Well, maybe not a director’s cut, but this fall a new Blu-Ray edition, stuffed with making-of commentary and deleted scenes, was issued by the art-house imprint Kino Lorber. “It was an interesting article,” Resnick says, “and the last line - while I’m just minding my own business - ‘What’s next - a director’s cut of Cabin Boy?’” He remembers once reading an article about how director’s cuts were becoming popular on the then-burgeoning LaserDisc format. Other times, the drubbings would come even when he wasn’t seeking them out. A self-described glutton for punishment, Resnick often sought the pain out, grabbing magazines just to see how many worst-of-the-year lists his film would hit, wincing inside as Rolling Stone film critic Peter Travers noted that for all the cinematic delights 1994 offered, it was still the year that gave the world Cabin Boy. The men behind Cabin Boy have no shortage of stories about how the once reviled and now - in some circles - beloved comedy brought joy to a very few people upon release but much professional and personal heartache to its makers. “And she said, ‘No.’ There’s absolutely no way they would do a show with us.” Apparently, she’d seen Cabin Boy. They went and told this person that it was Adam and me pitching the show,” Elliott says. There was one person who wasn’t in the meeting. “By the time we got to the parking lot, Adam’s agent had gotten a call. “We were like, ‘OK, we’re back where we belong, which is on the small screen.’”Įlliott and Resnick are great at writing punch lines that you didn’t see coming. “We pitched some show for me, and they bought it in the room,” remembers Elliott. But, somehow, the meeting went better than expected. As far as they knew, no one even watched their show, Get a Life. It had been a tough couple of years for Chris Elliott and Adam Resnick when they sat down at the Fox office.
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