For many, Rob Reiner will always be “Meathead,” the liberal foil to Archie Bunker on CBS’ All in the Family. But as a director he’s made lasting films: When Harry Met Sally, Stand By Me, A Few Good Men, and The Princess Bride.
Reiner’s first film almost didn’t happen. All he had for This Is Spinal Tap was a four‑page outline — no script, because the movie was improvised. Released in 1984, the fake rock documentary about a failing British band became a cult classic and one of the funniest films ever.
Forty‑one years later, Reiner and the band reunited for a sequel. On set in New Orleans, the production aimed to feel like a real rock concert — pretend fans cheering for an older pretend band. The new film brings back frontman David St. Hubbins (Michael McKean), lead guitarist Nigel Tufnel (Christopher Guest), and bassist Derek Smalls (Harry Shearer). As in the original, Reiner is both the film’s director and the actor playing documentary filmmaker Marty DiBergi.
All day Reiner moved between the stage and his director’s setup, switching between the two roles. When Lesley Stahl pointed out the oddity of directing himself, he laughed that it was “crazy” and “making me nuts.” He joked about his method acting: lying down during breaks.
Reiner trained in theater and improv at UCLA and at 23 was cast by family friend Norman Lear as Meathead on All in the Family. He thought the show would last 13 weeks; it ran eight years, five of them as the country’s number one show. After the series, he wanted to direct and chose something risky for his first feature: an improvised mockumentary.
The film lampooned rock stars’ onstage and backstage antics while honoring rock ‘n’ roll. Anecdotes from the music world provided seeds for scenes: the Van Halen rider about “no brown M&Ms” inspired a bit about contractual absurdities. Small details like Nigel complaining the bread was too small became comic moments. Reiner and the core cast loved rock and wanted to poke fun without sneering.
Raising money for a scriptless, improvisational film was tough. Reiner made a demo reel and faced multiple rejections until Norman Lear and Embassy Pictures executives listened. Reiner recalls an “insane pitch” about why the movie would work; Norman urged the studio to give the “crazy” young director a chance.
Cameos from Billy Crystal, Paul Shaffer, and Fran Drescher helped, but the centerpiece was the talent of Guest, McKean, and Shearer, who wrote and played the songs and improvised each scene. The cast didn’t know interview questions in advance — they reacted in the moment. That spontaneity produced some of the movie’s most famous lines, including Nigel’s deadpan claim that his amps “go to 11.”
Initial audience reactions were mixed; viewers “didn’t know what the heck was going on,” and some called the characters “so stupid.” The film performed modestly in theaters but became a sleeper hit on home video, credited with launching the mockumentary genre and inspiring later TV comedies. Critics called it a “sacred rock artifact” and even “the ‘Citizen Kane’ of rockumentary,” praise that Reiner found daunting when considering a sequel.
Reiner’s filmmaking lineage is notable: his father, Carl Reiner, was a legendary comic and director. Rob has spoken about wanting his father to recognize him and once joked about changing his name to Carl. He said Norman Lear was the first person who really “got” him. Reiner has drawn on personal experience in his films; he described a painful scene in Stand By Me as autobiographical, and recalled contributing a bit to the 2,000‑Year‑Old Man routine with Mel Brooks and his father. His study contains memorabilia from a varied career, including the sword used in The Princess Bride. He also directed his mother, Estelle Reiner, in the famous deli scene in When Harry Met Sally — a moment that led to an awkward but celebrated on‑set coaching session.
Reiner actually altered the ending of the original Spinal Tap to a happier note after meeting his wife Michele, who now produces his films, including the new Spinal Tap.
Why make a sequel at 78? Fans had long wanted one, but rights were an obstacle. Neither Reiner nor the actors owned the property until Harry Shearer sued and reclaimed the rights. With the rights back, Reiner and the cast started brainstorming.
In Reiner’s Los Angeles edit room he outlined a premise: Marty DiBergi tracks down band members who haven’t spoken in 15 years. Nigel is found in northern England running a combined cheese and guitar shop — a scene played entirely in improvisation. Reiner described their process as “schnadeling,” doing schtick together and letting whatever emerges dictate the moment.
The new film mixes returning cameos with big new ones — Elton John and Paul McCartney appear — and plays on the reality that its fans and the rockers it satirizes have aged. The cast joked about aging rock stars like Mick Jagger and the math of generations.
There was awareness that sequels can tarnish originals. Christopher Guest quipped he hoped the sequel “tarnishes someone else’s reputation.” Reiner admitted he has no way of knowing what will succeed: he makes films he likes and hopes others will too.
Produced by Shari Finkelstein. Associate producer, Collette Richards. Broadcast associate, Aria Een. Edited by April Wilson.