Mike’s World - Minority Mindset

As a lifelong fan of Mike Myers, I can’t help but be awestruck by his extraordinary journey from Liverpool to Hollywood and back again. From his humble beginnings growing up with the Beatles as his gene pool, to becoming an iconic figure in comedy and entertainment, Mike has truly left an indelible mark on pop culture.

Following the premiere of “Austin Powers: International Man of Mystery,” a group of 100 viewers were queried if they recognized James Bond. Two individuals raised their hands. Concerned by this, the studio, New Line, suggested that creator and star Mike Myers make significant revisions and reshoots to save the film. However, Myers refused, stating “Don’t release the film.” Instead, he declared, “That’s the film.” Ultimately, Austin Powers was released in 1997 as intended by Myers, initiating a series of films that have amassed over $700 million globally.

The driving force behind the audience’s enduring connection with Myers’ characters over the past three decades is his intense passion and unwavering belief in his creative vision. Myers immerses himself completely in his characters, bringing to life iconic personas such as Wayne Campbell, Austin Powers, and Shrek, among many others. He is not afraid to stand up for even the smallest details, which has led to his remarkable success on both fronts. This places him among a select group of icons who manage to create comedy that is unique to their own humor yet relatable to audiences worldwide.

“Myers’ comedic impact and lasting influence are perhaps best illustrated by the numerous phrases he has ingrained into our shared language: ‘Excellent’, ‘Yeah, baby!‘, ‘One million dollars‘, ‘Schwing’, ‘Donkey!’, ‘Get in my belly!’, ‘Not.‘ Each character and project he touches showcases his unique ability to capture a specific idea and fine-tune it, resulting in something timeless. This extensive collection of work is why we honored Myers with our annual Honorary Degree as a Master of Culture at the Vulture Festival in Los Angeles this November, before our in-depth conversation.

Firstly, when I confer upon you the title ‘Master of Culture’, let me ask: In your own words, what is your understanding of culture? How do you personally relate and participate within it?

I was raised in a housing complex supported by the government, situated not far from Toronto. My parents hailed from England; they had met each other during their involvement in community theater. Comedy was something my father held in high regard. My son’s name, Spike, is inspired by the famous comedian, Spike Milligan, and interestingly enough, my father also shared that name. I firmly believe that culture plays a significant role in shaping our lives.

I never thought I’d be a part of culture. Here in the crowd right now is Jay Roach, the director of Austin Powers. He’s a brother from another mother, a fantastic filmmaker, and somebody who, when I moved to Los Angeles, actually went to movies. Jay is one of the most cultured people I’ve ever met, and I didn’t realize how much being around cultured people meant to me. It doesn’t require any money. My production company is called No Money Fun Films because I don’t think access to money or capital keeps you from culture.

In my opinion, culture, for me, represents the sense of coziness and pleasantness that filled our home when a comedy was playing. It’s a universally acknowledged fact. It connects us all globally. Freud once noted that laughter is a collective experience. I find myself drawn to the Toronto Maple Leafs, Liverpool Football Club, and I eagerly anticipate the first weekend of each month to catch the latest comedies.

In your younger years, you found inspiration for the character Wayne Campbell on Canadian television, while I was a punk rocker based in Toronto. Instead of shouting “Punks rule, okay?” they would say “Punks rule, okay Mom?!” in Canada. We were more likely to chew you up than bite you. However, those around me had a fondness for heavy metal music. I realized that the suburban heavy-metal culture was prevalent not just in Toronto, but across North America. Starting out in show business in Canada was financially challenging, yet this lack of monetary incentive allowed me to take more risks and be more experimental. Since there were fewer consequences for my actions in Canada, it served as a sort of training ground for me to accumulate the necessary 10,000 hours before venturing into the mainstream.

Here’s an example of you playing Wayne from 40 years ago on the Canadian show City Limits.

https://youtube.com/watch?v=1035629203?badge=0&autopause=0&player_id=0&app_id=58479

At 3:30 in the morning, that spontaneous performance took place on Canadian television. My close friend, Chris Ward, who’s a member of Ming Tea alongside Susanna Hoffs (married to Jay), was involved.

At that juncture, you’d been acquainted with Wayne for quite some time. Could you share your unique perspective or methods when dealing with him?

Among my favorite comedians, Peter Sellers stands out as one of the most committed. He believed there was little distinction between dramatic and comedic acting, viewing genuine comedic performance as primarily dramatic acting with a slight touch of commentary, or about 0.01%. You might recall Phil Hartman – comedy is like gold, requiring just a hint of impurity, and his was minimal. It was total commitment. However, comedy acting involves swift changes between moods that are faster than real life experiences. In a dramatic play, you gradually build up to the change. In comedy, it could be “laugh, laugh, laugh… now leave!” That sudden shift is the impurity where reality isn’t the focus – there’s exaggeration instead.

Raised in Scarborough, Ontario, I excelled academically – I even composed an essay comparing and contrasting the plot of “The Spy Who Loved Me” with Joseph Campbell’s cosmogonic monomyth cycle. However, despite my scholarly pursuits, I yearned for a more lively social circle. Instead of associating with intellectuals, I preferred to mingle with the party crowd. Consequently, I endeavored to portray Wayne as someone who possesses an impressive wealth of knowledge, yet remains adaptable enough to fit various scenarios.

Over the course of the story, did the character instead develop a stronger emotional connection towards Canada and express more sentimentality, rather than resembling me?

Before getting cast on Saturday Night Live, I lived in England from 1983. Although SNL aired there, I didn’t watch it as my top-loading VCR conflicted with the Toronto Maple Leafs game. Since everyone in England was unaware of SNL, I would often go out for cheeseburgers with friends, and once I repeated “cheeseburger” three times, confusing them, to which I replied, “Hmm.” This shows that SNL wasn’t part of my life before joining the show.

Upon my return to Canada, I found myself in a taxi with Dave Foley from “The Kids in the Hall”. Back then in Toronto, our cab drivers had comical dispatchers who were audible in the back seat. One particular driver from Eastern Taxi would say, “Alright, Steeles and Eglinton”, and if a driver accepted it, he’d reply, “Give that man a baloney sandwich”. That was his catchphrase. After providing an address, he would add, “Isn’t that special?” I turned to Dave and inquired, “What on earth is that? That’s really amusing.”, to which he responded, “That’s a line from Dana Carvey.” I asked, “Who’s Dana Carvey?”, and he said, “He’s on Saturday Night Live. You should give it a watch.

Upon looking into it, I found myself quite amused, exclaiming, “Wow, this is hilarious!” However, I was completely oblivious to its greatness. When I eventually watched Saturday Night Live and witnessed the incredible talent of these performers – Phil Hartman, Dana Carvey, Kevin Nealon, Jan Hooks – I was absolutely terrified. It left me feeling quite anxious; an anxiety attack even ensued.

How did it happen that Wayne assisted in your being chosen for the role? Well, I was at a Toronto reunion show for Second City, even though I had only attended Second City in Chicago. Many well-known individuals were performing, and I was scheduled to perform just before the intermission, when the crowd’s interest was starting to wane: Is Robin Williams going to appear? they would often wonder. I performed my sketch “Wayne and Nancy,” where I suddenly appeared from the audience, which turned out to be a huge hit. There were chair stomps and whistles; it was like a plane taking off. I’m not sure what happened, but the audience adored it. Then I improvised at the end with Del Close, one of the founding members of Second City. Two weeks later, I received a call from Lorne Michaels, who said, “They tell me you have a Wayne character.

https://youtube.com/watch?v=1035624556?badge=0&autopause=0&player_id=0&app_id=58479

In SNL, actors often bring their own characters to the show, which then need to be integrated into sketches. It’s intriguing how quickly you think, “Wayne has a public-access TV show, and now he has a sidekick.” How did you expand this idea beyond just having a person? Initially, I intended to establish the setting in Scarborough, Ontario. However, one of the writers was from Chicago, and after I explained Scarborough, she suggested it was more like Aurora, Illinois. I agreed, “Aurora it is!

As a cinema enthusiast, I’ve always harbored a dream of bringing “Wayne’s World” to life on the big screen. To me, comedy isn’t just jokes; it’s the artistry of production design. Comedy films are immersive universes, transporting you into their unique worlds. That’s why I named my vision “Wayne’s World.” It pays homage to the genius of “Pee-wee’s Big Adventure” – a true masterpiece – as well as Jacques Tati and the groundbreaking TV series “The Monkees.” Immersing myself in comedic worlds has always been my passion. I penned the script for this movie before I even joined Saturday Night Live, and I was determined to find a way to include the brilliant Dana Carvey in my sketch. That’s the essence of it.

In this well-known scene from Wayne’s World, you virtually get a glimpse into Wayne’s life as he journeys through Aurora with companions, all while enjoying the tunes of “Bohemian Rhapsody” on the radio.

https://youtube.com/watch?v=1035636976?badge=0&autopause=0&player_id=0&app_id=58479

[Crowd applause]
I didn’t die recently, did I?

How did you decide to use “Bohemian Rhapsody” in place of Led Zeppelin’s “Whole Lotta Love” for Wayne’s World? Well, it’s one of the most iconic rock songs out there with an unusual operatic feel. I was a big fan of Queen, and our car, a light-blue Dodge Dart, had a unique Elvis-shaped vomit stain. Everyone had their own “Galileo” from that song, and arguments would ensue if someone took my designated “Galileo.

As a movie enthusiast, I had initially envisioned a grand musical production for the big screen, inspired by the iconic sketches of “Wayne’s World” on Saturday Night Live set in a basement. However, my concept aimed to elevate this world and introduce other characters, so I decided to expand it into an operetta-style film. My extended version was threefold, filled with suspenseful moments like “Will Phil make it, or will he be sick?” Unfortunately, during the editing process, much of the content was trimmed down, leaving only a fraction of those tense scenes behind.

So the story is —
They wanted Guns N’ Roses.

The studio wanted Guns N’ Roses.
I am a Guns N’ Roses fan. I just didn’t have anything funny for it.

In one of those gatherings, when someone suggested, “It’s got to be Guns N’ Roses,” I couldn’t help but feel a familiar pang, a sense of recognition, like a whisper from the past. You see, I had that moment of knowing, that gut feeling, it just wasn’t going to be so.

It’s quite unexpected for me to find myself here at 61, sporting wild white hair and dressed in a suit with various accessories. I never imagined that I would gain recognition. I always believed I was the one who needed to discover myself. Yet, when I realized this was my calling, I decided, “This is what I desire to do, and if it doesn’t succeed, so be it.” However, I knew what I wanted to achieve, and I was determined not to back down. I wouldn’t resort to being cruel or unattractive, but I refused to let others dissuade me from my vision because I felt I might only have one chance. Why not give it my all?

That’s exactly what I had in mind. It should be noted that Lorne agreed wholeheartedly, saying, “He’s got the fire for it. We should record his tune.

How did you feel when the sequel to Wayne’s World received a less warm reception compared to the original? To be honest, I wasn’t keen on making a second one. I didn’t believe it required a follow-up. Jay and I put in a lot of effort with Austin Powers, trying to understand why we wanted viewers to return. We aimed to show our appreciation for those who watched the first one and then the first two. The third film did better than the second, which in turn surpassed the first. In essence, we wanted to make sure you knew why you were returning to this world. Frankly, I couldn’t fathom why Wayne’s World needed a comeback.

Originally, I conceived a unique concept: Wayne would establish his own nation, dubbed the “Heavy Metal State.” This uncharted territory would have been previously undiscovered during the Revolutionary War, as it was never claimed by Aurora and thus remained independent from America. Tensions rose when the local elders opposed Wayne’s plan for a rock concert. Undeterred, Wayne declared, “Against your wishes, we are now the Kingdom of Waynedavia, the Heavy Metal State.

In my own words, I pointed out to Paramount executives that there was a movie called “Passport to Pimlico” which served as inspiration for the script I intended to write. They agreed, and I continually referenced this film in meetings. However, when a new administration took over at Paramount, they admitted they hadn’t secured the rights and we were about to start shooting in ten weeks. In a crunch, I quickly rewrote the script, and that’s the story behind “Wayne’s World 2”. Instead of giving up or abandoning the project, I decided to keep the humor from the original script and make it centered around Waynestock, which was the planned climax of the movie anyways. Additionally, I wanted to create a local atmosphere with elements such as the Ministry of Being Partied Out, the Department of Being Hassled by Your Parents, a clinic for annoying earworms, among other things.

In the mid-90s, I experienced a significant personal loss with my father’s passing. This period was marked by introspection and creativity for me. During a casual stroll on the street, an idea sparked – “Whatever happened to swingers?”, I wondered. I started contemplating the nostalgic charm of phrases like “She’s a sexy stew!” or “They’re twins?” and being from Sweden. In retrospect, it all seems a bit quaint, but that was the inspiration that led to the creation of the Austin Powers character.

I had a deep affection for James Bond, and I aspired to emulate his character. To achieve that, I delved deeply into the Bond films, acquiring an extensive knowledge of their tropes. Moreover, instead of merely replicating Bond, I aimed to create a parody of spy spoofs during a time when the original series was less popular. My vision included a world awash in Coca-Cola reds, AT&T blues, and Kodak yellows, contrasting sharply with Dr. Evil’s dark, monochrome domain.

Was there a specific person who inspired your creation of Dr. Evil? Or did the idea of Dr. Evil immediately make you think of Lorne Michaels when you first conceived it? Not at all, it was Donald Pleasance who stuck in my mind forever. My comedy partner Neil Mullarkey and I had a sketch called “Dr. Wicked,” where we were people instead of puppets. I also had the idea for a one-man show featuring a generic Bond villain, titled “An Evening With…” discussing topics like “It’s really tough to train sharks with laser beams!” and debunking common stereotypes about villains. For instance, if you have a private army, wouldn’t you also need a private cafeteria for the soldiers? These were questions that never got addressed in Bond films. I initially planned to perform this show at Edinburgh, but ended up doing a show with Mullarkey instead.

What’s the deal with it then? It’s merely a small detail. We’re both Canadian. He spoke with an educated Canadian accent, while I have a Scarborough one. Once he said, “Mike, would you like to visit the Hamptons?” I thought, “Have I been let go?” But I went, and it was like, “This is Mick’s room, or would you prefer Keith’s room?” And I responded, “Either one is good. The couch works! Even the car works!

To put it another way, we were present at this event and he hosted a grand dinner for everyone. It was my first time in the Hamptons, where you find influential business leaders as well as individuals who own unique commodities such as “Bill Smith, the bay salt owner.” My humorous remark was, “There’s the man who created the question mark, and over there, he owns Lake Ontario. Next to him stands the man who invented the pregnant pause, or so I… suppose.

Simultaneously, I exclaimed cheerfully, “Hello! I’m from Scarborough!” As a jest, I added, “Wow, Mr. Gatsby, it’s wonderful of you to extend the invitation! These people are quite something! I can see those parties on the other side of the lake and that large green light.” This drew a hearty laugh, and Lorne seemed to ponder, “Indeed, a novel creation.

All the villains modeled after Bond reveal all their plans. They all have some peculiarity, such as Dr. Evil, who, when unfrozen, arrived ten minutes late and froze his pinkie to keep it at the correct temperature. Despite this, he insists, “Behold, I am an anomaly!” Yet, in reality, there’s nothing unusual about him.

On the set of “Get in my belly,” the Fat Bastard scene wasn’t part of the initial script. So, what transpired on the day I played that character and improvised? It was a blast! Filming comedies can be quite enjoyable, man!

One example of rephrasing in a natural and easy-to-understand manner: Among the initial lines I spoke as Fat Bastard was “I ate a baby,” primarily for enjoying the words ‘ate’ and ‘baby’. We would perform the scene according to the script, then shoot an alternate take, which we called “Shizzies and Gizzies”, meaning it was more spontaneous or improvised.

https://youtube.com/watch?v=1035645209?badge=0&autopause=0&player_id=0&app_id=58479

I’m intrigued by the unique ways people communicate, yet I haven’t intentionally crafted a catchphrase. For instance, “Get in mah belly” was more of an improvisation rather than a planned phrase like, “Ladies and gentlemen, allow me to present my new catchphrase: ‘Get in mah belly!’ Isn’t that clever?

“I’d like to share an observation about catchphrases. Dana had this hilarious habit – he would tease Lorne by trying to make him say catchphrases. He’d casually suggest, ‘Mike, I have another sketch for you!’ ‘What?’ ‘It’s a catchphrase. Just go with it.’ In doing so, he created a catchphrase of his own, which was, ‘Hey Bill! What are you doing? Well I have to have to have to go!’ This was all part of his mischief towards Lorne. However, Lorne being as smart as he is, would interrupt halfway through with, ‘Rigggghhhhht’, and then we’d move on to the next thing. So… I don’t believe catchphrases can be manufactured in a laboratory.

Goldmember’s concept originated from an intriguing episode on HBO similar to Real Sex, and observing a man from the Netherlands who managed a swinger’s club. How did that come about?

So as Fat Bastard, you say “donkey,” and you say “donkey” in another movie …
Where’s this going?

First off, instead of the Scottish accent we’re familiar with as Shrek’s voice, you didn’t start there. What other accents did you experiment with before settling on Shrek’s voice? To clarify, initially, I adopted a very thick Canadian accent, one that was even denser than the one I normally use. It’s interesting: I attended the premiere of Saving Private Ryan, and Jeffrey Katzenberg approached me in the lobby afterward with his daughters. They then performed the dance sequence from Austin Powers. This was right after such a somber film, and I had just learned that my parents were in World War II, leaving me quite shaken. Seeing them dance like that, amidst all that emotion, made me say, “Yeah, that’s fantastic. (READ A ROOM.)

Later on, he asked Mike if he’d ever be interested in working on an animated film, to which Mike replied affirmatively. The man then revealed it was a movie called “Shrek.” Mike expressed his displeasure with the title, comparing it to a groan after consuming too many Molson Canadians, saying “Agh! Shreck!” Nevertheless, he was invited to watch it and found it refreshing for its subversion of fairy tales. He appreciated that it challenged Eurocentric themes, particularly class, and enjoyed the inclusion of an African American character like Donkey. However, when it came to providing a voice for the film, Mike felt disconnected and struggled with his performance. He then suggested creating a character called “Lothar of the Hill People,” as he had played a similar character in D&D. Despite nothing being animated yet, Mike felt uninspired by this idea as well.

Incidentally, during our third gathering, they had fashioned a small clay sculpture of all the characters, and Shrek resembled Chris Farley. I piped up, “Fellows, did you offer this to Chris Farley before he passed away?” They all seemed to scrutinize their shoes. “No,” I said, “but honestly, is that possible?” (Pause.) “No.” “Alright then.” In the parking lot, I mused, “I think this was meant for Farley.” And it was! I turned out to be right, though they didn’t inform me.

“Can you explain how you convinced Katzenberg to give you another chance with the Donkey voice?” My response could be, “I made my case by pointing out that Farquaad speaks with an English accent and Eddie Murphy is hilarious in it. Since Donkey is working-class and part of that ‘Euroworld’, I thought it was fitting. Jeffrey initially disagreed, but then he said, ‘No, I like what you’re doing.’ But I responded, ‘I don’t, Jeffrey.’ He replied, ‘No, it’s fine. We have to spend so much money to reanimate!’ However, that wasn’t true because the animation was done using wire-frame and not millions of dollars were spent. I may have been born at night but not last night!

In other words, I said to Jeffrey, “I understand that you haven’t spent a lot of money.” Then, I reached out to Steven Spielberg, who is involved in this project, and explained, “Steven, I want this to be great. The theme ‘You are beautiful to me’ really resonates with me. You see, I’ve never relied on my looks for roles. I’m a comedian, not like Rob Lowe whose very presence can make people laugh. And when I tell Rob, ‘Holy moly,’ he just nods because he gets it too.

So I always thought, What if I could play a guy who learns to love himself and find himself beautiful? I can really connect to that. So if he’s Scottish, I get that. It fits with Farquaad, who’s English, it fits with the Euro-thing. And the other thing is ogres have tempers, and so do Scottish people. [In a Scottish accent] “That’s so great, it’s so great to see you coming over like that, NOW TAKE YOUR FUCKING SHOES OFF!” That flash anger I knew could be inherently comedic. It is what an ogre would be.

And so I said, “Let me just try it one more time.” He said, “It’s gonna cost millions.” I said, “I’m not getting paid more to do this. Let’s do it.” We did it, and later on, I got a letter from Steven Spielberg saying, “Thank you so much for caring.” It’s framed in my house. He said, “You were absolutely right, you were 100 percent more connected to it.” And Jeffrey came to like it, which is fine. Now here we are. I saw another movie with dragons — and the guy’s Scottish! That’s all I’m saying. How to Tame Your Dragon, is that’s what it’s called?

Train.
Train. “Tame” in Canada.

Have you begun working on Shrek 5, and have you discussed it with Eddie and Cameron? I certainly have, but our meeting is scheduled for a later date. Donkey holds a special place in my heart, and I’d love to bring him home! Although I find Eddie entertaining, funny, kind, and generous, I secretly wish I could be as cool as he is. Just the thought of Donkey, with all his excitement and charm, gets me all worked up. Running into Eddie at press events and such is always a treat; he’s truly one of a kind – way cooler than I’ll ever be!

Over the past few decades, you’ve taken on some intense roles in films like “Inglourious Basterds” and “Bohemian Rhapsody”. When it comes to these types of parts, how do you prepare?

After receiving materials from Tarantino, I delved into the work of Alan Napier. Subsequently, I held discussions with the makeup team. With numerous ideas in mind, I proposed a makeup trial, but they informed me that the makeup had already been completed. I responded, “I have ideas,” to which they replied, “This is what Quentin wants.” In a submissive tone, I said, “Yes, sir. I am at your service!” We were filming a scene in a Nazi headquarters, an unusual setting. On my first day there, it was the scene where the French artist was painting Hitler, and Tarantino said, “Mike, come in, you’re going to love it.” There was a person mimicking a Hitler mustache, and Hitler was speaking German gibberish. I exclaimed, “What the hell am I getting myself into? That’s Hitler!” It was quite a shocking experience. However, regarding that character, I was working within a specific genre. [A loud noise from offstage, like something falling.] You seem so astonished by that! “Working within a genre? What do you mean? You can’t play a genre!

https://youtube.com/watch?v=1035649947?badge=0&autopause=0&player_id=0&app_id=58479

In Bohemian Rhapsody, you find yourself criticizing the song as a music executive, expressing concerns about its length and indulgence. It’s quite ironic given your past, but it mirrors a common theme in much of your work: the tension between the commercial aspects of creativity and those who create it. Throughout our conversation, you’ve emphasized standing up for your creative vision. Reflecting on your career, how would you describe your relationship with the business side of show business?

Here I am, residing at the number 61, blessed with three wonderful children. My home is nestled in the beautiful state of Vermont. I’m quite fond of both soccer and hockey, spending a significant amount of time immersed in these sports. The humorous aspect of my creative battles lies in their Paul Bunyan-esque nature, as I often find myself voicing, “I see it differently, guys.” There’s not much resistance; it’s primarily conviction that guides me. It takes a great deal for an audience to endure the silence and focus on the performance. The responsibility is immense – they deserve nothing less than your best work. I never imagined this opportunity would come my way, and I didn’t want to squander it. My intuition led me to believe that “Bohemian Rhapsody” in Wayne’s World and Shrek being Scottish were both brilliant ideas.

In a recent project for Netflix titled “The Pentaverate,” you took on eight characters in a humorous exploration of a global conspiracy. I found it quite enjoyable and unique as there aren’t many character-driven comedies around these days. What draws you to this style of comedy?

Jay has a great expression, which is you see a guy walking down the street eating a banana. He finishes eating, he throws the peel behind him. There’s another guy walking behind him. He doesn’t see the banana peel. Cut to the angle of the relationship. He goes a step, misses the banana peel, and then crosses the street and gets hit by a banana truck. You are unadaptable to the possibility that it could get worse. Another one of Jay’s theories is to exceed the expectation, by a lot.

One of my favorite comedic moments in the movie Austin Powers is the humorous slow-motion steamroller chase scene. This effect can only work effectively due to a crucial shot – the wide shot. This shot demonstrates the spatial connection between the character and the slowly moving object, yet he reacts as if it’s moving quickly. His rigidity in this situation makes us perceive him as a mechanical object or lifeless matter, leading to the inevitable conclusion that he will die, which is what provokes laughter.

In this instance, the character provides a unique blend of what you anticipate and unexpected elements, making them intriguing. One aspect that sets Wayne apart, for example, is his extensive knowledge, which often exceeds expectations. Similarly, Alice Cooper’s historical insights or Aerosmith’s reference to Soviet-era apparatchiks adds depth and surprise to their characters.

Speaking of characters, do you think you’d make an Austin Powers 4?
Yes.

In response to your question, I’m unable to provide any information about the progress or status of a potential project, whether it’s ongoing or non-existent.

In the near future, SNL’s 50th anniversary is slated for February. Do any of us associated with SNL have anything planned for this occasion? I wonder if it’s really going to be then or if it will even air on TV! They might just do a sign language version instead! Yes, they tend to work right up until the last minute. It’s like a hastily rehearsed Broadway opening every week.

One of the things that really thrilled me was your participation in The Gong Show in 2017, disguised as a character and keeping it a secret from everyone. Given your extensive movie career and numerous achievements, I’m curious to know what continues to excite you.

Growing up in Liverpool, having an unfunny friend wasn’t tolerated; my dad would dismissively say, “He can’t visit anymore, he’s not funny!” A Liverpool home welcomed songs, stories, or jokes. I’ve passed this appreciation on to my kids – if they say something mean that’s also amusing, it’s acceptable. When asked about joining “The Gong Show“, I enthusiastically agreed, and there’s a British comedian character I wish to portray. Performing on that show was like attending summer camp for me.

As a movie enthusiast penning down my thoughts, let me tell you, the thrill of seeing your creation hit the big screen is indescribable. Yet, amidst the whirlwind of excitement and anticipation for the next project, there are moments when the magnitude of one’s impact truly sinks in.

I obtained the final letter that George Harrison ever penned. It was a fan letter directed towards me. Being from Liverpool and growing up, the Beatles were the cream of my family tree. They’re incredibly famous, and their music is revered by the gods themselves. I received this letter on the day he passed away, and it read, “Dear Mike, I’ve been hunting all across Europe for a miniature version of you doll, but I can’t seem to find one. By the way, keep up the good humor! Warm regards, George Harrison.

Ever since that incredible moment, life has been quite challenging for me. However, approximately five years ago, I was fortunate enough to visit Buckingham Palace. A friend of mine managed to get us past the gates, although we didn’t enter the residence itself. I was overjoyed just being there! You have to wear a suit and go through security checks before you can even sit down. Then, all of a sudden, the band started playing the theme from Austin Powers! They played it especially for me because they knew I was coming! It was unbelievable. A man then came by with a flag, and he wasn’t supposed to speak, but he said, “I bet you’ve heard that song before, Mr. Myers!” And I cried like a baby! I couldn’t believe the coincidence.

One year when I came back to Canada for Christmas, my dad said, “What are you doing? Are you working?” I said, “Yeah, I’ve got this comedy partner named Neil Mullarkey.” And my dad said, “Well, presumably Bill Shenanigans was busy!”

2024-12-04 19:56

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