Fright Night ('85) or The Lost Boys ('87)?! [Episode 2]

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