Elwood Blues: Uh, is there anything in particular you would like to hear this evening, your highness?
Queen Moussette: Yes. Do something Caribbean.
Elwood Blues: Uh, ma'am, we're the Blues Brothers. We do blues, rhythm and blues, jazz, funk, soul, we can handle rock, pop, country, heavy metal, fusion, hip hop, rap, Motown, operetta, show tunes, in fact, we've even been called upon, on occasion, to do a polka. However, Caribbean is a type of music, I regret to say, which has not been, is simply not, nor will ever be a part of this band's repertoire.
Elwood Blues: Turn your backs now and you snuff out the fragile candles of blues, R&B and soul, and when those flames flicker and expire, the light of the world is extinguished because the music which has moved mankind through seven decades leading to the millennium will wither and die on the vine of abandonment and neglect.
We'd always intended for a sequel with John, but of course when he passed away, it was obvious we weren't going to do it. But Danny had been performing with John Goodman and Jimmy Belushi and the band, and he said, "You know, this is great, because this music is recognized now—let's do a movie." I said, "Great, sure, okay," and we wrote what I thought was a terrific script. Then Universal Studios eviscerated it. That was a strange experience, because the first thing they said was that it had to be PG, which meant they couldn't use profanity, which is basically cutting the Blues Brothers' nuts off. The first movie is an R-rated film, but there's no nudity or violence in it. It's just the language. Then they said, "You have to have a child, you have to have..." The bottom line was, the only way that movie was going to get made was to agree with everything they said. You know the difference between a brown-nose and a shithead? Depth perception. That's the only time I never really fought with the studio, because they didn't really want to make it. So we did every single thing they said. By the time we'd done that, the script was kind of homogenized and uninteresting. Danny said, "It's about the music. It's just about the music, John, so don't worry about it. We'll get the best people, and we'll make a great album, and get these people on film. We have to document these people." It's interesting, because, as much as I make fun of Danny, three or four of those guys have passed away since we made that movie. People say, "Okay, you've got Aretha Franklin, Ray Charles, James Brown, Cab Calloway, and John Lee Hooker in The Blues Brothers—who's in Blues Brothers 2000?" The answer? Everyone else. The first movie has five musical numbers, and the second movie has 18.
The new head of the studio hated it, didn’t want to make the movie and kept putting obstacles in the way. I think the screenplay was rewritten 17 times. They did everything they could to make us say ‘go fuck yourselves.
One of the reasons we made it was because B.B. King gave me so much shit about not being in the first one. He called me every two weeks: ‘when are you putting me in the god damn movie?’ I don’t regret it mainly because the music was so good. Just throw on that CD.