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In 1982, I began filming the almost entirely improvised This Is Spinal Tap, my first directing job. The project transformed my life and that of three friends, co-writers, and colleagues: Christopher Guest, Michael McKean, and Harry Shearer.
We were often asked about a possible sequel. For a long time, we dismissed the idea. However, after a lengthy legal battle, we were able to reclaim the copyright to the film. This prompted Chris, Michael, Harry, and I to gather in New Orleans on March 6, 2024 — my 77th birthday — to see if there was still creative potential for a sequel.
In parallel, we decided to reveal the full story of the creation of the original painting. Below is only a brief fragment of these memories.
During the editing of This Is Spinal Tap, it became clear that certain storylines would need to be cut entirely. For example, new wave band Dose was originally scheduled to open for Spinal Tap. The Tap members objected to the idea of touring together, believing that the band’s punk sound would clash with their heavy metal. However, during a soundcheck, they saw Dose’s lead singer, Stellazine, played by former Runaways singer Cherie Currie. Her image—an attractive blonde in a tight metallic jumpsuit—immediately changed their minds.
The band changed their minds, insisting that manager Ian (Tony Hendra) include Dose on the tour. However, there was a problem: the free-spirited Stellazine had spent time with Nigel (Guest), leaving him with a herpes sore on his lip. Similar marks appeared on David (McKean) after their meeting, and later on Derek (Shearer) and Viv (David Cuff).
At an emergency meeting, four herpes-stricken members of Tap voted to kick Dose off the tour. Only Mick (RJ Parnell), who had escaped the infection, supported the band.
Despite Curry's brilliant performance, the epidemic subplot dragged on and had to be cut. An echo lingered in a scene where Bobby Fleckman (Fran Drescher) discusses the Smell the Glove cover. Nigel and David's lingering mouth sores were left unexplained, creating a comic relief that never failed to elicit laughs.
Another storyline that was cut was David's personal drama. It was revealed that he had a teenage son, Jordan St. Hubbins, a Phoenix punk rocker who rebelled against his father. “The role was played by Sean Frye, the brother of Soleil Moon Frye from Brewster's Punks,” McKean recalled. “But the confrontation scene didn't have the impact we were expecting.”
A similar fate befell the episode with Ricky's new guitarist after the failure of “Jazz Odyssey.” McKean said: “Louis Merlino, who played Ricky, did a masterful performance of 'Hell Hole', distracting Janine (June Chadwick). At the climax, his guitar hit me in the face. The spectacular episode had no beginning or end, so it was dropped.”
Derek's divorce subplot was also cut. Deleted scenes showed him receiving shocking news from his lawyer, including a full-page advert from his ex-wife in the NME. The line “Let him buy a Mini Cooper instead of a Lamborghini” was edited out, as was Parnell's eloquent monologue about baseball player Ferguson Jenkins during a radio interview.
Even brilliant improvisations had to be sacrificed for the sake of integrity. For example, David’s lecture on slime molds – organisms that “can’t choose between the plant and animal worlds, but rule the planet” – was left off-screen. As were scenes with a toy Gumby, whose appearance in Nigel’s pocket became the only reminder of this line.
The editing was ruthless. Janine's overly crude remarks to Ian were removed, the drug scenes were toned down. Even the promising ending with the band reuniting and the drummer's son gave way to an open ending that left much to the imagination.
Some technical flaws, like the actors' shifting positions in the album cover scene, had to be left in. As editor Bob Layton noted, “The smooth sound masks the visual inconsistencies.” His voice, by the way, can be heard in the loading sequence: “Watch his language.”
Forty years later, I understand that the magic of the film is in the balance between spontaneity and discipline. Every deleted scene was a victim of this balance, which allowed the story to remain timeless. ♦
Excerpt from the book “The Thin Line Between Stupid and Smart: The Story of Spinal Tap.”
Sourse: newyorker.com
