how easily his whole thing could have gone wrong.

[14:38] Alex Brightman: I mean, it's about taste. Like, I think he's undeniable now, but I wasn't a guy that was gonna I wasn't investing my millions of dollars on this movie hoping that Ace Ventura would be an like a home run.

[14:52] Alex Brightman: Well, watching him in that scene, that's just him at a table. This is in Finders Keepers, him at a table with a person with Brian Dennehy pacing in the background, and it's this sort of like kind of like small table conversation. The amount of faces he goes through in that is ridiculous. It's so crazy.

[15:11] Alex Brightman: And yet I will say, like, and maybe this is just because I love him and I know him now and everything he does, and you know what his subtlety is, like his version of subtlety, then maybe it is good. But I at the time you're like, I don't know, this doesn't look like anything I've ever seen, so I don't know as a human how I'm supposed to process this.

[15:28] Alex Brightman: Like objectively, watching the scene, he is the extra extra in this because it took me out of like the genre that this by an hour and a half when is the first time we see Jim Carrey in this movie. The reality that was established, he doesn't seem to fit. And so to your point, I don't quite understand how you know who he knew, whose cousin he was, whatever it was to get into that scene.

[15:54] Alex Brightman: But yeah, so I I but objectively speaking, can is it easier for you to to say I guess he should have been in the movie? Because otherwise for me it just didn't it didn't fit. Not knowing who he is now, if I didn't know that and I was just like new to this earth and this planet and watched this, he still would have taken me out of that scene.

[16:14] Alex Brightman: I did draw to note down about that, which I find fascinating, which is Jim Carrey feels like the punchline to a joke, and the joke is only on me. Like literally, it's just building up, building up to like who's this body belong to, who is it, and the joke is it belongs to this weird dweeby kid, and that dweeby kid happens to be 20 million dollars making Jim Carrey.

[16:36] Alex Brightman: Yeah. And the name of that kid having to be completely made up by a complete stranger who didn't know he existed, and it's exact its exact name and the exact location he made up on the train, and he happens to live there, and he happens to have the exact name. And he happens to be a war deserter, so he is technically a veteran.

[16:53] Alex Brightman: Can I also say with all of that being said, that the guy that starred in this movie, he got a lot more than he bargained for. If I'm being quite honest. Like if now that we're hearing all this, like this this premise, the log line of this movie really, really, really makes good on its promise.

[17:11] Alex Brightman: Excellent callback. Very excellent callback. Alex, why don't you explain the plot of this film? Ignoring the Jim Carrey of it all. I want to hear you try to explain the plot in the height of the.

[17:23] Alex Brightman: I mean to watch it four times. I watched at least three to four times due to delays, so I understand the plot really well. It's like one of your eyes is purple. You're like, I've seen it four times. I'm just switching it.

[17:36] Alex Brightman: Um you're gonna have to help me with the character names because I was legitimately, you know, watching uh by the bell's been picked paper figures moving around the screen. I wasn't investing in the humans. Uh it's about a a guy who it's about this guy who uh has a roller uh a roller derby team uh and and he can't pay them and then he thinks that another guy's gonna pay him and he runs away because he can't, and they and so they chase him.

[18:00] Alex Brightman: He, like any good hijinks, he stumble quite literally stumbles onto this other plot of two people that are trying to uh move money. They have this coffin that that needs to uh go one way, and he uh the uh because he's oh he's naked. That's important actually, a part of this movie. He he gets naked in the bathtub. He's naked in a bathtub because he sleeps with this the the our officer or the the captain of the police wife, and so he gets kicked out of this house.

[18:30] Alex Brightman: Because also, like, is that's a bit of a Ferris Bueller thing, too. He's like, hey, he like goes in this backyard and he's like, how's it going? Uh and then he I love how when the chief of police comes in and uh comes back home into the house, he goes, Oh, not again. Not again. He sees the he sees a roller skate and a pair of pants, and he says, not again. No, no, uh, she's at it again. That's what he said. She's at it again.

[18:52] Alex Brightman: Um but he needs clothing, so he goes to this pawn shop and he gets this kind of military service outfit. How am I supposed to get here? I yeah, I mistaken identities. It's every fucking movie you've ever seen at this mistaken identity is. I am actually fascinated by this film. Specifically, like, would we say it's a film that logistically makes sense beginning to end? You follow every plot point.

[19:13] Alex Brightman: Like there's no idea. No, you were just gonna say, I thought you were just gonna say, is is this a film? Question mark. It's more than a film that we've watched, but I I will say the first actual film we've watched. It's awesome. It's the first watch TV movies and porn. Yeah, yeah. This is a step up.

[19:30] Alex Brightman: It is impressive that they were able to make this film because they were originally given a schedule of nine weeks to shoot, and then it got cut to six weeks while shooting. So they had to cut major subplots and really trim this together while shooting.

[19:43] Alex Brightman: So yeah, doesn't it? I am surprised it makes I'm surprised it makes sense as much as it does, and that I wasn't like, what's going on? Who are these people? XYZ things. And it's still over an hour and a half long.

[19:55] Alex Brightman: Yes. Or at least the info I found it was intended to be nine weeks. Then Richard Lester is like, no, we can do it in six, and then didn't in six. That sounds like a very Richard Lester thing to do. Does anyone know who Richard Lester is? Because he has a director of Finders Keepers.

[20:11] Alex Brightman: He's the director of Finders Keepers. I have it right here because I have everything everything uh built up here. But he's what is it? It was he did one, it was a hard day's night. And help, and a funny thing happened on the way to the forum. All of these things, like he and Superman 3, and Superman 2, he took over for Richard Donner after Richard Donner was fired. He worked a lot with the Beatles and Paul McCartney, even up to now. And somehow or another, at age 91, he is still kicking, um, retired and living off those royalty checks.

[20:41] Alex Brightman: So I find him fascinating as a comedy director because he kind of hit it big once and rode that to success for the rest of his career. Well, I will also say though, I mean, it it makes uh now Superman 3 makes a lot of sense to me, actually. Did he get honestly bargained for? He got yeah, he got a lot more than he bargained for. Richard Pryor got more than he bargained for. Especially during the night during the 80s.

[21:08] Alex Brightman: Yeah. Oh, oh yeah. Um, I I just find Richard Lester to be an interesting person that's career. I I don't think there's another career like him who you can both do help a funny thing happen to the ways of the form, Superman 3 and Finders's Keepers, and it is all in a trajectory of that. I am very curious as to if a director like that existed, where does Finders's Keepers find its way across your desk?

[21:33] Alex Brightman: Um, so CBS Productions, I think this is like one of the like two films that they made on a very cheap budget, and even then they didn't quite have the money to distribute it. And it was a film that they made and released in only 753 theaters and flopped, and wondered why did it flop. There was no marketing behind this. And to this film's credit, unlike everything else we've covered, they have not tried to market on the success of Jim Carrey after its release.

[22:02] Alex Brightman: They didn't just slap his face on the cover and say this is a Jim Carrey film, like everything else we've done. Could you imagine if you bought this under the premise that Jim Carrey's in this movie? Oh, I can. Have you seen All in Good Taste, which is a porno that has Jim Carrey in the background, but every VHS has his face all over it.

[22:20] Alex Brightman: No, but I will now. I will now. He has no lines in there. All he does is hold a camera on his penis and doesn't speak.

[22:29] Alex Brightman: Yeah, what's the so what's the part? What's the bad part? I'll send you that one. The first time I've seen a movie like that. You see a hasty butt. First time I've started a movie like that. It's funny. Yeah, come on. Yeah. Who hasn't done that? I'll unforget your contact influence and send this, send that to you afterwards. Yeah, I want this on the record, actually. I want all three of you to lose my contact until after this.

[22:53] Alex Brightman: This is our 27 minutes in. This is the worst. Yeah. I I completely understand that. Um but let's go into some trivia first before we lose that contact. Um so first and foremost, five million dollars is the MacGuffin of this story. Um and the film takes place in 1973, according to the title card. So, what do we think with inflation that would be worth today? And we're gonna play a game of higher or lower.

[23:20] Alex Brightman: Um, Alex, you can go last. Liz, how much do you think it's worth and don't look at the doc. I already liked at the dock like 20 minutes ago, so I'm just gonna go. Alright, well then take a guess now, even though you've looked at the doc. Get it right. Uh 100 million.

[23:32] Alan Seales: No, Alan. Uh uh 1973, 5 million dollars. I'm gonna say 40 million today.

[23:41] Alex Brightman: Okay, and Alex, you're the last one. Are we doing prices right rules?

[23:46] Alex Brightman: Yes. Okay, then I'm gonna go uh I'm gonna say 55 million dollars. Oof. All of you went a little too high, but I don't blame you because this is the horrible world we are. It was 33.5-ish million dollars with an increase of around 28 million dollars over 50 years.

[24:06] Alex Brightman: I should have said $1, Bob. At the end, when I just saw them like pushing together like barely any stacks of money, I'm like, man, that doesn't look like that much. Yeah, the amount of things that you'd have to go that I'm thinking of having that movie to just get five million, and I'm I'm not coming from a place of that type of financial privilege necessarily by saying this, but like even 33 million, you're like, that's a lot to go through.

[24:32] Alex Brightman: I'd be like, you know what? I'm good with one million. This is so I'm because all of there's gonna be a lot of like hot hospital bills to pay after this, and like, you know, you have like a basic sword fight on a moving house. It's like there's a there's a lot. This is one of those movies. I I told my wife this. I said, to explain the tone of this movie. Near the end, there is a fight on a moving house, like moving a house on a truck, and the house, all of the walls and roof get stripped away scenario, which is kind of a really fun thing, by the way, to watch the kind of moving house. Very cool.

[25:05] Alex Brightman: And clearly had to be live because of when it was. It's very, very dangerous, and it looks dangerous.

[25:11] Alex Brightman: It's cool. Um, the the main guy kicks uh the the snigly whiplash guy down the stairs, and he falls down the stairs and hits every uh step on the way down, and each and and it goes uh he goes clack and he goes this, he goes, which is like the most cartoony, like Elmer Fud, like, and that's most of the movie. Like, there's a guy. Oh, what is the there's a oh, there's a I think actually in that part there's a dentist that's like now hold real still, and he's like it's like an extra. This isn't gonna hurt this isn't gonna hurt a bit. And he gets clocked on the head, and then he puts the drill like in the guy's crotch. And it's but there's and there's and you want to be like, you know, for me now, because I do a a shitload of writing. I want to be like, well, what's that guy? Like, where let's let's talk, like how did that guy get there that day?

[26:07] Alex Brightman: Sorry! All right, enough's enough. Give me the money. We'll do this together. I want to pitch a movie that is that is not a prequel. It's like whatever you call it, and like this, like when the camera, it's like wicked. Like, you know, it's happening during the Wizard of Oz, but you move the camera stage right a little. Rosencan Gilders turn or something.

[26:32] Alex Brightman: Exactly. We'll do a whole movie about this guy's day. It's gonna seem like nothing. It's gonna seem dramatic. There's almost no comedy in it. There's like there's like uh uh domestic turmoil. One of his kids is trying to get into college, but he has like a you know a dark past. And then this guy goes to this dentist every day to get kind of some advice. And so he goes, um, he always says the dentist goes, now this one hurt a bit, right? And he says, This one hurt a bit. And at the end, you know, he talks about this thing that's really emotional. He says, and just so you know, this won't hurt a bit. And then he gets clocked in the head, and he gets and the thing goes in the crotch, and we realize in that moment that this was all in the world of the finder keepers verse.

[27:13] Alex Brightman: Can we do that? I like it. I like the game. Do you guys need time? Richard Lester's approval, and like we need his blessing, of course. We're gonna pitch this to TNT. I think it'll be like I I think we shouldn't reveal it's in the finders keepers and just call it sad dentist, and then people that know will know.

[27:34] Alex Brightman: I can already see like the vulture article be like, Did you know that sad dentist and finder's keepers are related? By the way, I can't believe how quickly I got on board with sad dentist as a title. Right away. I was like, this is now our project. I mean I like sad. I got young young Sheldon.

[27:52] Alex Brightman: It's in the same vein as that. You gotta really just face titles. Here's how we tie it all together, though. Is that at the end, there's like a funeral for the guy, the dad that's that gets, you know, the sad dentist accidentally kills via crotch injury. Yeah, we're happiness. But we're at the funeral, and people are coming up to the guy's wife, sorry for your loss, I'm so sorry. The kid gets into college, like that's the thing, that's the win. Is like he gets to college, but his dad never gets to see him do it. And so finally this guy comes up and he goes, Your father was a good man, and we pan up and it's Jim Carrey. Tell me, tell me that you regret having me on this podcast. I am so sold on this, like, because Jim Carrey hates sequels.

Like, imagine that's the one he comes back to. Come on. Awesome. That would be so in his that's that's completely in his thing to do. Are you kidding? I know that the critics will love that, but let's figure out what the critics thought of Finders's Keepers when this came out. So, do we think they were positive or negative or in the middle? I'm torn. Honestly. Because I'd have to think about the time in which it came out, too. Like what other movies were coming out right then. That was that's a big deal. Do we know? It came out two years before Back to the Future, 1983. Let me try to think of what came out in last year. That was later in the 80s. This came out the same year as Return of the Jedi.

So let's put that into perspective. I honestly think it probably didn't get I I'm thinking it didn't get panned. I'm thinking it's either mixed or maybe even slight positive reviews, just because it's one of those like it is not a not feel-good movie. It's kind of fun to watch. It's it's silly and it has it's not it's not hurting anybody. I think we have the same year as Ghostbusters. Oh. Well, it's certainly not gonna. I mean, I'm I'm even surprised it got cop. Oh god. If those movies came out all the same time, I'm surprised this movie got reviewed. I don't remember. I'm surprised at dinner they just go, Yeah, it's a movie. This is the first episode we have actual critics to talk about rather than IMDB users who happen to watch the movie.

Right. So Variety reviewed this film on December 31st, 1983, stating, and this is basically their entire review. Director Richard Lester returns to his Pell Mel trademark, and the result is maddening. Interesting cast is wasted, right? Yeah. Ow. And then they can then the movie cuts it into a poll quote and it just says, Beverly D'Angelo. Right, dot dot dot. Beverly D'Angelo. Exactly. I love the way she says the badly dated slurs. Alright, let's see what the New York Times said. Because we all know that they are a paragon of integrity when it comes to reviewing content, right? And by the way, kids, this was not online. These were this was wasted ink. Yes. This was in the print. This was in print.

You couldn't look this one up. You had to go and search this review out. And this is from Vincent Canby, um, written May 18th, 1984. Finder's Keepers has a lot of charm, best described as loose-jointed. It's not especially graceful, but it grows increasingly funny as it approaches the Nebraska showdown. Though the pacing of the film is uneven, its high points stand out like clumps of trees in the flat Nebraska landscape. Finders keepers and is unexpectedly satisfying. The good humor and the wit are even retroactive, making the opening sequences seem funnier than they actually were. Let's take a look at is this Liz, you found this review. Is this from IMDB or is it from just some guy writing a blog?

No, no, this is from IMDB. This is back before I knew we had critic reviews, so I went on I went to my old homestead of IMDB. Yeah. And I found one that is funny for like a few at least a few sentences, because most of them were this movie's great. I love it. Why is it on DVD yet? These were written in like 2003. So it just got a Blu-ray release, fun fact, everyone. Like just people love it. I was curious. Yeah, I was I was I was one of my thoughts was that I want us to be able to see it more clearly. Digitally remastered hijinks. Okay, so this is from uh this is called Laugh So Hard I Almost Hurt Myself. Okay. It was written in January of 2004. Full 20 years after the film came out. Wait, that's that's the whole review?

No, no, that's no. No, that's the that's what it's called. Okay, okay. There's more. That's the title. I first saw this at a drive-in. It made me laugh so hard, I fell to the floor. As a six-foot three driver slipping beneath the steering wheel, this was no minor accomplishment. This is a misspelling in the review. Nor was distangling myself and escaping so I could sit up again. I felt the movie delivered one pleasant surprise after another, presenting unpredictable and hilarious situations. The pace seemed to start deliberately slow so that I could stead that it could steadily build. What some consider uneven pacing stuck with me as a gift that allowed me to occasionally catch my breath. Now, if only it'd be released on DVD.

Gotta wait ten years, but we'll get it. You'll get it, my friend. Well, I want to say before you say that, because I think that actually warms my heart in this idea that this movie was for someone. You know what I mean? Like I don't even mean that in an like a comedy way. I actually loved how positive and heartwarmed this guy was by the movie. And it goes to show you that even truckers have taste. This movie's for somebody, man. That's the thing. This movie's for people. You know what I mean? It's not that's why we're here talking about it, by the way. Looks like the joke's on us, really, if we're talking about what Drive and was showing Finders's Keepers, though. In 2004, what about the 753 theaters?

Yeah. No, this isn't 2004. So this is like 20 years after. Oh, geez. Well, then it's gotta be, it has to be then because I've driven like through Ohio, where like what you're seeing is like you're seeing like fireworks shacks, church, porn shop, and then it just like repeats, and then probably there's like a drive-in somewhere in there that's like Finders's Keepers. We found it in the garbage, but he's which is by the way, if Finders's Keepers is the combination of fireworks, church, and porn. Wow. That's a thinker, but it's real. No, no, it's not yeah. Um church, porn. Finders keepers. So today I'm U-Ray. I've heard a rumor recently, and I need you to confirm or deny this. It's true that you are actually working on a musical adaptation of Finders's Keepers, and you come in here to try to basically shadow promote it before it's even like hit off Broadway.

Is this the truth? Yeah, if so, who are you just involved in the writing creative process, or are you also starring? What what's the plan there? I have no real aspirations to be in it, just because when I write something, I like to not write for myself, just because I want to be fair and balanced for the other actors. Um, and I'm a big believer in collaboration. So and I also don't know how to write music. So um right now it's me and John Batiste from the late show with Stephen Colbert, um, are are kind of collaborating on this idea. Um we kind of like stumbled upon our mutual interest in this over like we had coffee at a really expensive place, by the way. I want that to be uh on, I want that to be recorded.

Uh and uh I paid. Oh I know yeah, yeah. Well, see, and your surprise really makes me upset because I wouldn't know you got that Beetlejuice money. Yeah, that's right. Beetlejuice the the like the the the Beetlejuice Corporation paid for the uh for the for the one espresso and hot tea. Michael Keen paid. Exactly. Yeah. Um, so the two of us are are doing it. Uh we have an offer out to Tina Landau to direct. Um and our dream cast, I mean, we're doing some like little tiny chemistry reads right now, but uh I have um in her what would be a stage debut, or at least New York's stage debut is Jennifer Coolidge as the Beverly D'Angelo part to play what is the lead guy's name? I should know this because I'm writing it.

What is his name? His name neither do you guys. That makes me feel better. His name is Michael Wrangle. Wrangeloff. That's his name that's the character's name, right? Yeah, yes. The uh Wrangeloff is gonna be uh is gonna be uh Chris Fitzgerald. Ooh, that is a choice. Well, he's like, you know, like when you see him on stage and he walks in, you're gonna be like, that guy is gonna probably get a lot more than he bargained for, I imagine. Um then I think uh like I think in the Jim Carrey role, like I think we would do that thing where like that every once in a while you'll like that it's gonna be like, oh, it's Bruce Valanche, like for two or one or two, and then it'll be like kind of a rotating because it's such a small thing.

And then eventually the idea is to, you know, possibly put Jim Carrey in for a week and kind of like pre-sell out the show um as more of like a like a stunt casting thing, obviously, but we wouldn't be able to get him for a run. So we would get him like for a very special kind of thing. We'd get Broadway.com and on the Broadway World to get cameras in there for the curtain call and we'd get an interview with him backstage. That's purely for ticket sales. He wouldn't do the, you know, we'd now who are you put getting to play the sentry, the the father character. Would that would that be a stunt casting role or yeah, I think so. Um, but I think the we're not gonna have him sing. So I think like that's gonna kind of be an interesting thing that could be like a thinker on the ride home.

Like, why didn't he sing? Um like Al Roker. Well, I was thinking, I was thinking, yeah, like I was thinking Al Roker. Again, we're riding on popularity here, so like things like uh I mean I think Wendell Pierce doesn't have to sing at all. Not that this would be like classic traditional casting for the role, but like br uh uh Brian Cox, because he's like sort of sick of doing succession, and he just kind of wants um he just wants to try some. He's reached out and was like, I want to try something different. I'm so I'm so sick of this character, and so I want to play something wildly different. Um he's obviously, and this is not this is not news, he's always wanted to work with Tina Lando. So like there's this is like one of those like right two giants meeting um for this thing.

So I'm really I would say I don't I don't use this term lightly, but I am like blessed and grateful to be able to have all these people really working towards a similar goal. Hashtag breath. We just did a mini episode of Make Me a Musical in this other podcast I forgot to warn you guys that I will if you just tell me to do something, I'll do it. So you commit to the bitch and I respect me. If anyone's ever worked with me or had me on anything, is that I will commit to a point of uh to you going, well, we were kidding. We were kidding, Alec. We were kidding. I get a lot of that. I get a lot of are you serious question mark, or we were just kidding. I think that was enough of a break where I can go back to what the rest of the world thought of Finders's Keepers.

Are you ready for letterbox game? Five star, one star, where Liz and I are gonna ask you and Alan to go head to head, and we're gonna read you each a letterbox review that actually exists, and you have to guess whether it was a one-star review or a five-star review based only on the contents of it alone. Can I ask you a channel? I will say this movie has a go ahead, Alex. No, you go ahead. No, you go ahead. Stop fighting. Stop fighting! Mom and Dad, stop. Stop. I just want to know if you if you ever have done this podcast without a microphone in front of you. Have you just done this in like your bed and something like that? Because you're so good at it. Thank you. No. Did you ever do this when you were younger and like boy, I can't wait to have a mic in front of me someday?

Um, I'm ready for this game. Sorry. I just thought I was I was complimenting your hosting skills. No worries. I appreciate it. Um I've been doing it for a while. Liz, do you want to be on Team Alan and I'll take Team Alex? Sound good. Oh, A. This is gonna be hard. Oh, you actually wrote out the names. Look at that. Liz, why don't you and Alan start and set up the premise of the game? Are you ready, Alec? I'm I'm ready. And I have I have yet to be defeated in these episodes. Okay, cool. I'm not very clear. I'm not uh I'm not a competitive human being, so if you win, I'm as happy as I was before we started. Let's get this started. This review was originally in French, but I translated it using Google Translate, so it might not be accurate.

I won't be a good one. I can't do a French accent. I'm not gonna insult anybody. I took Italian in high school, so I disagree with the accent they just used. If you're in the mood for a comedic chase across America, that's fine. That's hard. That's a really funny review. Oh goodness, this is starting to get hard. They were more obvious before. Uh I'm gonna go with a one-star. That's a five star. No. Well, you do have to take into account the interpretation. I yeah. Looking back, that was a bad choice. Because the read, the read was that's fine, but it could have been like that's fine, you know. That's very fine. Yeah. Yes. I took Italian. I don't uh this is not me saying any accents. Everyone's cool.

He did so many accents before we hit record. And I will deny this and I will sue you into the ground. That's fine. Alright, Alex, are you ready? Yes, I am. Okay. Viewed in 1984. Yeah, definitely. Uh that is a four-star review. That is a one-star! And just so you know, it is a binary. It's either one or five, no middles.

[41:48] Alex Brightman: Oh, it's one or five?

[41:49] Jesse McAnally: I thought it was one to five.

[41:50] Alan Seales: Nope, one or five.

[41:52] Jesse McAnally: Okay, then one.

[41:53] Alan Seales: Just to make it a little easier.

[41:54] Alex Brightman: Yes, it is.

[41:57] Alan Seales: One point for Alice.

[42:00] Jesse McAnally: Hey, brown noser.

[42:01] Alan Seales: We don't change the rules.

[42:03] Alex Brightman: Well, I don't care. I'm not competitive.

[42:04] Alan Seales: So far, so good.

[42:06] Jesse McAnally: But he definitely won't do a French accent.

[42:09] Alan Seales: Alright, your turn.

[42:11] Alex Brightman: Accurate representation of cops.

[42:15] Jesse McAnally: Five star.

[42:16] Alan Seales: Five stars.

[42:17] Alex Brightman: I'm gonna need I need the date of that one.

[42:21] Jesse McAnally: No!

[42:22] Alan Seales: It's a more recent review.

[42:24] Alex Brightman: Uh I can act I get the date. I have to look for it.

[42:26] Jesse McAnally: I'd be so curious. I bet that would have to do with the date.

[42:29] Alan Seales: Did I did I not have the context again?

[42:31] Alex Brightman: It was accurate representation of cops.

[42:34] Alan Seales: Uh it was written in 2018.

[42:38] Jesse McAnally: Not quite not quite there.

[42:40] Alan Seales: Nope.

[42:40] Alex Brightman: Alright.

[42:41] Jesse McAnally: Oh for two.

[42:42] Alan Seales: Alright.

[42:43] Alex Brightman: Or someone well ahead of their time.

[42:44] Jesse McAnally: Continue.

[42:46] Alex Brightman: I watched this on a really shitty Russian YouTube upload while playing LEGO City undercover.

[42:53] Jesse McAnally: It's gotta be five.

[42:55] Alan Seales: That is a one star.

[42:57] Alex Brightman: Ooh.

[42:59] Jesse McAnally: The Russian hit bag.

[43:01] Alex Brightman: It's so fun.

[43:02] Jesse McAnally: That's so funny. I love that.

[43:05] Alex Brightman: I do. I genuinely love that. That's so funny.

[43:07] Jesse McAnally: I could read these all day. That's really funny.

[43:10] Alex Brightman: Ed Louder has hair.

[43:13] Jesse McAnally: Kinda.

[43:14] Alex Brightman: And a very young and hilarious Jim Carrey.

[43:14] Jesse McAnally: Jim Carrey.

[43:21] Alex Brightman: Young and hilarious Jim Carrey.

[43:23] Jesse McAnally: I was gonna go one until they mention Jim Carrey. I'm giving that a five.

[43:26] Alan Seales: That's right.

[43:27] Jesse McAnally: Yes.

[43:28] Alan Seales: Yeah, nice.

[43:30] Alex Brightman: Very, very nice.

[43:31] Alan Seales: Alright. Alex, we got this. We can take it back.

[43:33] Jesse McAnally: We can we can get back from this.

[43:35] Alex Brightman: Okay, I believe in us.

[43:38] Jesse McAnally: Watch this because I saw the movie poster on Tumblr and never heard of it.

[43:44] Alan Seales: That's a five.

[43:46] Jesse McAnally: That is correct!

[43:51] Alex Brightman: What you can't see over onto my right is I'm flipping a coin.

[43:56] Alan Seales: That is the best way to play this game and the only way for success.

[44:00] Jesse McAnally: Yeah.

[44:02] Alan Seales: Alright, Liz, last one.

[44:04] Alex Brightman: B eighty-four, watched in 2019.

[44:08] Jesse McAnally: B eight like bingo?

[44:10] Alan Seales: Yeah.

[44:11] Jesse McAnally: Yeah, it's the bingo format.

[44:13] Alan Seales: Yeah, no, because the B's are much lower, but go ahead.

[44:17] Alex Brightman: Damn it. Wait, read read the whole thing again.

[44:20] Alan Seales: I got I got focused on bingo.

[44:22] Alex Brightman: B eighty-four, so like the bingo.

[44:25] Alan Seales: Right. And then watched in 2019.

[44:31] Jesse McAnally: One star.

[44:32] Alex Brightman: Five stars.

[44:33] Alan Seales: No!

[44:34] Jesse McAnally: Alex, if you get this right, we win.

[44:37] Alex Brightman: When Richard Lester directed this movie, he was only 52.

[44:41] Alan Seales: And with it, he was pretty much done.

[44:44] Jesse McAnally: Oh no, come on.

[44:47] Alex Brightman: I mean, I I I I wanna win. So I'm gonna unless this is one of those like fake, you know, fake outs, but I'm gonna say one star.

[44:54] Alan Seales: That was a five star!

[44:56] Jesse McAnally: And we have a tie, so you guys are both equally.

[44:59] Alex Brightman: So the streak continues.

[45:01] Alan Seales: As this game as I thought it would be.

[45:03] Jesse McAnally: The street continues.

[45:04] Alex Brightman: But you made me feel guilty about liking to win now, Alex.

[45:07] Alan Seales: So I I didn't a I didn't say anything about you.

[45:11] Alex Brightman: That's on you, baby.

[45:12] Alan Seales: I don't I said I think about it.

[45:14] Alex Brightman: The judgment was there.

[45:15] Alan Seales: Mom, Dad, stop fighting.

[45:17] Alex Brightman: I can tell you a quick this quick story to it uh this is the quick story. Somebody go even put it in Definder's Keepers's Land if you want.

[45:22] Alan Seales: I can replace the thing we were talking about.

[45:24] Alex Brightman: He's talking to a friend about Finders's Keepers, right?

[45:27] Alan Seales: Okay.

[45:27] Alex Brightman: And he's and he said something about Finders's Keepers. And I was like, ugh, dreadful movie. And he went, he went, What? I said, I didn't like that movie. He says, Really? I said, Yeah, I think it's a pretty bad movie. And he goes, We might have to fight about that. And I said, No, we don't. You can think whatever you'd like, and I'm gonna think whatever I'm gonna like.

[45:42] Alex Brightman: And he was flabbergasted at how the conversation ended. He was like, we're not gonna talk about it. I was like, we don't need to. I have you are not going to change my mind. And I have no intention of changing yours. That's how I feel. And it's made my life really easy.

[45:54] Alan Seales: There was no resentment there, Alan. If you want to win that badly, then you then let's just say that you win.

[46:01] Alex Brightman: No, well now.

[46:02] Alan Seales: Pissing me off how well you handle the internet, sir.

[46:05] Alex Brightman: Yeah.

[46:06] Alan Seales: Me?

[46:07] Alex Brightman: Yes.

[46:08] Alan Seales: Yeah. Like, man, I should just do that.

[46:10] Alex Brightman: Well, I got off of social media and it was, it was, it was uh like akin to orgasm, how great it felt to be off of that.

[46:19] Alan Seales: I had to keep trudging forward. But the thing is, you went toward the darkness and came out with light with the Finders's Keepers's musical that you are now workshopping at the New York Theater Workshop.

[46:29] Alex Brightman: Tickets are on sale next week. Um please, please um call the box office. And if you are a big fan of Wicked, I would see it soon because we are taking the Gershwin.

[46:42] Alan Seales: So sorry, Steven Schwartz.

[46:47] Alex Brightman: Try to find Wicked, maybe in a movie theater, I guess, if we don't cancel that too.

[46:54] Jesse McAnally: So to wrap this on up, let us give us our final ratings. And our rating system is either an alrighty then or a no spank you. Um, Alan, why don't you go first? Is it an already then or a no spank you?

[47:09] Alan Seales: Considering the previous uh source material that we have been reviewing, this I'm giving this an alrighty then. I did not hate it.

[47:19] Alex Brightman: That's fair enough. Liz, what about you?

[47:22] Liz Eston: Um, it wasn't porn and it didn't look like crap, so I'm gonna give it an alrighty thing.

[47:30] Alex Brightman: You know what? I cannot I I know how Alex feels walking into this because we felt that the last three episodes. So I feel like this is the lightest of light alrighty then because it was a movie with a plot and actors I recognized and songs I liked. So there was at least three silver linings. Um paint praise, but we'll we'll just have to deal with that.

[47:56] Alex Brightman: And Alex, what about you?

[47:59] Alex Brightman: For the sole fact that it made me feel like what it would feel like to watch a grindhouse film in in uh old 70s or s New York. Um, because I've never done that and always wanted to. Uh, and for the fact that, you know, I feel like not only did the lead character, but I got more than I bargained for. I'm gonna give this a pretty hearty alrighty then.

[48:27] Jesse McAnally: Hell yeah!

[48:29] Alan Seales: Yeah.

[48:31] Jesse McAnally: Thank you for listening. Alex, you were a wonderful guest. Please, I know you say you don't have many socials to promote, but I'm sure you've got other things you would like people to look at. So promote them for the world to hear.

[48:42] Alex Brightman: Um, okay, yeah, I can actually. I can promote um one thing. It's it's uh I do, I'm on a couple cartoons that you can check out. Um I'm on a cartoon on YouTube Red called Hell of a Boss, which has a really fun following.

[48:54] Alex Brightman: Uh there are two seasons of a show on Netflix called Dead End Paranormal Park. Um we just found out we're not getting a third season, so watch the the uh the first two as what they are. I think they're beautiful.

[49:05] Alex Brightman: There's a musical episode in the first uh season written by the lead singer of Fallout Boy, Patrick Stump.

[49:10] Alex Brightman: I'm back. Oh yeah, I talk now. This is not okay. Would you like to know what your butt smells?

[49:16] Alex Brightman: Tell me. Oh, and I also have magic powers. Um it's a really fun series, and I do uh some of these signings uh for these things quite a bit, and I sort of released them on streamily.com. Am I allowed to promote another website?

[49:32] Alex Brightman: Um streamally.com. I guess that's true. There's my dog. Hey, dog.

[49:36] Alex Brightman: Oh my gosh, dog. Hey Kevin. He's been there the whole time. And he was hit his sort of like his sleeping on his back was sort of like the metaphor of me watching Finders's Keepers.

[49:46] Jesse McAnally: Um but did he like Finders's Keepers?

[49:49] Alex Brightman: He didn't. I I kept that away from my son.

[49:52] Jesse McAnally: Okay.

[49:53] Alex Brightman: I am not letting my son watch such heresy. Um so no, I do these. If you want to if you want to check out this uh my shop on Streamly, I have the stuff that I sign there and and prints and all that kind of stuff, and and people seem to enjoy them, which I would have never guessed, but it's streamily.com, S-T-R-E-A-M-I-L-Y.com, and you can just search my name.

[50:15] Alex Brightman: Other than that, I'm around. I'm doing some writing. I'm not on social media, so you don't get to hear my thoughts aside from podcasts. Um, or if you find me on the street, and if you see me on the street in New York City, say hello and just be nice and don't be creepy.

[50:29] Jesse McAnally: Um Damn. You hear that, kids?

[50:34] Alex Brightman: That is the the verbal equivalent of don't don't uh don't step on the grass. There's the signs there for a reason.

[50:40] Jesse McAnally: Don't be a weirdo.

[50:42] Alex Brightman: Just be nice. You know what? You can be a weirdo, just be nice. Don't be creepy.

[50:46] Jesse McAnally: Alright. Um, Alex, this was wonderful. Alan, I know you've got podcasts and galore to promote, so promote those for the world to hear just in case.

[50:54] Alan Seales: Oh goodness! Oh, the theater podcast with Alan Seales. Uh, was it Chance, which is a podcast I co-host um carry it away. Perhaps you've heard of it. It's this podcast I co-host with Liz and Jesse, and sometimes extra special guests.

[51:07] Alan Seales: And uh I think that's about it at the moment.

[51:11] Jesse McAnally: Yeah, we'll go with that.

[51:12] Liz Eston: Uh I'm on Twitter at Elizabeth Eston.

[51:17] Liz Eston: I my letterboxed account is Lizbird910 if you want to hear my weird opinions.

[51:22] Alex Brightman: Um I will. I'm definitely getting that.

[51:25] Liz Eston: I'm definitely going on that.

[51:27] Liz Eston: Uh also I'm on this podcast, obviously. And I I um you co-host of Patreon with Cheese, the Musicals of Cheese Patreon podcast.

[51:35] Liz Eston: Join the musical cheese Patreon to listen.

[51:37] Alex Brightman: And I'm sometimes on musicals with cheese.

[51:39] Liz Eston: So yes.

[51:40] Liz Eston: Um I am the host of Musicals with Cheese. You can find that with my co-host Andrew DeWolf.

[51:45] Liz Eston: I am also the host of the Dear Friends podcast with uh Christy Asterly and Emily Clark. You might know Emily Clark.

[51:51] Alex Brightman: You roll in that Ryan Scott Oliver world.

[51:54] Liz Eston: Uh for a sec, you I didn't you didn't finish the K in Clark, and I was like, that sounds like yeah, of course I do.

[52:00] Alex Brightman: Okay.

[52:00] Liz Eston: Yeah.

[52:01] Liz Eston: You roll with the grace Akies of the world too. Like you, you know, you know my mutes.

[52:04] Alex Brightman: Of course.

[52:05] Liz Eston: Love. Love, love.

[52:06] Alex Brightman: You say mutes?

[52:08] Liz Eston: Mamut's mutuals.

[52:09] Alex Brightman: Oh boy.

[52:10] Liz Eston: But I talked about it. We should end this really soon.

[52:14] Jesse McAnally: I use I like to speak in I like to speak in full words.

[52:18] Alan Seales: Oh, oh damn. Then that contact information is burnt.

[52:21] Liz Eston: It's gone forever.

[52:22] Alex Brightman: Like completely.

[52:23] Liz Eston: It's gone for Evs.

[52:25] Alan Seales: Um yeah, um, go check that out.

[52:27] Liz Eston: And also, um, not quite ready to promote that yet. I don't know when this is releasing, but other things are coming.

[52:33] Alan Seales: Um, so just so you all know, if you were waiting for other things, they're coming.

[52:38] Alex Brightman: I mean, it's a thing that Alan and Liz are very heavily involved with.

[52:42] Liz Eston: Yes, yeah. I'm working on that thing. I'm excited to hear about it.

[52:46] Jesse McAnally: Um, on that note, Alex, before we wrap this all up for good and for the rest of the week, we do want to hear a little bit of the 11 o'clock number from Finders's Keepers the Musical, if you could, please.

[52:59] Alex Brightman: I know you've been working really hard at it.

[53:01] Alex Brightman: Sure. This is um, this is the sort of the moment. You don't really, you don't really get to see a lot of this scene in the movie, but we sort of take from what we know is the source material where like the the you know that at the end of the scene, at the end of the movie where the priest has money in his in his coat or his robe.

[53:18] Alex Brightman: Um this is sort of this is Brian Cox uh talking about how he's gonna fit the bills in the coat.

[53:27] Alex Brightman: And it's uh it is like a it is a ballad, but this sort of how it it kind of begins in this sort of recitative kind of thing where it's just no real uh it's a lot of like you know, hanging violin, you know, and he kind of just says Yeah, yeah, yeah. I don't need that.

[53:40] Alex Brightman: Um these bills bills upon bills, will they fit?

[53:52] Alex Brightman: Where will they fit?

[53:54] Alex Brightman: I have a bag and a briefcase.

[53:58] Alex Brightman: But who carries briefcases these days?

[54:04] Alex Brightman: I put on my robe.

[54:06] Alex Brightman: It fits like a glove.

[54:09] Alex Brightman: But then there's these bills.

[54:12] Alex Brightman: And yet, no more love.

[54:16] Alex Brightman: Where do these bills fit?

[54:19] Alex Brightman: Where do these bills fit?

[54:23] Alex Brightman: In anywhere on the globe.

[54:26] Alex Brightman: Where do these bills fit?

[54:33] Alex Brightman: Who the fuck is gonna miss define gravity with that coming in?

[54:37] Jesse McAnally: I mean the girls got at the end, yeah.

[54:40] Alex Brightman: At the end, he puts on his collar, he goes, and he goes, Oh Bravo.

[54:49] Jesse McAnally: He's the main character now.

[54:51] Alex Brightman: Yeah. Thank you.

[54:53] Jesse McAnally: Um that was lovely, and I don't think there's any way we can top that, so we will see you next time on the carried away podcast.