Speaker 1: All right, welcome back. Everybody's with this? I sound like
Arnold Schwartz. Oh that's terrible.
Speaker 2: He You're so cool, bruister. Hello everybody, and welcome to
the Surely You Can't Be Serious Podcast with your co
hosts James D.
Speaker 1: Graves and Jason Coliban.
Speaker 2: All Right, everybody, welcome back. 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 Aqim. James joined at the Duke Brothers Tier and
he will be receiving high quality earbuds, a custom engraved
stainless steel tumbler, and voting power on upcoming episodes for
season two. These special gifts are only available for a
limited time, so come join now at patreon dot com.
Forward Slash Shirley.
Speaker 2: Podcast Awesome de.
Speaker 1: We were talking before about the special effects, and obviously
with frid 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. 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 it's ended 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. One of the things that you know,
as we're talking about special effects, I did want to
mention this. We didn't really 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 Randy
Cook and he's like, I need you to do me
a favor. He's like okay, he goes, we'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. Yeah, now I'm any big deal.
Nobody's gonna know it, right, And so Rae'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 horrible
shark mouth. And it didn't go for only three seconds
in the movie. It was all over the movie, like.
Speaker 3: 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.
Speaker 1: Now, so you get this full on you're looking right
at her and 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 was 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 2: We talked about this, So, yeah, they had a million
dollars for effects, and they got to the end of
it and Steve Ellan's like, do you remember that million
dollars I had for effects? I have zero dollars and
zero since left over. Yeah, but the poster, So I've
seen this. It's a very well known poster. It was
on the VHS tape and all that stuff. 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 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 2: I did see frid Night two. 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 too. Am I remembering that? Right?
Speaker 2: I mean, I guess. I mean. 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 Dan Andrews's sister. 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 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 McDowell, 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 Mendez was murdered by his sons,
the Menindez brothers.
Speaker 2: 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 Night. Yeah, fright night too. And when when
when Roddy McDowell 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 2: Yeah, yeah, it's I watched it last year and it
I had to get it through Netflix, like the hard
DVD copy, and it was tough to get a hold of.
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. He's cool. 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. Uh, yes, you watched 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 2: And then Keifer Settlen's brother is in it, and it's
a lookalike to David Same. Oh wow, wow, he looks
very I mean, it's keep his Otherland's brother. 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. 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 Loss.
Speaker 2: By exactly exactly, you know what I want to talk
about real quick though before it's sort of in the
realm of special effects.
Speaker 1: Okay.
Speaker 2: 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 at.
Speaker 2: Yes, that's right. 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. I loved the whole movie for sure,
looked worse than stage makeup. It was terrible, but go ahead, okay.
Speaker 2: But the other thing that they did for the movie
is they gave her prosthetic breasts. Okay. 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 signings, she was wearing them and let people come
up and feel them while she.
Speaker 2: Was 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.
Speaker 2: Sorry about that.
Speaker 1: They'd just be sitting there on the table. You want
to feel my breast? No, not that we haven't talked
about special effects for well Lost Boys.
Speaker 2: 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 transformed to vampires. 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. Joe Schumacher's like,
I've 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 looking actors. I want them
to look like vampires. So they need to be scary,
but they need to be good looking vampires.
Speaker 1: Uh huh.
Speaker 2: 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.
Speaker 2: It's aby yeah.
Speaker 1: 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 Friday Night. 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.
Speaker 1: Protector, right kind of the Renfield.
Speaker 2: So the big question is what is Billy Cole? Right,
He's not a vampire, No walks around the day out
in the sun, right. 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? 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 2: I I saw Tom Holland talk about this and they're like, Okay, Tom,
what is Billy Cole? And He's like, I don't know,
not exactly sure, God.
Speaker 3: That's weird.
Speaker 2: What the hell is goofy?
Speaker 1: 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 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 being avert about it.
Speaker 2: I guess so, right, you know, I've heard that mentioned
on both.
Speaker 1: Of these movies, 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 a lot, I told him, Yeah,
Batman and Robin aren't gay.
Speaker 2: We don't talk about Batman and.
Speaker 1: Robin, all right. You don't like the nipples.
Speaker 2: I don't like the bat nipples, Yeah.
Speaker 1: The bat nipples and the codpiece.
Speaker 2: 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
Christin 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. Here's a tidbit I found out from
oswy So that 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 reads 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's good. 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?
Speaker 2: Okay, it hasn't been somebody in a long time. I
know Herman's head was a long time ago. So but
I'll tell you what. 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, what are you doing, dude? 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? 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, well, 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 2: See it's because they spend so much money on those
practical effects that they want to get 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.
Speaker 2: Two great posters.
Speaker 1: Okay, So, Jason, have you heard the story on the
ending of Fright Night.
Speaker 2: I have. Yeah, there was originally supposed to be a
very different ending, and I thought this was super interesting
at the time. 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.
Speaker 1: Yeah, and Charlie and Amy he got bitten by the bat, right,
I mean he got bitten by the back.
Speaker 2: He got bit on the arm by the Jerry Dandrews bat.
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 2: 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 gre you somebody that the audience falls in
love with for two hours and then turned him into
a vampire at the end. He can't do it, change it. Yep.
Speaker 2: It's kind of a brave twist there. You know, who
is considered for the role of David No Jim Carrey.
That'd been weird, especially since he had just done Once Bitten.
Speaker 1: Yeah, Once Bitten, Yeah, Yeah, that would have been very strange.
Speaker 2: 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 Hunsecker 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?
Speaker 2: All right?
Speaker 1: What if Donner was upset that he didn't end up
directing that thing?
Speaker 2: 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. I thought that was a real strong quote.
Speaker 1: That's a good compliment too, That's awesome.
Speaker 2: 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. So in these movies,
we have fangs flying, yes, no reflection okay, steaks through
the heart, yes, coffins yes, okay, even though that is
basically one big coffin, which we right, right, it's the
bat cave. 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. 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 to talk about with
you when you kind of need to unpack, is the
home invitation.
Speaker 3: The vampire cannot enter your house without being invited by
the rightful owner first.
Speaker 1: 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 gids 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.
Speaker 2: I didn't invite you this time, Max.
Speaker 1: 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.
Speaker 2: But 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, hello, Charlie.
Speaker 1: Did you see what he was drinking?
Speaker 2: No?
Speaker 1: Letty Mary nice?
Speaker 2: 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 him, and it's
this kind of funny scene. 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, buddy. He for Sutherland said, you know, it was
a it was a conversation of her bottle of wine.
That's all it ever, was nothing more than that.
Speaker 2: 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 group of girl vampires
terrorized town like The Craft or something. Right. Okay, soundtracks, soundtracks,
let's talk about soundtracks.
Speaker 1: Okay, So let's start with Fright Night. So Fright Night
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 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 yeah, 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 it? 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 story?
Speaker 1: But you got something? You got something more? Yeah.
Speaker 2: 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 was 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?
And he's like yes, He's like, how'd you get my number?
Who is this? 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 Fright Night? Yes? I did?
And she said do you have a longer version of
that song? He goes, well no, He goes that, I
mean the spot in the movie doesn't really call for
anything more than two or three minutes. He goes, that's
the only thing I wrote. She's like really, because my
boyfriend and I love that song. We just need a
longer version of that song.
Speaker 1: Sorry, honey. Songs over.
Speaker 2: That was great, hun Get.
Speaker 1: A sandwich.
Speaker 2: Just 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 yeah.
Speaker 2: Jay Gill's band, better known for Centerfold Freeze, frame love Stems. Yeah,
I love Jay Gills band. They were a little past
their prime when this song came out. We already talk
about boys soundtrack, Yes.
Speaker 1: 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 that's not
Alfred E.
Speaker 2: Newman?
Speaker 1: Yeah, I don't think so. 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 d.
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 whim.
Speaker 2: Oh man, Yeah, it's nice to be nominated, but sure
nice to win, all right, 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. Yeah.
Speaker 2: The choir of the children singing the you know, Thou
shalt not fall, Thou shalt not kill, thou shalt not die.
So good. It's written by a guy named Gerard McMahon.
Speaker 1: Uh, huh, and.
Speaker 2: Joel Schumacher had worked with him previously, came to him
and said, Hey, I need you to write the theme
song for this movie I'm doing. It's called Lost Boys.
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. 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 2: I mean they play it ten times throughout the entire movie.
When David's killed at the beginning, they play it with
hunting credits. Yeah, play it at the moment when David's killed.
And every time 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
Keefer Sutherland and they started talking about that song, and Keer,
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.
Speaker 2: My next day. I know what he'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. I don't know if you
know this or not, but Marilyn Manson actually has a
cover of cryd 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.
Speaker 1: Yeah.
Speaker 2: We can't say enough good things about Cryd Little Sister.
But there are some other songs on the soundtrack I want.
Speaker 1: To talk about. One of my favorites is the one
by the lead singer of 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 song, great song. There's actually a deleted scene
that uses that song. I think they kind of shifted
it around. Oh yeah, yeah. 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.
Speaker 2: Carla all the day vampires.
Speaker 1: 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?
Speaker 2: It's his root beer?
Speaker 1: His root beer?
Speaker 2: Yes, right with it in the drawer by his oreos
and uh, don't pull off the tab to the TV guide.
Speaker 1: 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 to end
that movie.
Speaker 2: 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 the one we've talked about before.
Speaker 2: Yeah, good Times, which is in Excess to Jimmy Barnes,
which we talked about was kind of the precursor for
In Excess Kick Albert.
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.
Do you know this, yeah, the Easy Beats, 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.
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. 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 2: Can we talk about Tim Capello his version of the
Calls I still.
Speaker 1: Believe let me just say one of the most memorable,
like bit part cameo things of any movie ever. He
is 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 2: The saxophonists that covered himself with baby oil and sang
the song I still believe it's so great. Yeah, and Tim, he.
Speaker 1: 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 2: 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 know,
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 get you to go fast time.
Speaker 2: 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 and.
Speaker 1: Neck, but neck and neck, he said, But.
Speaker 2: If I want to be honest, I think that Lost
Boys is my preferred movie. It definitely had more of
a cultural impact on me, 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 scales for me. It's the one I'm
going to go to. 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 is the more enjoyable of these two.
But that's where I am. Where are you guys? We
sure like to hear when people disagree with us, so
way in on Facebook, way in on Twitter, 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 mhmm, Jason,
how are those maggots? Uh? What maggots? Jason? You're eating maggots.
Speaker 2: You're so cool, Brooster