Speaker 1: All right, welcome back. Everybody's with this? I sound like
Arnold Swartz. Oh that's terrible.
Speaker 2: You're so cool, bruister.
Speaker 3: Hello everybody, and welcome to the Surely You Can't Be
Serious Podcast with your co hosts James D.
Speaker 1: Graves and Jason Colliban.
Speaker 2: All Right, everybody, welcome back.
Speaker 4: This is episode two of our Lost Boys Versus Fright
Night episodes. Hope you're having a good time with us
when we are loving it the special Halloween Time Talking Vampires.
Speaker 1: Our executive producer for this episode is James Buckley. We
want to give a big thank you to James who
became an executive producer through our Patreon page the first
day that we had it up. If you would like
to become an executive producer for our podcast, go to
Patreon dot com Forward Slash Shirley Podcast, where we have
tears from Billy Ray Valentine all the way up to
Prince Aquim. James joined at the Duke Brothers Tier and
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Forward Slash Shirley.
Speaker 5: Podcast Awesome de We were talking before about the special effects,
and obviously with Friday Night you have a whole lot
more special effects going on, and so I talked about
Steve Johnson, the guy who said there was lots of
cocaine there, and the guy who did the pencil through
the hand and was frustrated at the cut that came about.
Speaker 1: But another I mean, he just had a ton of
good stories, some of which are absolutely inappropriate to tell
on a family friendly episode. But one of the stories
is that you know, they used acid to burn up
the bat creature that they had the end that was
supposed to be Jerry burning up in the skeleton. Well,
part of that piece came from Ghostbusters that they had
done before. It was just a piece that they thought
was too scary for the librarian at the very intro scene.
They thought it was too scary, so they didn't use it.
So when they're getting to the end of Fright Night
and they're looking for more stuff to do and they're
out of money, they're like, well, let's just go dig
into our old Ghostbusters stuff and see if we can
find it, and so they came up with that bat skeleton,
and so they melt the skeleton in multiple ways, but
one of those ways is with acid. And so Steve Johnson,
you know, once the acid has done its thing and
everything's melted, he goes over and pours this base, you know,
to counteract the acid. He pours this basic solution all
over this thing. And then he drives home that evening
and he's like, my feet can kind of feel tingly.
I guess they's ending up a bunch, you know, all
day along the day, And when he gets home, he
realizes that the rubber on the bottom of his sneakers
has completely melted to like his feet are starting to burn.
It's burned through his socks. Yeah, He's like, I couldn't
walk around for a few weeks after that.
Speaker 2: That's awesome, you know.
Speaker 4: One of the things that you know, as we're talking
about special effects, I did want to mention this.
Speaker 2: We didn't really.
Speaker 4: Talk about, I mean, some details on these movies. So
Friday Night was released August second, nineteen eighty five, had
a budget of nine million dollars. It took home twenty
five million, so it was a kind of a surprise
hit that fall season, but it is the first vampire
movie to spend one million dollars on special effects, as
kind of a trailblazer in that way.
Speaker 1: Oh yeah, wow, that's impressive. Okay. We talked about the
head of special effects for Fright Night was a guy
named Richard Edlund. They had a ton of guys working
on this, and we talked about Steve Johnson, but there
was another guy named Randy Cook, and he has a
bit of an infamous story. They had kind of reached
the end of their budget as far as things go
for the special effects, and so at some point they're
working through things and Tom Holland comes over to the
Randy Cook and he's like, I need you to do
me a favor. He's like okay, he goes, you've got
any plastics left that you can use to make a
mask for free? And Randy's and he's like, I mean,
I gues. He's like, just please just do me the favor, man,
Just do me the favor. I have to have the
scary teeth for Amy and we don't have any money
left for the budget, so can you just do me
this favor. It's going to be a short shot. It's
gonna be like three seconds. Yes, now I'm any big deal.
Nobody's gonna know, right, And so he's like, all right,
and he puts together this very crude I mean, he's
just using scraps. Basically, it puts together this nasty looking
shark mouth for Amy, and it's that it's that that's
horrible shark mouth. And it didn't go for only three
seconds in the movie. It was all over the movie, like,
You've got this very dramatic scene where like your your
perspective is looking at her and you know he's behind her,
not realizing what her face looks like. Now, so you
get this full on you're looking right at her in
this horrible, frozen smile, and then she whips around and
he didn't so William Raxdale hadn't seen it yet, and
so Tom Holland was like, he told Amanda Beers, don't
show it to him until we're filming. And so that
reaction that he has whenever she whips around and has
the shark teeth and is jumping at it is a
very genuine reaction because it was like, holy crap, there
it is. This is much bigger and scarier. And Randy
Cook was like this thing looked like a big giant
glob of crap. I mean, it's horrible. You know, if
you zoom in you get the high def it looks
really really bad. But not only do they use it
multiple scenes and kind of through this whole chase scene
in the movie, far more than three seconds. But then
after they've finished the movie, the poster comes out and
the poster is the face in the clouds. It's that face.
And he's like, oh my gosh, I can't believe that
I made this thing for free, and now it's everywhere.
Speaker 4: We talked about this, So, yeah, they had a million
dollars for effects, and they got to the end of
it and Steve Elland's like, do you remember that million
dollars I had for effects? I have zero dollars and
zero since left over.
Speaker 2: Yeah, but the poster, so I've seen this.
Speaker 4: It's a very well known poster. It was on the
VHS tape and all that stuff.
Speaker 2: It had never occurred to me that that was Amy's face.
Speaker 1: Yeah, because it's kind of all you get is the face.
You don't have the body, you don't have the hair,
you just have that one face. But yeah, it's that
poster though, I mean, I have to think that that
poster got a whole lot of people going in because
that is one of the best posters of eighties movies
I've ever seen, and it's really fantastic. And so I
went to go find out who the artist is. It's unknown.
It's some guy who was working in the graphics department
at some advertising agency through that thing together, and nobody
knows who it was. Nobody's stepped up to take credit
for it. It's just this unknown guy who has made
this iconic bit of history. I mean, maybe more recognizable
than a lot of the great classic works of art,
and nobody knows who did it. It's pretty pretty impressive.
And they used it. I mean they used it over
again for Fright Night two, which is you know, did
you see Fright Night two?
Speaker 4: I did see Frida Night too. It was half as
good as Friday one, probably or less.
Speaker 1: I think I saw it as well, but I really
honestly don't remember it. I feel like it was maybe
more funny, like they were going more for the comedy
thing on Fright Night two? Am I remembering that? Right?
Speaker 2: I mean, I guess.
Speaker 1: I mean.
Speaker 4: The interesting thing about Friday Night two is that Charlie turns.
He is in the process of turning to a vampire.
He's sort of you know what Amy was in the
first one, and it's Jerry d Andrews's sister.
Speaker 2: Is the is the the bad girl?
Speaker 1: Oh right, right right? Yeah, see, yeah, I saw that
she had she had watched the movie over and over
to study his mannerism so that she could imitate him
in that second one. So here's here's an interesting story
about part two. So Tom Holland couldn't direct it. Like,
by the time they got to that point, he had
already started working on Child's Play with Chris Sarandon and
so he was involved in that. So they brought this
other director in. Now Tom Holland was still involved, obviously
it's his baby, right, but he wasn't directing it. So
they brought this other director named Tommy Lee Wallace in,
and so they are. Roddy McDowell's in the movie. He's
he's invested in it as well. And at some point
they have to meet with the Live Entertainment chairman who
is discussing the distribution of the movie. Right, the guy
who's responsible for distribution and marketing, and his name is
Jose Menendez and they go in to meet with him,
and it was this horrible meeting, like he was furious
at them for something. I don't know what it was,
but it was just like this horrible, horrible thing. And
so they're like, oh, crap, we've made the guy who's
responsible for getting this movie out to everybody mad at us.
He's gonna screw us. And so Tom Holland says to
Roddy mcdell, Hey, we'll go back, you know, after this weekend.
We'll go back. We'll talk to him again, we'll mend
the bridges, you know, we'll kiss his butt or whatever,
and it'll all be fine. But they couldn't do that
because over the weekend, Jose Menindez was murdered by his sons,
the Menindez brothers.
Speaker 4: Oh my gosh, Oh my gosh, are you serious.
Speaker 1: Yeah, isn't that crazy?
Speaker 2: And so you know Ninda's brothers.
Speaker 1: Yeah, the Menindez brothers killed the guy who was responsible
for marketing. Yeah, fright night too. And when when When
Roddy mcdell found out, he quickly called Tommy Wallace and said, well,
I didn't do it, did you do it? Oh? It's
it's terrible but because of that, I think they only
released it in like one theater in LA and one
in New York, and it was pretty much straight to video.
I don't think. I don't think many people saw it
in the theater.
Speaker 4: Yeah, yeah, it's I watched it last year and it
I had to get it through Netflix, like the hard
DVD copy.
Speaker 2: And it was tough to get a hold of.
Speaker 4: So so they did the reboot with Colin Farrell. I
saw that in the movie theater. They did not capture
Latin in a bottle second time.
Speaker 2: He's cool.
Speaker 4: I mean, you know, Colin Ferrell as a vampire is
pretty cool. But it just didn't quite work for me.
I definitely think the original is way better, way better.
I have seen two Lost Boys sequels.
Speaker 1: N Uh, yes, you watched those.
Speaker 2: I watched them.
Speaker 1: Yes, Wow, do you wish you had that time back?
Speaker 2: So here's the deal. Here's the deal. Yeah, they hook
you with. Corey Feldman and Corey Haym were in one.
Speaker 1: Uh huh.
Speaker 4: And then Keifer Setlin's brother is in it, and it's
a look alike to David Same.
Speaker 2: Oh wow, he looks very I mean it's keep his
Otherlan's brother.
Speaker 4: I mean it looks just like David, but there's a
lot more skin in this one and sex scenes and
that type of thing. But the hook is that one
of the main characters from the original Lost Boys becomes
a vampire at the very end of the movies.
Speaker 2: So I don't want to give any spoilers away, but
I hung around to see that.
Speaker 1: I'm like, god, this is don't rush off to see
those sequels to the.
Speaker 2: Lost Boy exactly exactly.
Speaker 4: You know what I want to talk about real quick
though before it's sort of in the realm of special effects. Okay,
Switching back to fright night, Amy's transformation from teenage girl
when Jerry Danders gets her on the dance floor, okay,
and she starts to transform basically from a girl to
a woman on the dance floor, right, change her makeup
and hair mid dance.
Speaker 1: I don't know if you've noticed that or not, but well,
I totally totally. I was like, man, she just like
she went down and came back up, and it was
like she ran her fingers through her hair and suddenly
it was styled completely differently, and she looks like the
queen of the disco. All.
Speaker 2: Yes, that's right.
Speaker 4: So he takes her back sort of does his vampire
seduction thing bites her and as she begins to transform,
there's some interesting things that happen. Number One, all of
a sudden, she's wearing this white Marilyn Monroe dress. Right,
her hair grows and turns blonde.
Speaker 1: Yeah, kind of a red. Yeah, kind of a rusty
red kind of look. It was horrible.
Speaker 2: It's not her original color.
Speaker 1: No, and it looks terrible. If they had done something
actually exotic and sexy, that might have been pretty cool.
But that was the only person that they did worse
hair for was Roddy McDowell as an old person. That
was the worst hair. Loved the whole movie for sure,
looked worse than stage makeup. It was terrible, but go ahead, okay.
Speaker 4: But the other thing that they did for the movie
is they gave her prosthetic breasts.
Speaker 2: Okay.
Speaker 4: So part of the seduction process is we're changing this
high school girl into the Marilyn Monroe vamped up promo
queen stripper version of her herself in the original story.
In the novelization, so Jerry Dandrews is supposed to be
four hundred years old or so, but from the novelization,
Amy's transformation to a vampire gives her vampire breasts, right,
so she's extra busty when she is saved by them
killing off Jerry Dandridge, she gets to keep those.
Speaker 1: So it's kind of it's kind of like young Frankenstein.
It's true something I don't understand. The monster got your plain,
but what did you get? Yeah? So yeah, as I
understand it, Like when she was doing an auction and
like signing graphs, she was wearing them and let people
come up and feel them. While she was.
Speaker 2: Wearing them, they were on the table.
Speaker 1: She said, oh, she wasn't wearing them. Yeah, it makes
it less of a good story. Sorry about that. They
just be sitting there on the table. You want to
feel my breast? No, not that. We haven't talked about
special effects.
Speaker 2: For Oh Lost Boys.
Speaker 4: Yeah, they hired a guy originally they wouldn't name his name,
but he came in and did prosthetics because they wanted
the vampires to look ghoulish when they.
Speaker 2: Transformed to vampires.
Speaker 4: Right, And the first guy who came in he did
a job and and and he made him too scary
and they didn't they didn't really like that.
Speaker 2: Joe Schumacher's like, I've.
Speaker 4: Hired all these young, sexy hip actors and we're going
to make them look horrible. I didn't like it, so
they fired that guy and they brought in a guy
named Greg Cannon. And that was his instruction. He said, listen,
I brought in these great look actors. I want them
to look like vampires. So they need to be scary,
but they need to be.
Speaker 2: Good looking vampires.
Speaker 1: Uh huh.
Speaker 4: And so he minimized the prosthetics, gave them those awesome
contacts we talked about last week, right, and then the
fangs that were right next to their incisors just did
a great job. They're still creepy, scary, but they're also.
Speaker 1: They still look like them.
Speaker 2: They still look like them, that's right.
Speaker 1: Yeah, it's not Jerry Dandridge looking like Sloth from Goonies aby. Yeah. Yeah,
So okay, are you ready? Are you ready for me
to blow your mind? Yes? On Greg Candem. Yeah. So
he has He obviously has a ton a ton of
special effects credits, like the Mask with Jim Carrey, he
did Abraham Lincoln Vampire Hunter, he did Watchmen. He's done
a ton a ton of stuff. But he's only got
three acting credits, and of those three, one of them
is a zombie on the thriller video.
Speaker 2: That is cool man. Hey, one of the things I
want to talk about one of the mysteries of frid Night.
Speaker 4: Yeah, one of the big question marks about Friday Night
is Billy Cole.
Speaker 1: Yeah.
Speaker 2: He is the guy who lives with Jerry Dandridge and
is his protector.
Speaker 1: Right kind of the ren Field.
Speaker 2: So the big question is what is Billy Cole?
Speaker 1: Right, He's not a vampire, No, walks around to day
out in the sun, right.
Speaker 4: R he gets shot in the forehead and doesn't die right,
and when they finally stab him with a steak, he
turns to slime and dust and yeah, so the big
question is what is he?
Speaker 2: What do you think? Is got any ideas well?
Speaker 1: I mean I've read a couple of theories. One is
that he's like this gollum that Jerry created out of
sand kind of deal. Is one idea. And then the
other is that he is a like a half vampire,
like somebody who has been bitten but hasn't hasn't bitten
somebody else himself, and so he's not fully a vampire
like like Amy was, where he can still he could
still go back. You know.
Speaker 4: I I saw Tom Holland talk about this and they're like, Okay, Tom,
what is Billy Cole?
Speaker 2: And He's like, I don't know, not exactly sure.
Speaker 1: God, that's weird. What the hell is goofy for me?
You know? And there's an interesting you know, there's an
interesting perspective to the relationship that he and Jerry have.
You know that there's there are definitely some homoerotic little
shots that that that they do. But from what I heard,
neither one of the actors had any idea about it. It
was all something that Tom Holland just kind of structured
from the way that he shot the scenes and the
way that he wrote it without being with being avert
about it.
Speaker 2: I guess so, right, you know, I've heard that mentioned
on both of these movies.
Speaker 1: Right, Yeah, I can tell you that that Jason Patrick
and Keifer Sutherland both were like, we weren't ever told that.
You know, that's not something that we were playing, and
it's certainly not something that we were understood to be
the case. Unlike George Clooney, who he said the Joel
Schumaker for Lot I told him, yeah, Batman and Robin
aren't gay.
Speaker 2: We don't talk about Batman and Robin.
Speaker 1: All right. You don't like the nipples, I don't like
the bat nipples, Yeah, the bat nipples and the codpiece.
Speaker 4: Yeah, okay. Another little tidbit from Fright Night. The song
that Jerry is whistling as he sneaks into Charlie's bedroom
is Strangers in the Night by Frank Sinatra. According to
Christen Randon, he wanted Jerry to whistle whistle why you
work from snow White, right, but couldn't get permission from
Disney for that one.
Speaker 1: I wonder why. I wonder why Disney wouldn't.
Speaker 2: Go for that.
Speaker 4: Here's a tidbit I found out from Osy so I
thought was pretty cool. The comic book store in the movie.
It's called Atlantis Fantasy World. It's featured in the movie.
It's owned by this guy named Joe Ferrara, who still
carries the original number one issue of Vampires everywhere that
Sam Reids in the film. The comic was created just
for the movie, and if you go to this comic
book store, you can actually have your picture taken with
that comic. I wonder if you can hand it back
to the guy and say I don't like horror comics.
Speaker 1: Okay, I got one for you on Fright Night. All right, Yeah,
we've talked about the reboots and we talked about the sequels.
But five years ago when they asked Tom Holland if
he would ever like to do a sequel of any
of his movies, like, you know, forget the the reboots
that exist, any movie you could do, he said, the one,
the one that he would like to do is a
follow up of Fright Night where he brings back the
original cast and the plot is single father Charlie Brewster
inherits his mother's home and soon after moving in, his
two teenage children become convinced that there's something evil in
the house next door, namely Evil Ed, who is squatting
in the abandoned mansion attempting to resurrect Jerry Dandridge.
Speaker 2: Dude, I could get on board with that.
Speaker 1: I'm all for it. That sounds like a great movie.
And I have to think that these actors would be like, yeah,
let's do that. That sound I mean, what are they
guy going on? Right? Okay, it hasn't been somebody in
a long time. I know.
Speaker 2: Herman's head was a long time ago. So but I'll
tell you what.
Speaker 4: One of the things that people mentioned from Friday Night
when Ed dies Evil Ed dies, he transforms back from
that wolf, gets stabbed, falls over the edge, and dies,
transforms back to the boy. Remember the cross evaporates from
his forehead. And then what happens. Peter Vincent pulls this
steak out right, and a lot of people thought.
Speaker 2: What are you doing, dude?
Speaker 4: You don't pull the steak out? And so that did
leave it open for a sequel.
Speaker 1: Okay, I will say this, The one thing that I
didn't notice that was because it was always around in
the eighties. But I'm watching with my seventeen year old
and she goes, why did they show every shot three
times from three different directions? And I was like, holy cow.
They argue, like Jerry bust through the window, It's like
from like three different angles, right, Like, I guess that's
just something they did. I didn't even I just just
I've just noticed it, and so I told you about it.
And then literally two days later, I'm watching the Simpsons
Halloween special and it's the one where Bart Simpson becomes
a vampire and is right outside of Lisa's window and
he's coming after her, and he busts through the window,
and sure enough they do a shot from three different directions.
I was just like Darren Doyle, we here we go.
We know how to get on these references. They just
did a throwback to Fright Night and the three break scene.
Speaker 4: See, it's because they spend so much money on those
practical effects that they want to get.
Speaker 2: Their money's worth. Right, that's really cool.
Speaker 1: Okay, So just real quick, I just feel like we
should touch on it. Okay, So the poster for Fright
Night is iconic because it's just a beautifully done engaging
The face is amazing, it's over the suburbian house. It's
just perfect. And the Lost Boys picture is the poster
is also perfect, but in a completely different way. It is.
I mean it is them in black and white with
this stark red backdrop to where they are and just
very simple. The Lost Boys, that's it. It's so so
super simple. But you know it is about vampires. But
you're sitting there staring at these rockstar are looking young folks. Yeah,
totally grabs your attention to great posters. Okay, So, Jason,
have you heard the story on the ending of Fright
night I have.
Speaker 4: Yeah, there was originally supposed to be a very different ending,
and I thought this was super interesting.
Speaker 2: At the time.
Speaker 4: In the eighties, monster movies are supposed to be the
monster's supposed to be vanquished and the good guys are
supposed to get married and live happily hour after whatever.
But in the original script, it was supposed to be
radically different. Okay, Charlie and Amy are in their bed
making out watching Fright Night like usual, right, like they
were at the end of the movie, and there's Peter
Vincent and he comes on and he's introducing a movie
and it's talking about this movie with vampires, and he says,
you know what vampires look like, don't you They look
like this. Peter Vincent vams out right yeah, and Charlie
and Amy.
Speaker 1: He got bitten by the bat, right, I mean he
got bitten by the bat.
Speaker 2: He got bit on the arm by the Jerry Dandrews bat.
Speaker 4: And I remember as a kid watching this going, oh no,
he got bit by the bad Yeah.
Speaker 1: I thought that guy's gonna have to die. That's a shame.
Speaker 4: Yeah, And he transforms into a vampire on screen, leans
forward and says hello, Charlie and that's where they cut
to the end credits and it rolls.
Speaker 1: Right, and then one of the producers sees the movie
and he calls Tom Holland and he said, what the
heck do you think you're doing? Yeah, you cannot let
this guy be you somebody that the audience falls in
love with for two hours and then turned him into
a vampire at the end. You can't do it, change it. Yep.
Speaker 4: It's kind of a brave twist there. You know, who
is considered for the role of David.
Speaker 2: No Jim Carrey.
Speaker 1: That'd been weird, especially since he had just done Once Bitten. Yeah,
Once Bitten, Yeah, Yeah, that would have been very strange.
Speaker 4: Also, I want to talk about this real quick. In
the movie Lethal, Weap and Murta and Riggs are walking
down the street discussing how Murta ohs Huntsecker right, and
in the background you see a movie theater that says
lost Boys this year's hit both Richard Donner.
Speaker 1: Ah, of course, yes, okay, that makes sense. I was like, man,
how are we going to get a connection out of this?
All right? What if Donner was upset that he didn't
end up directing that thing?
Speaker 4: You know, I heard I saw him comments on that.
He said he was so glad that Schumacher took over.
He said I could not do it as good as
he did it.
Speaker 2: I thought that was a real strong quote.
Speaker 1: That's a good compliment too, That's awesome.
Speaker 4: Okay, do we want to talk about some of the
basic vampire tropes that we see in these movies?
Speaker 1: Yeah, sure, let's go.
Speaker 2: I thought this was kind of cool.
Speaker 4: So in these movies, we have fangs flying, yes, no
reflection okay, steaks through the heart, yes, coffins yes, okay,
even though that came is basically one big coffin, which
we right, right.
Speaker 2: It's the batcave. You have thorn, the hounds of hell.
Speaker 1: Uh huh.
Speaker 2: You have holy water. Yeah, you have garlic, which he
mentions garlic don't work on us boys, right.
Speaker 4: You have half vampires and head vampires. You have long fingernails,
bad breath, and extreme strength.
Speaker 1: Right.
Speaker 2: But the one thing I want.
Speaker 4: To talk about with you that we kind of need
to unpack is the home invitation.
Speaker 1: The vampire cannot enter your house without being invited by
the rightful owner first. Right.
Speaker 2: It happens in both of these movies, and they discuss it,
and yet they kind of break their own rules a
little bit.
Speaker 1: Well, I mean, it's to me it appears to be
one rule in one movie and a slightly varied rule
in the other movie.
Speaker 2: Don't ever invite a vampire into your house, your silly boy.
Speaker 1: It renders you powerless. So a lot of I mean
a lot of what you talked about there comes from
the original vampire ideas, comes from Dracula, the coffin, the teeth,
being able to change into various animals, that kind of thing.
That's all original vampire stuff. But then there's so many
movies that came out that started adding that extra stuff in,
and a lot of that, especially like the inviting the
vampire in that is something that was just, i mean
basically came from TV. Right It came from the movies,
came from TV. And so what happens in Fright Night
is we understand that the rule is a vampire cannot
come into your house unless invited. And then you have Charlie,
this is our next door neighbor, Jerry Dandridge. I don't
know why he wouldn't have told his mom like that second,
but you know, then so Jerry gets invited in by
the mom and so that kids gives him free rein
to come in where whenever he wants to. Now right,
what we find out in The Lost Boys is not
that they can't come in if not invited. It's that
the magic that works against them is useless if you
invite them in. Like he can eat the garlic, he
can handle the holy water. None of those little things work.
I don't know what would have happened with a stake
through the heart, but anyway, none of those magical type
things affect the vampire if you invite them in. I
didn't invite you this time, Max, But we see all
of the all of the young vampires bust through the
wall and the windows. I mean, they're coming in and
they're not invited at all, you know. So I think
it was just a variation on what is really a
made up trope anyway. I mean, I guess they're all
really made up tropes, but.
Speaker 4: Sure, I think it's interesting. In Fright Night, he does
such a great job with it. He's so suave and
so cool that he's like.
Speaker 1: Hello, Charlie, did you see what he was drinking?
Speaker 6: No?
Speaker 1: Letty Mary nice?
Speaker 4: And then in The Lost Boys, you have that whole
hilarious scene at the beginning or in the middle of
the movie when the Frog brothers are invited over and
they feed him straight garlic and they show that mirror
right in his face and it startles.
Speaker 2: Him, and it's this kind of funny scene.
Speaker 4: All of that, it leads you to believe that Max
is not the head vampire, which is a great reveal
at the end.
Speaker 1: Yeah, that was a good way to handle that. That
was a great way to handle it.
Speaker 2: I love both of these movies. Man, they're so good. Okay,
you ready to talk about soundtrack or what?
Speaker 1: Before we jump into soundtrack. I forgot to mention this.
I just I'll just mention it now. So we talked
about the sequels. Did you know that there was a
discussion about a prequel Key for Sutherland and Joel Schumacher
discussed doing a prequel that occurred back at the time
that the great San Francisco earthquake had happened that dropped
the hotel in and that was when it was going
to take place, and that was going to be like
the start of all of the vampires. And I was like, dude,
that is another one that needs to be made.
Speaker 2: That sounds great to me. I'm I'm all on board
for that.
Speaker 1: Yeah, But he for Sutherland said, you know, it was
a it was a conversation over a bottle of wine.
That's all it ever, was nothing more than that.
Speaker 4: I did hear Joel Schumacher discuss the idea of having
a new movie called The Lost Girls. That was his
idea that it was basically a.
Speaker 2: Group of girl vampires terrorized town.
Speaker 1: Yeah, like The Craft or something.
Speaker 2: Right.
Speaker 1: Okay, soundtracks, soundtracks, Let's talk about soundtracks. Okay, So let's
start with Fright Night. So Fright Night's soundtrack is done
by Brad Fidel, Yes, who got the job because he
had lucked into this magical movie called The Terminator. At
this time in history, digital music was the thing that
was coming about, and Tom Holland totally saw that. He
was like, I you know, I knew, I knew. Tangerine
Dream was doing all this stuff like that. Tangerine Dream
did the soundtrack from Risky Business, which is freaking awesome.
I mean, I've downloaded their stuff in the last week.
It's so good. Even though it's that eighties digital stuff,
they were masters at it. But Brad Fidell was doing
that same very techno electronic sound to do the soundtrack
for his movies. And Tom Holland loved what he had
done with the Terminator and so said, come on, come
over here. We want you to be the composer for
this movie. So come to Me. Come to Me was
a song by Brad Fidell that he had like done
the lyrics for and everything, like he was a singer
on it. And then when they had it's the one
that's playing whenever Jerry's about to bite her yea, and
Tom Holland had to say, you got to lose the
lyrics and Brad Fidel's like what Yeah, He's like, wait
a minute, what am I thinking? I got? This is
supposed to serve the movie. So he took it out.
Speaker 2: Okay, do you are you ready for my come to Me?
Speaker 1: Sorry, but you got something? You got something more? Yeah.
Speaker 4: So I did see all that, and I think it's
it kind of broke its heart a little bit because
he did pour his blood, sweat and tears into the
lyrics for come to Me, right and then but when
they pulled it out it worked even better. But I
thought this was hilarious. So the movie is released, you
have this real seductive song. It's what they play while
Jerry is biting Amy and sort of transforming her into
the vampires. But Brad Fidel was at his studio one
day and his phone rang and he said, there's this
woman on the phone who said, are you Brad Fidel?
Speaker 2: And he's like yes. He's like, how did you get
my number? I mean, who is this?
Speaker 4: So somehow she had found him, figured out a way
to call him, called him up and said you're Brad Fidel,
Yes i am. Did you write this song come to
me for frid Night?
Speaker 1: Yes?
Speaker 4: I did, And she said do you have a longer
version of that song?
Speaker 2: He goes, well no, he goes.
Speaker 4: That, I mean the spot in the movie doesn't really
call for anything more than two or three minutes.
Speaker 2: He goes, that's it's the only thing I wrote.
Speaker 4: She's like, really, because my boyfriend and I love that song.
Speaker 2: We just need a longer version of that song.
Speaker 1: Sorry, honey, songs over.
Speaker 2: That was a great hunt.
Speaker 1: You get a sandwich.
Speaker 6: Song just.
Speaker 4: The end credit song Friday Night. It's a song called
frid Night's by the Jay Gilles Band.
Speaker 1: Oh yeah, yeah, yeah, there was a video for that
one too, right.
Speaker 4: Yeah, Jay Gill's band, better known for Centerfold, Freeze, Frame,
Love Steams. Yeah, I love Jay Gill's band. They were
a little past their prime when this song came out.
We already talk about boys soundtrack.
Speaker 1: Yes, first the score. Let's talk about the score real quick.
Because the composer for the Lost Boys is a guy
named Thomas Newman. And if you if you've looked at
soundtrack composers at all, you know the name Newman because
you've got Alfred Newman, who is a composer of movies
who won multiple Oscar Awards. What what's up?
Speaker 2: That's not Alfred E.
Speaker 1: Newman? Yeah, I don't think so. We didn't have kind
of a wide smile. I don't know anyway. He he
he won several Academy Awards. He was He's the one
that composed the twentieth Century Fox.
Speaker 2: He did that, okay.
Speaker 1: And then you got Randy Newman, who's his cousin, who's
done all you know, he did the Toy Story, he
did all of those soundtracks that he's done, which is
a unique He's got his own unique style. His brother had,
His brother, I believe his name is David, has done
the soundtracks as well. Not really as many cool ones
as Thomas has done. Thomas has quite the resume, David
not so much. But even still, he's won an Oscar
for Anastasia. The other one of note that he did
that David did was Bill and Ted's Excellent Adventure. So
I'm pretty sure I talked about him last time. But
Thomas Newman, who did the score for The Lost Boys,
has composed tons, I mean tons. I can't get him
all in, but let's hit some big ones. The Cinderella Man,
American Beauty, The Green Mile, Angels in America, Finding Nemo,
Wally James Bond film Skyfall and Specter, and the Shawshank Redemption.
I mean, dude, that's just a few. Like, he's got
a ton, and he has this very unique record, he
very sad record. He has been nominated for fifteen Academy Awards,
tying him with another composer named Alex North for the
most nominations without a win.
Speaker 4: Oh man, Yeah, it's nice to be nominated, but sure
nice to win.
Speaker 2: All right.
Speaker 6: D That leads us to the theme song of Lost Boys,
Cry and a Sister. The song is amazing.
Speaker 1: Yeah, it just makes the hair stand up on your
arms every single time. Right every time.
Speaker 4: Yeah, the choir of the children singing the you know,
thou shalt not fall, Thou shalt not kill, thou shalt
not die.
Speaker 2: So good. It's written by a guy named Gerard McMahon.
Speaker 1: Uh huh, and.
Speaker 4: Joel Schumacher had worked with him previously, came to him
and said, Hey, I need you to write the theme
song for this.
Speaker 1: Movie I'm doing.
Speaker 2: It's called Lost Boys.
Speaker 4: He said, typically he watches the movie so he can
get a feel for it, and he didn't really get
a chance to do that, so he wrote it straight
from the script.
Speaker 1: Huh.
Speaker 2: It's kind of an interesting way to do it. He
had an idea of what he wanted to do.
Speaker 4: He knew he wanted the choir of children kind of
give it that creepy feel.
Speaker 1: Oh, it's successful, very eerie and moving.
Speaker 4: I mean they play it ten times throughout the entire
movie when David's killed at the beginning, they play it
with the hunting credits. Yeah, play it at the moment
when David's killed, And every time.
Speaker 2: They play it, I'm like, I just want to keep
listening to that song.
Speaker 1: So I listened to an interview with Jason Patrick and
Key for Sutherland and they started talking about that song.
And you know they're at this They're at this like
fan base convention. I don't know what it is, but
they're obviously speaking to a large crowd of people and
key for Sutherland's Like, so, okay, So I'm looking out
of the audience and I'm seeing, Okay, there are a
few kids. Uh so how do I say this? So
what do I say? So? Like, every time I would
go to a dancing bar, that song would automatically come
on while I was there. That just I guess the
you know, the dancers, when they would see him come in,
we're like, oh, oh, I got to play that song
for my next day.
Speaker 2: I know what'll get his attention.
Speaker 1: Yes, and somehow we hit the stripper songs again. I
don't know how we do it for everypod. I just
got to let our audience know I I do not
go to strip clubs, all right, I just don't do it.
I need you guys to know that. It's just fun
to talk about the idea. I don't go to strip clubs.
Speaker 2: Hey, we love stripper songs.
Speaker 4: I don't know if you know this or not, but
Marilyn Manson actually has a cover of Cry Little Sister.
Speaker 1: Yeah, he's got a whole lot of covers, a whole
lot of good songs that are not as good as
the songs that he covered.
Speaker 2: Totally, totally, yeah, Yeah.
Speaker 4: We can't say enough good things about Cry Little Sister.
But there are some other songs on the soundtrack.
Speaker 1: I want to talk about. One of my favorites is
the one by the lead singer Foreigner Lou Graham. He
did Lost in the Shadows, which is that one that's
playing while they're racing their motorcycles. Yes, that is a
freaking awesome song.
Speaker 2: Yeah, great songer, great song.
Speaker 4: There's actually a deleted scene that uses that song.
Speaker 2: I think they kind of shifted it around. Oh yeah, Yeah.
Speaker 4: Michael is cleaning dishes and mom is doing chores and
Sam is playing it on the radio, and he comes
downstairs and makes his mom dance with him, and then
he grabs Michael and kind of the three of them
dance around the kitchen. It does not fit the tone
of the movie at all, uh huh, But it was
an interesting deleted scene to watch.
Speaker 1: So that's interesting because we know how the movie does end.
It ends at that It ends very abruptly with the
line by the Grandpa. One thing I could never stomach
about Santa Carla All the Day Vampire. Yeah, yes, right,
what a way to end the movie. Like he just
kind of wanders off to get the beer. They're like,
what's wrong with you? What's going on? It's his root beer,
his root beer?
Speaker 4: Yes, right with it in the drawer by his oreos
and uh, don't pull off the tab to the TV.
Speaker 1: Guide right, and then it ends. The movie ends there,
And I can see how if I was right in
the movie, it'd be like, I can't end the movie there.
But it was the way they handle it was great.
I thought that was a perfect way to end end
that movie.
Speaker 4: So Krylo's Sisters awesome, Lost in the Shadows awesome. Yes
you get Don't Let the Sun Go Down on Me
by Roger Daltrey, which is a cover of Elton John right, right, right,
you have People Are Strange, which is a cover of
the Doors song.
Speaker 1: Right, and then one of the big ones. There were
two videos that I remember seeing for this movie because
they showed clips of the movie throughout, and one of
those was the Lou Graham Lost in the Shadows song.
The other one is one we've talked about before.
Speaker 4: Yeah, good Times, which is in excess to Jimmy Barnes,
which we talked about, was kind of the precursor for
in excess Kick Cowboy.
Speaker 1: Yeah they did, you know, they didn't. They didn't make
it for the movie like they had already covered the song.
It was part of some Australian tour that they were
doing and they did not, and so they covered another
Australian band.
Speaker 2: Do you know this, yeah, the Easy Beats.
Speaker 1: Right, yes, which one of the members of the Easy
Beats was George Young who is the brother.
Speaker 2: Of Angus and Malcolm Young from ac DC.
Speaker 1: There you go.
Speaker 2: Another tidbit on that song, good Times, the original version
by the Easy Beats. They played it on the radio.
Speaker 4: Who was listening to that radio station, Paul McCartney. When
that song was over, Paul McCartney called the radio station
and said, Hi, this is Paul McCartney.
Speaker 2: I want you to play that song again.
Speaker 1: Did they play it again? Yes?
Speaker 2: They did, Yes they did.
Speaker 1: That's fantastic. All right.
Speaker 4: Can we talk about Tim Cappello his version of the
Calls I still believed.
Speaker 1: Let me just say one of the most memorable like
bit part cameo things of any movie ever.
Speaker 2: And he he is.
Speaker 1: He created a character that was you were just like
I know that guy every time I see him. He
is the sexy saxophonist.
Speaker 4: The saxophonists that covered himself with baby oil and sang
the song I still believe it's so great.
Speaker 1: Yeah, and Tim, he actually sang it like the guy
who's up there who you see is he's not lip
syncing some other song. He is an actual musician. He
was trained as a musician. He was in bands in
the seventies and eighties. He got addicted to heroin in
the seventies and so in nineteen seventy nine he quits
cold Turkey and takes up bodybuilding. And so he is
toured with Carly Simon, Peter Gabriel, Garland, Jeffries. He was
one of the main guys who toured with Tina Turner.
But he would always he would do that bit like
he would grease himself all up and he'd be next
to Carly Simon used to bring him out in a
dog leash and a g string. I don't know what
else to say on top of that. That's the whole story.
That's it's just it's crazy. But man, what a a memorable.
Speaker 4: Guy, great song, iconic cameo appearance, and just really impactful
moment in the movie. Yet you say lost Boys, one
of the first things people think about is the greasy
sax player.
Speaker 1: Are we ready to move now to final judgment?
Speaker 2: I think we're ready for final judgment.
Speaker 1: So we have two movies that are incredibly similar. One
came out an eighty five, one came out in eighty seven.
They redefined for us what the vampire was. They made
vampires sexy again. Vampires had gotten silly, and they made
him sexy again with still maintaining some humor in both movies,
which I've told you before is vital for any movie.
You got to have at least a little bit of humor,
and these both of these movies did an impeccable job
of that. I love the way that Tom Holland took
this notion of a movie from nineteen forty eight and
made it into two different movies, Cloak and Dagger and
Fright Night. You know, the boy who cries wolf sees
something out his back window which no one will believe
him about, and the murderer is trying to get him.
It's fantastically written, but for me. The Lost Boys, they
took it up a notch. They were something I could
identify with more like they made me want to be
a vampire. They David Key for Sutherland's part, I mean
Key for Sutherland to me is the movie. He is
the one who defined and he had less lines than anybody.
He just his presence, his looks, everything about him just
made you want to be a part of it. And
that's exactly what he was supposed to be, right, He
was supposed to be somebody that enticed you to do
something that logically no one would choose to do, and
he did such a fantastic job with it. So, even
though I don't think the script is quite as good
for The Lost Boys, if I got to pick you,
if I'm gonna watch one or the other, I'm gonna
I'm gonna pick Lost Boys to watch.
Speaker 2: Okay, here's where I come down. Okay, you pretty much
stole all my thunder there.
Speaker 1: But okay, I tried to.
Speaker 4: Get you to go fi no, no, no, this is
the deal. I love both of these movies in a
very equal sense. Half of my personality, like the nerd
half of me, the nerd half of me that likes
to stay up late and watch old monster movies and
geek out and think about what would happen if I
vampire move next door to me. That part of me
loves Friday Night to death, the rock and roll, cool, motorcycle, rebellious,
never Die, Never grow old, run away with the pretty girl.
That part of me loves Lost Boys. So it's a
real tough decision for me. I think these are both
sort of neck.
Speaker 3: And neck, But neck and neck, he said, But if
I want to be honest, I think that Lost Boys
is my preferred movie.
Speaker 2: It definitely had more of a cultural impact on me.
Speaker 4: Just from the cast and the style. The soundtrack is
definitely one of my favorites of the eighties. The coolness
of the vampires in Lost Boys tips the.
Speaker 2: Scales for me. It's the one I'm going to go to.
Speaker 4: It has so much fun and the twist end and
the fun characters and all the laughs. Of course, Friday
Night has that too, and I would definitely give a
recommendation to both of these, but Lost Boys I think.
Speaker 2: Is the more enjoyable of these two. But that's where
I am. Where are you, guys?
Speaker 4: We sure like to hear when people disagree with us
so way in on Facebook, way in on Twitter.
Speaker 2: Send us an email. We want to hear from you.
Speaker 1: Do not forget to follow our page on Facebook. We've
been overwhelmed by the support we've gotten on Facebook as well.
All right, right, Jason's been fun man CD.
Speaker 5: Yeah. Shoot,