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The best moments in Austin Powers: International Man of Mystery were the smart insights into the clichés of the Bond series and the spy genre as a whole. Where the first film attempted to marry gross-out humour with some kind of ambitious satire, the humour in The Spy Who Shagged Me is as broad and boring as it gets. The film is best summed up by Kim Newman's quote about The Texas Chainsaw Massacre 2: "it seems to have been made by someone who not only didn't make the first film, but who never actually saw it." Everything that was right about the first Austin Powers (which was not a perfect film by any means) is either completely absent from this sequel, or so watered-down and half-arsed that it may as well not be here at all.
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The result is an awful, unfunny and often mean-spirited comedy which should have ended this series. This film swiftly disposes of all the assets possessed by its predecessor, replacing them with poorly-written, poorly-timed gags which will send even Bond's biggest critics rushing back to the open arms of The World Is Not Enough. But with the possible, painful exception of The Odd Couple II, no sequel represents a bigger drop in quality than Austin Powers: The Spy Who Shagged Me.
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There are a lot of bad comedy sequels out there which represent a fall from grace compared to the original. Making a sequel, in which you revisit said jokes or conceit, has the effect of either stretching out or repeating the material until it's no longer funny, or even to the point where we begin to feel unfavourably towards the original. Great comedies so often work because they are beautifully self-contained, with the filmmakers quitting before the joke runs out of steam or the conceit begins to fall apart. Whenever Phil interpreted your material, he always made it funnier when written, and that’s part of the joy with Verne.While making a successful sequel is difficult in its own right, it becomes especially difficult when you're dealing with comedies. Another person that I had that with was Phil Hartman. It’s always a joy when you have somebody that makes what you’ve written funnier than written. We just kept being so surprised that we scrambled and cut scenes and put in new scenes. But then when you think of the challenges of being that small, it’s almost even more extraordinary. Verne was a great physical comedian for a human being of any size. We would give Verne more and more stuff to do and he would knock it out of the park. And he just so got it immediately and was just so game. But within 25 minutes, he was such a sweet, lovely man that you didn’t even see his size - it’s just Verne. I said this around the time of his passing, just when you thought Verne was small, he was smaller than that. And I’m like, ‘Oh my god, this guy is perfect.’ And Jay said, ‘We have to offer it to him now.’ So we didn’t even think of another person.
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“Jay calls me, ‘Drop everything and come see this tape right now!’ So I zip across Los Angeles to his office and he shows me the tape of Verne. “The casting of Verne is entirely the genius of Mr. I’m told the ‘I eat because I’m unhappy and I’m unhappy because I eat’ has been used in text books as part of trying to break out of the shame spiral that happens in dealing with one’s weight loss.” And then I thought by the end of it he should lose the weight because it’s been such a source of pain for him.
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And then I have Scottish in my ancestry and being able to do a Scottish accent is something that you are issued by the Canadian government if you want to be in comedy, so it just seemed logical that way. And so that is where Fat Bastard came from. If you’re going to put on weight, Saturday Night Live is the breeding ground, because you’re trapped in a studio all day and you don’t get out and you’re just trying to get that energy out. I really didn’t have a character that was fully formed for Fat Bastard until I came up with the line of ‘I eat because I’m unhappy and I’m unhappy because I eat,’ which is something that I had come to the conclusion of about my own life. And I thought what if there is a sensitivity around his weight. “When I turned 25, I was on SNL and I was like, ‘Jesus, I have a weight problem.’ And with James Bond characters, they give them some sort of affliction, like the bad guy’s monster. “What I really wanted to explore was in my adult years I’ve always struggled with my weight,” reveals Myers.