You're So Cool, Brewster! The Story of Fright Night

1 00:00:06,000 --> 00:00:12,074 Watch Online Movies and Series for FREE www.osdb.link/lm 2 00:00:39,000 --> 00:00:45,000 Welcome to the Peter Vincent Fright Fest 3 00:00:45,000 --> 00:00:48,000 It's 4 00:00:48,000 --> 00:00:53,000 (mumbling) 5 00:00:53,000 --> 00:00:57,000 Yes, I'm fully aware of that. 6 00:00:58,240 --> 00:01:00,240 Okay, reset 7 00:01:04,000 --> 00:01:06,000 ... and action! 8 00:01:20,000 --> 00:01:27,000 Welcome to the story of Fright Fest. 9 00:01:27,000 --> 00:01:29,000 Uh cut again Peter. 10 00:01:29,000 --> 00:01:33,000 Fright night, not Fright Fest. 11 00:01:33,000 --> 00:01:35,000 Welcome. 12 00:01:44,000 --> 00:01:50,000 Welcome to the story of Fright Night. 13 00:01:50,000 --> 00:01:55,000 With me,your illustrious host,Peter Vincent, 14 00:01:55,000 --> 00:02:03,000 the great vampire killer that you have all come to love. 15 00:02:03,000 --> 00:02:11,000 And in my eye, you have seen me do battle with them all. 16 00:02:15,000 --> 00:02:23,000 Well, blood, sucking bags, and of course, the creatures of the night. 17 00:02:26,000 --> 00:02:28,000 Come by. 18 00:02:30,000 --> 00:02:33,988 Forbidden, frightfully glorious years, my victories 19 00:02:34,012 --> 00:02:38,000 in fright's nights have illuminated your screens. 20 00:02:41,000 --> 00:02:45,050 And yet, not unlike the creatures of the night, it remains as fresh 21 00:02:45,074 --> 00:02:49,000 today as it did when first released to the big screen in 1985. 22 00:02:55,000 --> 00:02:58,988 Who would have believed that a simple tale of blood and war penned by 23 00:02:59,012 --> 00:03:03,000 Tom Holland could confound the critics to become the fangoriously free. 24 00:03:10,000 --> 00:03:15,000 And in the brightening success, it remains to this day. 25 00:03:15,000 --> 00:03:18,787 Few could have believed that much like myself, it would continue to 26 00:03:18,811 --> 00:03:23,000 excite the imagination and cement itself as the camp cult classic of... 27 00:03:30,000 --> 00:03:35,000 ...excuse the pal, monstrous ploport. 28 00:03:37,000 --> 00:03:40,988 So sit back, close the curtains, lock the door, turn 29 00:03:41,012 --> 00:03:45,000 out the lights, and prepare for a night of frights. 30 00:04:00,000 --> 00:04:08,000 With me, your host, Peter Vincent, the great vampire killer! 31 00:04:19,000 --> 00:04:22,988 Fright Night is my love letter to the fans, because I was a fan when 32 00:04:23,012 --> 00:04:27,000 I was a teenager back before there were horror movie fans certainly. 33 00:04:28,000 --> 00:04:31,000 Stop! You creature of the night! 34 00:04:31,000 --> 00:04:36,000 And I've been in a way kind of returns to the great conventions of the past. 35 00:04:36,000 --> 00:04:39,000 Something that people were not really expecting at that time. 36 00:04:39,000 --> 00:04:43,000 It taps into the primal scare. 37 00:04:43,000 --> 00:04:46,000 I guess one of those stories that's timeless. 38 00:04:46,000 --> 00:04:49,862 The movie is like getting on a roller coaster 39 00:04:49,874 --> 00:04:54,000 and going up and down and it's just a lot of fun. 40 00:04:54,000 --> 00:05:00,000 Okay, we mean business, this is a scary movie, and these people will kill you. 41 00:05:00,000 --> 00:05:05,000 But you're going to have quite a few laughs along the way. 42 00:05:05,000 --> 00:05:12,000 It had a certain eroticism and sensuality that I love. 43 00:05:12,000 --> 00:05:17,000 Fright Night was kind of the culmination of some of the coolest makeup gags. 44 00:05:17,000 --> 00:05:19,000 The master will kill you for this! 45 00:05:19,000 --> 00:05:22,000 And physical effects that were done in the 80s. 46 00:05:22,000 --> 00:05:25,713 It's always better to show the audience not quite enough, 47 00:05:25,725 --> 00:05:29,000 and they often tend to remember more than they saw. 48 00:05:29,000 --> 00:05:34,000 It very much captures that time as an era, but it doesn't make fun of it. 49 00:05:34,000 --> 00:05:36,000 It embraces it. 50 00:05:36,000 --> 00:05:40,199 Fright Night was a wonderful experience that blossomed beyond our imagination 51 00:05:40,211 --> 00:05:44,000 in spite of the fact that we knew we were in an extraordinary adventure. 52 00:05:46,000 --> 00:05:49,823 Traditional horror gone away, and what I wanted to do was 53 00:05:49,835 --> 00:05:54,000 bring back the classic horror monsters that I grow enough with. 54 00:05:56,000 --> 00:05:58,000 Welcome to... 55 00:05:58,000 --> 00:06:00,000 ...Fright Night. 56 00:06:08,000 --> 00:06:09,000 For real. 57 00:06:25,000 --> 00:06:28,000 ...Fright Night. 58 00:06:55,000 --> 00:06:58,000 ...Fright Night. 59 00:07:26,000 --> 00:07:28,000 ...Fright Night. 60 00:07:37,000 --> 00:07:45,000 Much like my own self, Tom Holland is a man of many talents, actor, writer, director, 61 00:07:51,000 --> 00:07:53,000 book tour. 62 00:07:53,000 --> 00:07:57,186 Born in New York in 1943, Tom went on to direct over 200 commercials, before penning 63 00:07:57,198 --> 00:08:01,000 such classic films as Class of 1984 in 1982 and psycho two just a year later. 64 00:08:16,000 --> 00:08:19,856 Psycho 2 was an enormous commercial success 65 00:08:19,868 --> 00:08:24,000 and that wasn't even a feature film when I went 66 00:08:24,000 --> 00:08:25,000 to work on it. 67 00:08:25,000 --> 00:08:27,819 It was a cable movie and I had to write a 68 00:08:27,831 --> 00:08:31,000 great script to get Tony Perkins to say yes and 69 00:08:31,000 --> 00:08:33,599 it was when the word went out around the world 70 00:08:33,611 --> 00:08:36,000 that Tony was reprieising Norman Bates that 71 00:08:36,000 --> 00:08:38,000 all of a sudden there was such interest. 72 00:08:38,000 --> 00:08:42,000 The universal finally went, hey, maybe we have a feature film here. 73 00:08:43,000 --> 00:08:46,000 It was like Iron Balls excuse me, yeah. 74 00:08:46,000 --> 00:08:51,000 But he did and it's now revered as one of the great sequels of all time. 75 00:08:51,000 --> 00:08:56,000 The idea for Fright night happened while I was writing Cloak and Dagger. 76 00:08:56,000 --> 00:08:59,000 Cloak and Dagger was ostensibly a remake of the window. 77 00:08:59,000 --> 00:09:04,000 The 1948 movie which was the juvenile version of a rear window. 78 00:09:04,000 --> 00:09:08,000 But while I was writing that and working on it, out of nowhere. 79 00:09:08,000 --> 00:09:09,827 This idea came to me and I thought well 80 00:09:09,839 --> 00:09:12,000 wouldn't it be wonderful if an horror movie fan 81 00:09:12,000 --> 00:09:17,000 hi there that's me, became convinced that his next door neighbor was a vampire. 82 00:09:17,000 --> 00:09:23,000 And I thought that was just the funniest idea I'd ever had. 83 00:09:23,000 --> 00:09:29,000 Just by virtue of the name, Fright Night. 84 00:09:29,000 --> 00:09:34,000 There's going to be some Fright going on tonight. 85 00:09:34,000 --> 00:09:39,000 I had a premise that I didn't have a story and I kept saying to myself, well if I was 86 00:09:39,000 --> 00:09:43,000 that kid which of course you know it's a wish fulfillment story, I would have loved 87 00:09:43,000 --> 00:09:45,000 to have been Charlie Brewster. 88 00:09:45,000 --> 00:09:47,000 But I said if I was that kid what would I do? 89 00:09:47,000 --> 00:09:51,000 Who would I go to for help because nobody would believe you. 90 00:09:51,000 --> 00:09:52,000 That was what made it so funny. 91 00:09:52,000 --> 00:09:57,000 You're guilty anyway because everybody knows the you're a horror movie fanatic. 92 00:09:57,000 --> 00:10:04,000 And then I thought of Peter Vincent which was Peter Cushing and Vincent Price. 93 00:10:04,000 --> 00:10:06,055 My two favorite actors when I was growing up, 94 00:10:06,067 --> 00:10:08,000 the minute that I had that image in my head 95 00:10:08,000 --> 00:10:14,000 I couldn't wait to get home and start writing. 96 00:10:14,000 --> 00:10:17,000 Stop you creature of the night. 97 00:10:17,000 --> 00:10:20,408 And I wrote a first draft in that non-stop 98 00:10:20,420 --> 00:10:24,000 24-7 in about three weeks and then I finished 99 00:10:24,000 --> 00:10:26,000 it and I put it aside. 100 00:10:26,000 --> 00:10:29,000 And I said things missing, something's missing. 101 00:10:29,000 --> 00:10:30,000 What the hell is missing? 102 00:10:30,000 --> 00:10:34,000 And I came to a stop and there's no girl in it. 103 00:10:34,000 --> 00:10:37,000 And I wrote the first draft, there was no Amy. 104 00:10:37,000 --> 00:10:39,956 I mean the story was so strong that it carried 105 00:10:39,968 --> 00:10:43,000 me through with like three or four boys friends. 106 00:10:43,000 --> 00:10:46,566 And so then I went back and I started to work 107 00:10:46,578 --> 00:10:50,000 it again and I wrote Amy into it and it fell 108 00:10:50,000 --> 00:10:52,000 into place and it locked. 109 00:10:52,000 --> 00:10:53,000 Me too. 110 00:10:53,000 --> 00:10:57,000 I'm just scared that's all. 111 00:10:57,000 --> 00:11:01,000 They wanted to give him a bunch of money to just write it and not direct it. 112 00:11:01,000 --> 00:11:05,000 And he had this real conflict and he said no, I'm going to direct it. 113 00:11:05,000 --> 00:11:09,000 It was really an important decision in his life. 114 00:11:09,000 --> 00:11:14,000 I had the chops because I was hot enough as a writer to be able to leverage myself into 115 00:11:14,000 --> 00:11:16,000 directing because of Psycho 2. 116 00:11:16,000 --> 00:11:20,000 It was a terrific guy at Columbia that had a story department called John Byers. 117 00:11:20,000 --> 00:11:22,000 And John supported me. 118 00:11:22,000 --> 00:11:25,644 As far as I know, the first time that Tom ever 119 00:11:25,656 --> 00:11:29,000 said action in a feature film as a director 120 00:11:29,000 --> 00:11:30,000 was to me. 121 00:11:30,000 --> 00:11:32,000 So as a friend, that was fun. 122 00:11:32,000 --> 00:11:36,000 Better to have friends around you, you know, when you're getting into this thing. 123 00:11:36,000 --> 00:11:38,000 And I went down and I shot. 124 00:11:38,000 --> 00:11:44,000 I wanted to get the humor out of shooting this terrible horror film. 125 00:11:44,000 --> 00:11:48,000 When the movie first struck you think, oh baby, this is the movie. 126 00:11:48,000 --> 00:11:51,000 Why are you looking at me so strangely, Nina? 127 00:11:51,000 --> 00:11:53,000 Not you, Jonathan. 128 00:11:53,000 --> 00:11:55,000 You're a neck. 129 00:11:55,000 --> 00:11:59,000 And then it panms back and you see that the leads are watching the movie. 130 00:11:59,000 --> 00:12:01,000 I hear my breast. 131 00:12:01,000 --> 00:12:04,000 We were trying to be terrible. 132 00:12:04,000 --> 00:12:07,000 Tacky, like all these horror films would grow enough with as a kid. 133 00:12:07,000 --> 00:12:12,000 I mean, if you look carefully, Peter Vinson is in the film, staking the vampire, he has 134 00:12:12,000 --> 00:12:15,000 the stake upside down. 135 00:12:15,000 --> 00:12:19,000 He was directing it like a silent movie. 136 00:12:19,000 --> 00:12:21,000 Slowly turned to the right pop. 137 00:12:21,000 --> 00:12:23,000 Look, what do you see? 138 00:12:23,000 --> 00:12:24,000 It's horrifying. 139 00:12:24,000 --> 00:12:29,000 And so there was this whole, you know, and the more we did that, the more fun it was. 140 00:12:29,000 --> 00:12:35,000 And it was sort of a nice little job where I got to kiss a girl for about seven hours. 141 00:12:35,000 --> 00:12:39,000 And so, you know, how bad can that be? 142 00:12:39,000 --> 00:12:42,000 When I met Tom for the first time, I was kind of surprised. 143 00:12:42,000 --> 00:12:49,000 You know, here's this good looking guy, you know, he'd been an actor before. 144 00:12:49,000 --> 00:12:50,000 What's her problem? 145 00:12:50,000 --> 00:12:52,000 I don't know. 146 00:12:52,000 --> 00:12:54,000 Make the way. 147 00:12:54,000 --> 00:12:56,000 You actually wrote this script. 148 00:12:57,000 --> 00:13:00,000 She finally find out what you really like. 149 00:13:00,000 --> 00:13:02,000 Plus off evil. 150 00:13:02,000 --> 00:13:08,000 He had so much passion put into this movie, and it showed. 151 00:13:08,000 --> 00:13:10,000 Fright Night was the throwaway of Columbia. 152 00:13:10,000 --> 00:13:15,000 It was the last open slot they had on their schedule. 153 00:13:15,000 --> 00:13:18,000 It was their least expensive movie. 154 00:13:18,000 --> 00:13:19,000 It was a genre movie. 155 00:13:19,000 --> 00:13:25,000 Maybe they'd make a little money off it, but they didn't expect anything out of it. 156 00:13:25,000 --> 00:13:29,000 There are a number of elements to Fright Night that contribute it to its success. 157 00:13:29,000 --> 00:13:32,000 But first and foremost, it's on the page. 158 00:13:32,000 --> 00:13:34,000 It's Tom Holland's script. 159 00:13:34,000 --> 00:13:36,885 It stands the test of time because it was 160 00:13:36,897 --> 00:13:40,000 his love story to the folklore of the vampire 161 00:13:40,000 --> 00:13:43,000 world, the vampire lore. 162 00:13:43,000 --> 00:13:46,000 I mean, you're not going to believe this. 163 00:13:46,000 --> 00:13:47,921 It's stumbling on to an innocent situation 164 00:13:47,933 --> 00:13:50,000 that should not be going in the direction that 165 00:13:50,000 --> 00:13:51,000 it's going. 166 00:13:51,000 --> 00:13:52,897 We're taking out the window, seeing a guy 167 00:13:52,909 --> 00:13:55,000 next door, bringing a casket out of the house, 168 00:13:55,000 --> 00:13:58,055 witnessing something that no one believes and 169 00:13:58,067 --> 00:14:01,000 being the only person with that information, 170 00:14:01,000 --> 00:14:02,000 which I guess is a rear window. 171 00:14:02,000 --> 00:14:03,000 Charlie? 172 00:14:03,000 --> 00:14:06,000 This is our next door neighbor, Jerry Dandridge. 173 00:14:18,000 --> 00:14:19,000 Hello, Charlie? 174 00:14:22,000 --> 00:14:25,659 Fright Night is both an homage to the 175 00:14:25,671 --> 00:14:30,000 vampire genre and also a revitalization of it. 176 00:14:30,000 --> 00:14:32,570 In the sense that by the time we were shooting 177 00:14:32,582 --> 00:14:35,000 this movie, Vampire's genre had grown rather 178 00:14:35,000 --> 00:14:36,000 tired. 179 00:14:36,000 --> 00:14:38,000 In fact, it was being satirized. 180 00:14:38,000 --> 00:14:39,966 There were a number of movies out that made 181 00:14:39,978 --> 00:14:42,000 fun of it and really didn't have that element 182 00:14:42,000 --> 00:14:45,562 of terror and at the same time sort of adhering 183 00:14:45,574 --> 00:14:49,000 to the conventions and along comes a guy named 184 00:14:49,000 --> 00:14:52,051 Tom Holland who loved the genre and decided that 185 00:14:52,063 --> 00:14:55,000 he wanted to create a movie that both terrified 186 00:14:55,000 --> 00:14:59,000 and major laughs. 187 00:14:59,000 --> 00:15:03,000 It's a loving tribute. 188 00:15:03,000 --> 00:15:06,000 It's not take off on anything. 189 00:15:06,000 --> 00:15:07,000 It's a real story. 190 00:15:07,000 --> 00:15:09,402 It takes what's been done in the past and 191 00:15:09,414 --> 00:15:12,000 expands on it and says the audience, here you 192 00:15:12,000 --> 00:15:13,000 go, here's your gift. 193 00:15:13,000 --> 00:15:17,000 You know, enjoy it because we're having fun doing it. 194 00:15:17,000 --> 00:15:23,000 I would write a scene and I would be on the floor laughing. 195 00:15:23,000 --> 00:15:29,000 I mean, I would be kicking my legs in the air. 196 00:15:29,000 --> 00:15:30,000 Because it was delightful. 197 00:15:30,000 --> 00:15:33,000 I mean, I would have loved to have had that happen to me. 198 00:15:33,000 --> 00:15:35,000 Mom, I don't need hot cocoa. 199 00:15:35,000 --> 00:15:37,000 I didn't have a nightmare. 200 00:15:37,000 --> 00:15:41,000 You know, I mean, who wouldn't have been in modern times who wouldn't like to have to 201 00:15:41,000 --> 00:15:45,000 go into a battle as a teenager with a vampire? 202 00:15:45,000 --> 00:15:46,000 A what? 203 00:15:46,000 --> 00:15:47,000 A vampire? 204 00:15:47,000 --> 00:15:48,000 Damn it. 205 00:15:48,000 --> 00:15:51,000 Haven't you listened to anything I've said? 206 00:15:51,000 --> 00:15:53,741 They gave me this brilliant production 207 00:15:53,753 --> 00:15:57,000 designer and his son as the duo of John DeCure 208 00:15:57,000 --> 00:15:59,000 Senior and John DeCure Junior. 209 00:15:59,000 --> 00:16:04,000 And John DeCure Junior is the one who did all the work on Fright Night. 210 00:16:04,000 --> 00:16:06,402 But he had been trained by his father who 211 00:16:06,414 --> 00:16:09,000 was one of the top three production designers 212 00:16:09,000 --> 00:16:12,000 in Hollywood, all of them Cleopatra on. 213 00:16:12,000 --> 00:16:15,000 He had been Darryl Echzaniq's guy. 214 00:16:15,000 --> 00:16:19,000 They always say that we bring in designers very early in the process because it takes 215 00:16:19,000 --> 00:16:20,000 them so long to build their sets. 216 00:16:20,000 --> 00:16:23,124 That may be true, but it also allows us a lot 217 00:16:23,136 --> 00:16:26,000 of time with our director in storyboarding 218 00:16:26,000 --> 00:16:29,000 and really getting inside their heads. 219 00:16:29,000 --> 00:16:33,000 Tom extensively storyboarded with his own hand, unfortunately. 220 00:16:33,000 --> 00:16:35,374 You know, some, you know, the storyboards 221 00:16:35,386 --> 00:16:38,000 were the homie, but at least it was, you know, 222 00:16:38,000 --> 00:16:43,000 however crude they were, they really kind of helped me and I think a lot of the other 223 00:16:43,000 --> 00:16:45,542 people who were working with him to understand 224 00:16:45,554 --> 00:16:48,000 where he was thinking, where he was going and 225 00:16:48,000 --> 00:16:49,000 what he wanted to accomplish. 226 00:16:49,000 --> 00:16:51,816 I have a great deal of affection for the 227 00:16:51,828 --> 00:16:55,000 vampire myth, for the genre and the genre died 228 00:16:55,000 --> 00:16:57,000 out because they couldn't update it. 229 00:16:57,000 --> 00:17:02,000 And I wanted to bring it back and this was the first story that really contemporized 230 00:17:02,000 --> 00:17:06,000 it and they gave it validity in today's climate. 231 00:17:06,000 --> 00:17:08,000 But as soon as I read the script, I was like, this is great. 232 00:17:08,000 --> 00:17:09,868 You know, I said the time, whoever you 233 00:17:09,880 --> 00:17:12,000 hire, this is going to be a wonderful movie. 234 00:17:12,000 --> 00:17:16,000 You know, I worked on Spinal Tap, which was a non-union picture and some other, you 235 00:17:16,000 --> 00:17:18,000 know, love budget movies. 236 00:17:18,000 --> 00:17:19,574 And because of the way the union was in those 237 00:17:19,586 --> 00:17:21,000 days, there was a seniority system and it 238 00:17:21,000 --> 00:17:23,000 wasn't qualified to cut it. 239 00:17:23,000 --> 00:17:25,000 So I knew this going into interview, but I was like, what the hell? 240 00:17:25,000 --> 00:17:28,000 I'm going to interview anyway because I love the script so much. 241 00:17:28,000 --> 00:17:34,000 And then when I got the call to edit the movie, I was like, hmm, okay. 242 00:17:34,000 --> 00:17:37,000 And I never really questioned how I got hired. 243 00:17:37,000 --> 00:17:39,166 I went in to talk to the head of Plus Production 244 00:17:39,178 --> 00:17:41,000 at Columbia and only said was, I hope you 245 00:17:41,000 --> 00:17:42,000 know how lucky you are. 246 00:17:42,000 --> 00:17:49,000 And I was like, guess I do. 247 00:17:49,000 --> 00:17:54,000 Jerry Dandridge is everything that, you know, you want an vampire. 248 00:17:54,000 --> 00:17:58,000 Sophisticated, swav, elegant, got great taste. 249 00:17:58,000 --> 00:18:01,000 Now that I've been made welcome, I'll probably drop by quite a bit. 250 00:18:01,000 --> 00:18:03,000 I'm not a cop. 251 00:18:03,000 --> 00:18:05,000 Anytime I feel like it. 252 00:18:05,000 --> 00:18:07,000 Too faced. 253 00:18:07,000 --> 00:18:08,000 Psychotic. 254 00:18:08,000 --> 00:18:16,000 A lot of people were suggested, but nobody had a combination of coolness with menace. 255 00:18:22,000 --> 00:18:30,000 He's a very charming, witty, devil-made care kind of happy-go-lucky. 256 00:18:31,000 --> 00:18:32,000 Undead. 257 00:18:32,000 --> 00:18:33,000 Vampire. 258 00:18:33,000 --> 00:18:39,000 In a sort of classic way, I was sent the script by my agent. 259 00:18:39,000 --> 00:18:42,000 And I looked at the cover, I looked at the name, Fright Night. 260 00:18:42,000 --> 00:18:45,087 And of course at the time I was doing Hallmark 261 00:18:45,099 --> 00:18:48,000 Hall of Fame and I was playing Sidney Carton 262 00:18:48,000 --> 00:18:50,000 and Charles Donet and Taylor to cities. 263 00:18:50,000 --> 00:18:53,000 And I was doing theater in New York and I'd gotten an Academy Award nomination. 264 00:18:53,000 --> 00:18:58,000 I thought, Jesus, you know, I can't do a movie called Fright Night. 265 00:18:58,000 --> 00:19:01,942 And then I opened the script and I started 266 00:19:01,954 --> 00:19:06,000 reading it and within maybe 10 seconds I was 267 00:19:06,000 --> 00:19:07,000 sucked in. 268 00:19:07,000 --> 00:19:09,460 Tom has a very evocative way of writing and 269 00:19:09,472 --> 00:19:12,000 also he writes in a way that lets you see the 270 00:19:12,000 --> 00:19:14,000 movie. 271 00:19:14,000 --> 00:19:16,000 The one thing that Chris brought to it was humor. 272 00:19:16,000 --> 00:19:17,000 It's mad at Charlie. 273 00:19:17,000 --> 00:19:21,000 Fright I'd never come over without being invited first. 274 00:19:21,000 --> 00:19:26,000 Everybody who encountered him was one over a vion, which is really dangerous. 275 00:19:26,000 --> 00:19:29,000 I just remember that smile. 276 00:19:29,000 --> 00:19:31,000 All you have to do is take my hand. 277 00:19:31,000 --> 00:19:37,000 Yeah, I know Evelyn fell for it and I probably would too. 278 00:19:37,000 --> 00:19:39,691 I've watched him play leading men with a 279 00:19:39,703 --> 00:19:43,000 character edge and that's what he brought to Jerry 280 00:19:43,000 --> 00:19:44,000 Dandridge. 281 00:19:44,000 --> 00:19:47,000 What vampires are supposed to do, Charlie? 282 00:19:47,000 --> 00:19:50,055 I finished reading the script and I turned to 283 00:19:50,067 --> 00:19:53,000 my ex-wife and I said, Jesus, this is really 284 00:19:53,000 --> 00:19:54,000 good. 285 00:19:54,000 --> 00:19:55,000 They want to meet me. 286 00:19:55,000 --> 00:19:56,000 What do you think? 287 00:19:56,000 --> 00:19:58,000 She said, well, what the hell? 288 00:19:58,000 --> 00:20:01,527 We set up a meeting, flew out to Los Angeles 289 00:20:01,539 --> 00:20:05,000 as I recall and met with her, Jeffy and Tom. 290 00:20:05,000 --> 00:20:11,000 Tom proceeded to sit there and describe every shot of the movie to me. 291 00:20:11,000 --> 00:20:14,000 Literally he said, okay, so we're going to open on this and then that shot is going to 292 00:20:14,000 --> 00:20:17,000 cut to this and then this is going to happen and that's going to happen. 293 00:20:17,000 --> 00:20:23,000 I'm sitting there and I'm seeing the movie as Tom is describing it. 294 00:20:23,000 --> 00:20:28,000 Drew him in, but he was afraid of working with the first time director and I had to 295 00:20:28,000 --> 00:20:29,000 sell him on me. 296 00:20:29,000 --> 00:20:31,402 I said this guy knows what he's doing and 297 00:20:31,414 --> 00:20:34,000 immediately I said literally to them, call my 298 00:20:34,000 --> 00:20:36,000 agent and let's do this. 299 00:20:36,000 --> 00:20:38,544 I mean, literally from that two or three hour 300 00:20:38,556 --> 00:20:41,000 meeting I was in and that was the beginning. 301 00:20:41,000 --> 00:20:45,000 And at a single stroke that was a brilliant, brilliant bit of casting. 302 00:20:54,000 --> 00:20:57,235 Charlie's the engine that makes it go because 303 00:20:57,247 --> 00:21:00,000 Charlie's the one who's most motivated. 304 00:21:00,000 --> 00:21:05,000 He's the one who sees Jerry Dandridge at night into the house next door. 305 00:21:15,000 --> 00:21:18,000 So he's the one that's on purpose. 306 00:21:18,000 --> 00:21:21,000 Oh my goodness, there's a vampire living next door. 307 00:21:22,000 --> 00:21:25,000 He was living with his mom, father was divorced. 308 00:21:25,000 --> 00:21:27,051 It was pretty traumatic and I wanted to stand up 309 00:21:27,063 --> 00:21:29,000 and be the man of the house and be responsible 310 00:21:29,000 --> 00:21:32,000 and not disappoint anybody. 311 00:21:32,000 --> 00:21:33,000 I had a couple of friends. 312 00:21:33,000 --> 00:21:38,000 I had this little sort of dark, narrow band width in my spectrum, I guess. 313 00:21:38,000 --> 00:21:40,000 And that's what made me friends with Ed. 314 00:21:40,000 --> 00:21:41,000 I had a very nice girlfriend. 315 00:21:41,000 --> 00:21:42,000 It was just the boy next door. 316 00:21:42,000 --> 00:21:44,000 Literally the boy next door. 317 00:21:44,000 --> 00:21:47,000 Ed Thompson didn't have many friends. 318 00:21:47,000 --> 00:21:50,000 If just that one friend, Charlie Brewster. 319 00:21:50,000 --> 00:21:52,459 So aside from the scenes that are shown in 320 00:21:52,471 --> 00:21:55,000 the movie, I really feel that these two guys 321 00:21:55,000 --> 00:21:58,000 were buddies and pals and loved each other. 322 00:22:01,000 --> 00:22:06,000 I saw a tremendous number of actors at a wonderful casting director Jackie Birch. 323 00:22:06,000 --> 00:22:11,000 And I remember one of them was Charlie Sheen as a young guy and Charlie came in. 324 00:22:11,000 --> 00:22:13,000 And I said, you're too good looking. 325 00:22:13,000 --> 00:22:15,000 You're too handsome, you're a lead. 326 00:22:16,000 --> 00:22:18,000 And he was very upset with me. 327 00:22:18,000 --> 00:22:20,000 I should not have done it. 328 00:22:20,000 --> 00:22:23,000 I should have just let him read and let it go after that. 329 00:22:23,000 --> 00:22:26,780 But I was looking for somebody that was attractive, 330 00:22:26,792 --> 00:22:30,000 but that you could believe was the nice kid. 331 00:22:30,000 --> 00:22:34,000 It was a little special, but not that special, you know? 332 00:22:34,000 --> 00:22:37,000 I was in acting school in San Francisco in Berkeley actually. 333 00:22:37,000 --> 00:22:40,386 And I was about to graduate and I got a call from 334 00:22:40,398 --> 00:22:44,000 the head of the school who said that a casting person 335 00:22:44,000 --> 00:22:49,000 in San Francisco across the bay was looking for actors to play a part in this movie. 336 00:22:49,000 --> 00:22:52,000 And the movie was Mask that Peter and Big Donovich. 337 00:22:52,000 --> 00:22:56,000 They were looking for boys who were kind of sickly and feeble. 338 00:22:56,000 --> 00:22:58,000 And I was thin in those days. 339 00:22:58,000 --> 00:23:01,000 And the woman casting it was a woman named Jackie Birch. 340 00:23:01,000 --> 00:23:02,000 Met with Peter Donovich. 341 00:23:02,000 --> 00:23:05,000 She did an audition for him and didn't get that role. 342 00:23:05,000 --> 00:23:07,128 But then a few months later when I was coming 343 00:23:07,140 --> 00:23:09,000 down to visit, I called Jackie and said, 344 00:23:09,000 --> 00:23:11,000 you know, I'd like to take you to lunch. 345 00:23:11,000 --> 00:23:13,848 And she said, no, she, but why don't you 346 00:23:13,860 --> 00:23:17,000 come and read for this other thing I'm doing. 347 00:23:17,000 --> 00:23:18,000 You might be right for it. 348 00:23:18,000 --> 00:23:20,000 So I came down and I read for a fright night. 349 00:23:20,000 --> 00:23:23,397 Then went back and forth from San Francisco to LA for a 350 00:23:23,409 --> 00:23:27,000 couple of months doing that auditioning and finally got it. 351 00:23:27,000 --> 00:23:32,000 Bill Ragsdale came in and just did a wonderful, wonderful reading. 352 00:23:32,000 --> 00:23:34,000 And he was Charlie. 353 00:23:35,000 --> 00:23:36,000 He's basically a nice guy. 354 00:23:36,000 --> 00:23:39,000 He's very fond of cars and he spends a lot of time working on cars. 355 00:23:39,000 --> 00:23:43,000 And he's grown up in the small Iowa town. 356 00:23:43,000 --> 00:23:44,000 He knows a lot of people. 357 00:23:44,000 --> 00:23:47,000 He's got a girlfriend, an Amy Peterson. 358 00:23:47,000 --> 00:23:49,000 Bill was this lovely guy. 359 00:23:49,000 --> 00:23:52,000 I have deep affection for him. 360 00:23:52,000 --> 00:23:55,000 We had a connection right away. 361 00:23:55,000 --> 00:23:56,000 Terrible actor. 362 00:23:56,000 --> 00:23:58,000 Billy Ragsdale himself, terrible. 363 00:23:58,000 --> 00:23:59,000 That's a lie. 364 00:23:59,000 --> 00:24:01,000 We have fun. 365 00:24:01,000 --> 00:24:03,000 I was just bullying him the whole time. 366 00:24:03,000 --> 00:24:07,000 No matter what you see, every single time all I'm doing is bullying him. 367 00:24:07,000 --> 00:24:08,000 Hey, kid. 368 00:24:08,000 --> 00:24:11,000 It was great and it was fun, you know. 369 00:24:11,000 --> 00:24:12,000 What are you doing? 370 00:24:12,000 --> 00:24:15,000 It's just like, hey, fuck you, man. I'm a dick. 371 00:24:15,000 --> 00:24:18,526 Our first day of shooting was the high school 372 00:24:18,538 --> 00:24:22,000 scene where I smashed the burger in his face. 373 00:24:22,000 --> 00:24:23,000 Charlie? 374 00:24:25,000 --> 00:24:27,440 So it was nice to sort of start out with like more 375 00:24:27,452 --> 00:24:30,000 casual scene as opposed to just being in the bedroom. 376 00:24:30,000 --> 00:24:32,779 And taking off my clothes and trying to 377 00:24:32,791 --> 00:24:36,000 seduce him, which was pretty pathetic attempt. 378 00:24:36,000 --> 00:24:37,000 Charlie? 379 00:24:37,000 --> 00:24:39,000 I'm ready. 380 00:24:39,000 --> 00:24:41,000 He's a really good kisser. 381 00:24:41,000 --> 00:24:43,000 I'm not just saying that. 382 00:24:43,000 --> 00:24:44,000 He's a really good kisser. 383 00:24:44,000 --> 00:24:47,000 And that helps when you have to do those scenes a few times. 384 00:24:47,000 --> 00:24:48,000 Mm. 385 00:24:48,000 --> 00:24:49,000 Mm. 386 00:24:49,000 --> 00:24:50,000 Mm. 387 00:24:50,000 --> 00:24:51,000 Mm. 388 00:24:51,000 --> 00:24:54,000 The real problem I had was finding Amy. 389 00:24:54,000 --> 00:24:56,514 Because I needed not only a love interest in the 390 00:24:56,526 --> 00:24:59,000 girl next door, but I needed somebody could also 391 00:24:59,000 --> 00:25:03,000 do a very subtle comedy with it. 392 00:25:03,000 --> 00:25:05,000 I don't understand you. 393 00:25:05,000 --> 00:25:07,000 First you want to make love and then you don't. 394 00:25:07,000 --> 00:25:11,388 The horror, the humor, everything comes out of real emotions, relationships, 395 00:25:11,400 --> 00:25:15,000 and behavior that are truthful and honest like everyday people. 396 00:25:17,000 --> 00:25:19,000 Amy's the girl next door. 397 00:25:19,000 --> 00:25:23,000 She's in love with the boy next door who happens to live next door to a monster. 398 00:25:23,000 --> 00:25:26,000 Well, good night, Charlie. 399 00:25:26,000 --> 00:25:27,000 Hey, good night. 400 00:25:27,000 --> 00:25:31,000 But she's just so focused on Charlie. 401 00:25:31,000 --> 00:25:34,707 And I think young women in high school age, that's 402 00:25:34,719 --> 00:25:38,000 a very real part of that time in their lives. 403 00:25:38,000 --> 00:25:44,000 The girl of my dreams, the sweet, innocent girl that I wanted to be with. 404 00:25:44,000 --> 00:25:49,000 Amanda Burst came in and she got the grin. 405 00:25:49,000 --> 00:25:52,000 She got the amusement underneath the situations. 406 00:25:52,000 --> 00:25:55,153 When I was auditioning, I was sitting with real 407 00:25:55,165 --> 00:25:58,000 16 and 17 year olds and I'm 26 at the time. 408 00:25:58,000 --> 00:26:01,017 And I'm looking around going, okay, I know I look a 409 00:26:01,029 --> 00:26:04,000 little younger than my age, but this is ridiculous. 410 00:26:04,000 --> 00:26:08,096 However, because of the arc of the character, how it's written for her, she 411 00:26:08,108 --> 00:26:12,000 has to go through a deepening, sort of sexual, very matureing experience 412 00:26:15,000 --> 00:26:18,000 once she gets involved with Chris Seranna's character. 413 00:26:18,000 --> 00:26:25,000 The girl who desperately wants to grow up and then has to grow up too fast. 414 00:26:28,000 --> 00:26:31,204 I went off to do the spectacular film before Fright 415 00:26:31,216 --> 00:26:34,000 night that actually starred Stephen Jeffries. 416 00:26:34,000 --> 00:26:35,000 Lay Reverend Rantel. 417 00:26:35,000 --> 00:26:36,000 What? 418 00:26:36,000 --> 00:26:38,000 I'm being facetious. 419 00:26:38,000 --> 00:26:40,000 Spectacular. 420 00:26:40,000 --> 00:26:42,256 When Stephen and I were rapping for Trinity 421 00:26:42,268 --> 00:26:45,000 Vacation, it was like, what are you going to do next? 422 00:26:45,000 --> 00:26:47,407 Well, I'm doing this whole film, this horror 423 00:26:47,419 --> 00:26:50,000 film called Fright Night and I was like, me too. 424 00:26:50,000 --> 00:26:53,000 And it was just, wow, cool, we're going to work with each other again. 425 00:26:53,000 --> 00:26:58,000 And there were really two incredibly different experiences. 426 00:26:58,000 --> 00:27:02,000 In this business, there's luck, there's talent. 427 00:27:02,000 --> 00:27:06,000 And in this case, luck played a big part. 428 00:27:06,000 --> 00:27:09,000 I was accidentally sent to an audition. 429 00:27:09,000 --> 00:27:14,000 My agent just kind of goofed up and I went in and I met Jackie Burst. 430 00:27:14,000 --> 00:27:16,000 She says, you're not Anthony Michael Hall. 431 00:27:16,000 --> 00:27:18,000 Are your parents aware of this? 432 00:27:18,000 --> 00:27:20,000 I'm like, well, no, I'm not. 433 00:27:20,000 --> 00:27:22,838 I remember reading this acting book that says, you know, 434 00:27:22,850 --> 00:27:26,000 anytime you're in a situation, you got to take advantage of it. 435 00:27:26,000 --> 00:27:29,000 And I was like, well, I'm with this casting director from Columbia Pictures. 436 00:27:29,000 --> 00:27:31,649 So I really took advantage of the fact that I was sitting 437 00:27:31,661 --> 00:27:34,000 on the other side of the desk with this great lady. 438 00:27:34,000 --> 00:27:38,019 And we talked for, I think, 20, 30 minutes, even though I wasn't 439 00:27:38,031 --> 00:27:42,000 the person that she had any intention of casting for this movie. 440 00:27:43,000 --> 00:27:46,561 But from that mistaken encounter, she remembered 441 00:27:46,573 --> 00:27:50,000 me when she got the breakdown for Fright night. 442 00:27:50,000 --> 00:27:52,000 He thought he was going to be auditioning for Charlie Brewster. 443 00:27:52,000 --> 00:27:53,905 He thought he was going to be the leading guy 444 00:27:53,917 --> 00:27:56,000 again like he was in the film we were in together. 445 00:27:56,000 --> 00:27:59,209 You know, I had never played this kind of strange, 446 00:27:59,221 --> 00:28:02,000 weird sort of off-be-character like Evil Ed. 447 00:28:02,000 --> 00:28:07,000 And it really took me a while to process that and to wrap my mind around it. 448 00:28:07,000 --> 00:28:15,000 What do you see in me that bears any similarity to this really kooky? 449 00:28:15,000 --> 00:28:18,000 She's got the hots for the creep Amy. 450 00:28:18,000 --> 00:28:21,000 Somewhat obnoxious character. 451 00:28:21,000 --> 00:28:28,000 When Steven Jeffries walked in, Steven's choices as an actor were so out there. 452 00:28:28,000 --> 00:28:30,000 And he had this. 453 00:28:30,000 --> 00:28:34,000 Both of them had their heads chopped off. 454 00:28:34,000 --> 00:28:36,000 Can you believe it? 455 00:28:36,000 --> 00:28:38,000 You're sick. 456 00:28:38,000 --> 00:28:43,000 You know, I mean, there were so outrageous that I just loved him. 457 00:28:43,000 --> 00:28:44,000 Evil Ed. 458 00:28:44,000 --> 00:28:49,000 He was the kid in school that everybody thought was weird. 459 00:28:49,000 --> 00:28:52,000 He was the one that wasn't in the cool group. 460 00:28:52,000 --> 00:28:55,000 Start with this. 461 00:28:55,000 --> 00:29:01,000 But you must have total faith in it for it to work. 462 00:29:01,000 --> 00:29:04,000 He was the quintessential horror fan to me. 463 00:29:04,000 --> 00:29:06,000 Then get some garlic. 464 00:29:06,000 --> 00:29:09,000 Links to the stuff you can wear around your neck and hang from your window. 465 00:29:09,000 --> 00:29:12,000 If he comes for you, that'll be the way. 466 00:29:12,000 --> 00:29:16,000 You know, he was the kind of guys that I'd grown up with that got into horror, 467 00:29:16,000 --> 00:29:18,000 but were never invited to the parties. 468 00:29:18,000 --> 00:29:20,000 And certainly didn't make it to the football game. 469 00:29:20,000 --> 00:29:22,000 What are we going to do? 470 00:29:22,000 --> 00:29:24,000 This is just like Fright night. 471 00:29:24,000 --> 00:29:27,000 The character of Evil Ed was so ostracized. 472 00:29:27,000 --> 00:29:29,567 Steven had his way of working, which was to kind 473 00:29:29,579 --> 00:29:32,000 of go off and be by himself a lot of the time. 474 00:29:32,000 --> 00:29:33,000 It's like we're Steven. 475 00:29:33,000 --> 00:29:34,000 I don't know. 476 00:29:34,000 --> 00:29:35,000 We're Steven. 477 00:29:35,000 --> 00:29:36,000 Anybody know where Steven went? 478 00:29:36,000 --> 00:29:40,000 You know, and it worked because of the strain of a guy trying to fit in. 479 00:29:40,000 --> 00:29:42,000 Evil Ed is in many ways. 480 00:29:42,000 --> 00:29:48,000 He is a lost boy, a young man who feels that he has no place in the world 481 00:29:48,000 --> 00:29:52,000 and covers it by being manic and crazy. 482 00:29:53,000 --> 00:30:00,000 He is Thanos in the oven. 483 00:30:00,000 --> 00:30:02,000 Your dinner is in the oven. 484 00:30:02,000 --> 00:30:05,000 I mean, who could do a reading like that? 485 00:30:05,000 --> 00:30:11,000 I used to play these nice, innocent, sweet guys or whatever. 486 00:30:11,000 --> 00:30:15,000 Although he is very gentle. 487 00:30:15,000 --> 00:30:18,000 I mean, I'm just very strange. 488 00:30:18,000 --> 00:30:21,000 I'm weird in the movie. 489 00:30:21,000 --> 00:30:22,000 Yes. 490 00:30:22,000 --> 00:30:25,146 The humor, not comedy, but the humor, had to come 491 00:30:25,158 --> 00:30:28,000 out of playing the reality of the situations. 492 00:30:28,000 --> 00:30:31,085 Jonathan Stark was a member of the groundlings, 493 00:30:31,097 --> 00:30:34,000 which was like the first comedy improv group. 494 00:30:34,000 --> 00:30:38,000 So I get a call to come in and read for this thing. 495 00:30:38,000 --> 00:30:39,000 And I got the sides. 496 00:30:39,000 --> 00:30:40,000 I read them. 497 00:30:40,000 --> 00:30:44,000 It was basically the scene I did with Art Evans and Bill Ragsdale. 498 00:30:44,000 --> 00:30:46,000 That was a scene I had auditioned with. 499 00:30:46,000 --> 00:30:48,000 You sure about this? 500 00:30:48,000 --> 00:30:52,000 The agent sent me out for an audition for a film called, what's it called? 501 00:30:52,000 --> 00:30:53,000 Fright Night. 502 00:30:53,000 --> 00:30:55,000 Okay, it's not like a horror film. 503 00:30:55,000 --> 00:30:56,000 It says it is. 504 00:30:56,000 --> 00:30:58,000 So I get there about 20 minutes early. 505 00:30:58,000 --> 00:31:00,000 There's a bunch of guys there. 506 00:31:00,000 --> 00:31:04,000 And then the next thing I know, and hour later, we're all still there. 507 00:31:04,000 --> 00:31:05,000 So this is it. 508 00:31:05,000 --> 00:31:06,000 I said, I'm out of here. 509 00:31:06,000 --> 00:31:07,000 I can't believe this. 510 00:31:07,000 --> 00:31:09,000 And nobody's going in. 511 00:31:09,000 --> 00:31:11,000 Talking to this guy, we were hanging out. 512 00:31:11,000 --> 00:31:13,000 I said, look, I'm getting ready to bust a move, man. 513 00:31:13,000 --> 00:31:15,000 Because I got another appointment to make. 514 00:31:15,000 --> 00:31:16,000 And I don't want to be late. 515 00:31:16,000 --> 00:31:17,000 He says, Art. 516 00:31:17,000 --> 00:31:18,000 I said, what? 517 00:31:18,000 --> 00:31:20,000 He says, I don't think you want to leave. 518 00:31:20,000 --> 00:31:21,000 Why? 519 00:31:21,000 --> 00:31:24,000 He said, just look around. 520 00:31:24,000 --> 00:31:26,000 So I started looking around. 521 00:31:26,000 --> 00:31:30,000 I'm the only black guy there. 522 00:31:30,000 --> 00:31:32,000 Lieutenant Inx, homicide. 523 00:31:32,000 --> 00:31:33,000 Mind if we come in? 524 00:31:33,000 --> 00:31:34,000 No. 525 00:31:34,000 --> 00:31:35,000 No, not at all, come on in. 526 00:31:35,000 --> 00:31:41,000 It's the first time I bring an outsider in to try and intervene in this situation. 527 00:31:41,000 --> 00:31:43,000 There was a murder last night. 528 00:31:43,000 --> 00:31:44,000 Charlie lives next door. 529 00:31:44,000 --> 00:31:46,000 I think he saw the victim in this house. 530 00:31:46,000 --> 00:31:49,423 And it's also the first time that the vampire really 531 00:31:49,435 --> 00:31:53,000 realizes that I'm not going to stop until he's exposed. 532 00:31:53,000 --> 00:31:57,000 Look, I can prove he's lying. 533 00:31:57,000 --> 00:31:59,000 Let's look in the basement and stand. 534 00:31:59,000 --> 00:32:01,000 What's done there, Charlie? 535 00:32:01,000 --> 00:32:02,000 Yes, Charlie. 536 00:32:02,000 --> 00:32:04,000 What's done? 537 00:32:04,000 --> 00:32:07,000 I never look at it part that you're getting a film as a small part. 538 00:32:07,000 --> 00:32:09,000 Because I can make something out of it. 539 00:32:09,000 --> 00:32:10,000 A coffin! 540 00:32:10,000 --> 00:32:12,000 That's what's down there. 541 00:32:12,000 --> 00:32:13,000 A coffin. 542 00:32:13,000 --> 00:32:14,000 I saw them carried in. 543 00:32:14,000 --> 00:32:15,000 What? 544 00:32:15,000 --> 00:32:19,000 That scene was fun for me because I was doing stuff that wasn't in the script. 545 00:32:19,000 --> 00:32:21,000 Art and I are just like, bum, bum, bum, bum, bum. 546 00:32:21,000 --> 00:32:24,000 And it's really felt so natural when we did it. 547 00:32:24,000 --> 00:32:25,000 Ooh! 548 00:32:25,000 --> 00:32:26,000 Ha, ha, ha! 549 00:32:26,000 --> 00:32:31,000 I'm doing all those faces and stuff, but it was like, gosh, that's weird. 550 00:32:31,000 --> 00:32:32,000 Uh-oh. 551 00:32:32,000 --> 00:32:33,000 I saw him in that room last night. 552 00:32:33,000 --> 00:32:35,000 He had fangs and he bit her on the neck. 553 00:32:35,000 --> 00:32:38,000 For heavens sake, come on. 554 00:32:38,000 --> 00:32:41,000 I thought my character was very pivotal in moving the film forward. 555 00:32:41,000 --> 00:32:44,118 I think he only worked two days on the film and 556 00:32:44,130 --> 00:32:47,000 it's a real turning point in the movie, too. 557 00:32:47,000 --> 00:32:50,000 Look, I'm telling you, Jerry Dandridge is a vampire. 558 00:32:50,000 --> 00:32:51,000 Sure, and I'm dirty here. 559 00:32:51,000 --> 00:32:52,000 Now, let me tell you something here. 560 00:32:52,000 --> 00:32:54,183 If I ever catch your ass down at the station 561 00:32:54,195 --> 00:32:56,000 house again, I'm throwing it in jail. 562 00:32:56,000 --> 00:32:57,000 Whatever! 563 00:32:57,000 --> 00:32:58,000 Look, Lieutenant, please, come on. 564 00:32:58,000 --> 00:32:59,000 Just listen to me for a second. 565 00:32:59,000 --> 00:33:01,000 Look, I know it's crazy. 566 00:33:01,000 --> 00:33:08,000 I know that, but look, Lieutenant! 567 00:33:08,000 --> 00:33:10,000 Well, he's always got Jerry's back. 568 00:33:10,000 --> 00:33:12,000 Two guys who are very aware of their power. 569 00:33:12,000 --> 00:33:14,899 They know what they have to do and they go about 570 00:33:14,911 --> 00:33:18,000 doing it in a very kind of almost business-like way. 571 00:33:18,000 --> 00:33:20,000 You never quite know what their relationship is. 572 00:33:20,000 --> 00:33:23,000 I know there's a lot of speculation and stuff. 573 00:33:23,000 --> 00:33:29,000 What the relationship, real relationship, was between Billy Cole and Jerry. 574 00:33:29,000 --> 00:33:33,000 I'm not going to speculate on that because we never really talked about it. 575 00:33:33,000 --> 00:33:36,932 We didn't make a decision, oh, well, they were at some point back when 576 00:33:36,944 --> 00:33:41,000 centuries before lovers or close friends or that Jerry turned him into... 577 00:33:44,000 --> 00:33:47,000 We didn't really get into that. 578 00:33:47,000 --> 00:33:50,000 People ask me sometimes about the homosexual element. 579 00:33:50,000 --> 00:33:52,000 We never discussed that. 580 00:33:52,000 --> 00:33:53,000 Ever. 581 00:33:53,000 --> 00:33:55,000 It just that we were really good friends and we took care of each other. 582 00:33:55,000 --> 00:33:58,000 And then there's a scene where I'm washing Chris's hand. 583 00:33:58,000 --> 00:34:00,000 And Tom says, we'll get down to the news in federal. 584 00:34:01,000 --> 00:34:02,000 Oh, okay. 585 00:34:02,000 --> 00:34:06,000 Whatever. You know, I'm the servant. I'm subservient, so I'll do that. 586 00:34:06,000 --> 00:34:11,000 So afterwards I watched a movie and I was like, wait a minute. 587 00:34:11,000 --> 00:34:14,000 You fooled me, Tom. 588 00:34:14,000 --> 00:34:16,959 Everybody's going to write their own story and then 589 00:34:16,971 --> 00:34:20,000 bother me one way or another what they want to think. 590 00:34:20,000 --> 00:34:23,874 Which makes it all the more intriguing because you 591 00:34:23,886 --> 00:34:28,000 want to find out what's going on with these two dudes. 592 00:34:30,000 --> 00:34:37,000 Heidi Sorenson was just beautiful. 593 00:34:37,000 --> 00:34:39,541 He got out of the car and of course she was the 594 00:34:39,553 --> 00:34:42,000 victim of, you know, going into Jerry's house. 595 00:34:42,000 --> 00:34:44,000 Obviously an escort service. 596 00:34:44,000 --> 00:34:47,000 Charlie notices Ernie's wild buyer. 597 00:34:47,000 --> 00:34:49,000 Is this 99 Oak? 598 00:34:49,000 --> 00:34:53,000 No. I know it's next door. 599 00:34:53,000 --> 00:34:56,814 Well, I wanted to get a little bit more sexiness and I 600 00:34:56,826 --> 00:35:01,000 thought that if I could get the nipples a little bit harder, 601 00:35:01,000 --> 00:35:04,000 that would certainly get Charlie's attention that would get mine. 602 00:35:04,000 --> 00:35:06,000 Hot. Very hot. 603 00:35:06,000 --> 00:35:09,000 And of course the way you do that is use a little bit of ice. 604 00:35:09,000 --> 00:35:12,000 I was too embarrassed to ask Heidi directly. 605 00:35:12,000 --> 00:35:17,000 So I asked the wardrobe woman to ask Heidi for me. 606 00:35:17,000 --> 00:35:20,000 I don't know if I'd be any better at asking now. 607 00:35:24,000 --> 00:35:25,000 Hey mom. 608 00:35:25,000 --> 00:35:27,000 Yeah, I'm in here. 609 00:35:27,000 --> 00:35:30,000 This is shout out to Dorothy Fielding who played mom. 610 00:35:30,000 --> 00:35:32,000 Did you see the new guy next door yet? 611 00:35:32,000 --> 00:35:35,000 No, but I did hear he's got a live in carpenter. 612 00:35:35,000 --> 00:35:39,000 My luck is probably good. 613 00:35:39,000 --> 00:35:43,000 She was a very strong actress who once again could be funny. 614 00:35:43,000 --> 00:35:45,000 She could act and play Ditsy. 615 00:35:45,000 --> 00:35:47,000 Charlie, what is going on? 616 00:35:47,000 --> 00:35:49,000 Oh, nothing. I just had a nightmare. 617 00:35:50,000 --> 00:35:53,000 You know, I had one last night. It was awful. 618 00:35:53,000 --> 00:35:58,000 I was at this white sale and I suddenly realized I was stark naked. 619 00:35:58,000 --> 00:36:00,000 I mean, she's a hoot. You can get that, too. 620 00:36:00,000 --> 00:36:03,000 You can get that in those brief moments that she's in the scene. 621 00:36:03,000 --> 00:36:05,000 Are you kids having a lover's spat? 622 00:36:05,000 --> 00:36:07,000 No, mom, nothing like that. 623 00:36:07,000 --> 00:36:09,000 Well, there's nothing wrong with it. 624 00:36:09,000 --> 00:36:11,839 It says right here that the divorce rate is 76% 625 00:36:11,851 --> 00:36:15,000 higher among couples who don't argue before marriage. 626 00:36:15,000 --> 00:36:17,000 Mom, we're in high school. 627 00:36:17,000 --> 00:36:21,000 And she had this sort of bubbly, unexpected kind of goofiness. 628 00:36:21,000 --> 00:36:22,000 Charlie? 629 00:36:22,000 --> 00:36:24,000 Dorothy, wherever you are, we all love you. 630 00:36:24,000 --> 00:36:25,000 We send you our best. 631 00:36:25,000 --> 00:36:27,000 And nobody knows where she is. 632 00:36:27,000 --> 00:36:29,000 She dropped out of sight. 633 00:36:37,000 --> 00:36:45,000 Born in the dark, cobbled streets of London town, England in 1928. 634 00:36:46,000 --> 00:36:54,000 The character actor, Rodi McDowell, would start his career as a child in 1938. 635 00:36:54,000 --> 00:36:57,948 He would fast become a recognizable face in such 636 00:36:57,960 --> 00:37:02,000 films as Lassie Cleopatra, the Poseidon adventure. 637 00:37:04,000 --> 00:37:12,000 And, most memorably, the planet of the ape saga playing talking chimps. 638 00:37:13,000 --> 00:37:17,021 When casting the role of Peter Vincent, Tom Holland would be 639 00:37:17,033 --> 00:37:21,000 drawn to Rodi because of the work they did in class of 1984. 640 00:37:25,000 --> 00:37:30,000 The heart of the show is Peter Vincent. 641 00:37:30,000 --> 00:37:34,117 And I wanted Vincent Price because I'd grown up 642 00:37:34,129 --> 00:37:38,000 with Vincent Price and he was my horror hero. 643 00:37:39,000 --> 00:37:43,000 And I found out that his health was not good, so that wasn't possible. 644 00:37:43,000 --> 00:37:45,000 And then I thought of Rodi McDowell. 645 00:37:45,000 --> 00:37:49,000 He understood who Peter Vincent was. 646 00:37:49,000 --> 00:37:52,000 And I had faith in him because I'd seen him do it. 647 00:37:52,000 --> 00:37:55,000 Peter Vincent is the cowardly lion. 648 00:37:55,000 --> 00:38:00,000 As Rodi said to me, so it's the story of a terrible ham actor. 649 00:38:00,000 --> 00:38:08,000 If his Peter Vincent back once more with you, as who's upright like me. 650 00:38:10,000 --> 00:38:14,029 He is appearing on the midnight shows presenting 651 00:38:14,041 --> 00:38:18,000 these features that he made when he was a youth. 652 00:38:19,000 --> 00:38:23,000 There are a lot of people who do not believe in vampires. 653 00:38:23,000 --> 00:38:29,000 But I do because I know they exist. 654 00:38:29,000 --> 00:38:34,000 And he's a very, very bad actor. He's a terrible, terrible actor. 655 00:38:34,000 --> 00:38:37,000 Mr. Vincent, could I talk to you for a minute? 656 00:38:37,000 --> 00:38:42,000 Please, Mr. Vincent, it's very, very important what you want me to sign. 657 00:38:42,000 --> 00:38:45,000 Pardon me? Wouldn't do what my autographed own children. 658 00:38:45,000 --> 00:38:49,000 I don't think he's as hammy as he thinks he is. He's, well, he's a little hammy. 659 00:38:49,000 --> 00:38:51,988 I was curious about what you said last night 660 00:38:52,000 --> 00:38:55,000 on TV, you know, about believing in vampires. 661 00:38:55,000 --> 00:38:59,000 What about it? Were you serious? 662 00:38:59,000 --> 00:39:01,000 Absolutely. 663 00:39:01,000 --> 00:39:04,000 The young man in the film comes to him. 664 00:39:04,000 --> 00:39:06,000 I believe in vampires. 665 00:39:06,000 --> 00:39:08,047 He sort of takes him seriously in the sense that he 666 00:39:08,059 --> 00:39:10,000 has played a character called the vampire killer. 667 00:39:10,000 --> 00:39:14,000 And the young man comes to him because there is a vampire living next door to him. 668 00:39:14,000 --> 00:39:17,000 In fact, I have one living next door to me. 669 00:39:17,000 --> 00:39:20,000 Would you help me kill him? 670 00:39:20,000 --> 00:39:22,000 I believe in vampires. 671 00:39:22,000 --> 00:39:26,000 In fact, I have one living next door to me. Would you help me kill him? 672 00:39:26,000 --> 00:39:31,000 If this is your idea of a joke, I am not amused. 673 00:39:31,000 --> 00:39:35,000 Peter Vincent then finds out it's real that there are vampires. 674 00:39:35,000 --> 00:39:38,000 We need your help to stop him, Mr. Vincent. 675 00:39:38,000 --> 00:39:39,624 He really just believes his next door neighbors 676 00:39:39,636 --> 00:39:41,000 a vampire and he's planning to kill him. 677 00:39:41,000 --> 00:39:46,000 You know, he's an old school actor. He's the performer, the Thessian, you know. 678 00:39:46,000 --> 00:39:51,000 Now, the business where is the lair of this suspected creature of the night? 679 00:39:51,000 --> 00:39:54,000 There. 680 00:39:54,000 --> 00:39:56,000 Oh, yes, I see what you mean. 681 00:39:56,000 --> 00:39:58,000 You know, he's chewing the scenery up, of course. 682 00:39:58,000 --> 00:40:01,000 Hey, wait a minute. Wait a minute. Where's your stakes in hammer? 683 00:40:01,000 --> 00:40:03,000 Or I left them in my bag. 684 00:40:03,000 --> 00:40:05,000 You're not going in there without him. 685 00:40:05,000 --> 00:40:09,000 But I have to prove that he is a vampire before I kill him, Charlie. 686 00:40:09,000 --> 00:40:12,000 And he finds out not only that it's real, 687 00:40:12,000 --> 00:40:14,899 but that these young people, these teens that he 688 00:40:14,911 --> 00:40:18,000 really actually likes are in terrible mortal danger. 689 00:40:18,000 --> 00:40:20,000 That goes to you too, Ed. 690 00:40:20,000 --> 00:40:22,726 I expect we have a lot of the same interests, 691 00:40:22,738 --> 00:40:25,000 you know, in horror movies and occult. 692 00:40:25,000 --> 00:40:29,000 When he found out that Jerry D'Angers was really a vampire, 693 00:40:29,000 --> 00:40:31,000 he said, you have to find me out of here. 694 00:40:31,000 --> 00:40:33,000 What's wrong with you? Nothing. 695 00:40:33,000 --> 00:40:36,000 But then would find it somehow within him to rise to the moment. 696 00:40:36,000 --> 00:40:40,000 And he overcomes his own fears, his own cowardice. 697 00:40:40,000 --> 00:40:43,000 You're a teacher of Vincent, ready to do battle with the undead. 698 00:40:43,000 --> 00:40:49,000 Roddy was a great mentor and a great friend. 699 00:40:49,000 --> 00:40:53,000 He was completely approachable and accessible, you know. 700 00:40:53,000 --> 00:40:57,000 And I had grown up watching him in the television and films my whole life. 701 00:40:57,000 --> 00:41:00,000 And I was really thrilled to be able to work with him. 702 00:41:00,000 --> 00:41:03,000 He was always there, and I'm thinking, look at him going, you know, 703 00:41:03,000 --> 00:41:05,000 compared to the rest of us, you're a pretty big star. 704 00:41:05,000 --> 00:41:07,000 And you can ask and do whatever you want. 705 00:41:07,000 --> 00:41:10,000 But he was just one of us. 706 00:41:10,000 --> 00:41:12,000 Roddy had two dinner parties a week. 707 00:41:12,000 --> 00:41:15,000 He had a Wednesday night dinner party for straight people. 708 00:41:15,000 --> 00:41:18,000 And he had a Friday night dinner party for gay people. 709 00:41:18,000 --> 00:41:20,000 I was invited to the straight nights. 710 00:41:20,000 --> 00:41:23,085 But I mean, I ended up in Roddy's having dinner 711 00:41:23,097 --> 00:41:26,000 with Vincent Price and his wife, Coral Brown. 712 00:41:26,000 --> 00:41:32,000 And I was such an idiot. I don't know why I didn't get autographs. 713 00:41:32,000 --> 00:41:39,000 Roddy's Peter Vincent, to me is again a perfect piece of casting. 714 00:41:39,000 --> 00:41:43,000 Back spawn of Satan. 715 00:41:43,000 --> 00:41:48,000 Interestingly, because in a way, Roddy, at that point in his career, 716 00:41:48,000 --> 00:41:49,945 wasn't doing a lot of films. He was doing, he 717 00:41:49,957 --> 00:41:52,000 was working, but he wasn't doing a lot of films. 718 00:41:52,000 --> 00:42:00,000 And he understood, I think, who Peter Vincent was, the fear of losing the career. 719 00:42:00,000 --> 00:42:04,255 I suppose I think success means if you can keep working 720 00:42:04,267 --> 00:42:08,000 on a level of sound respectability and invention. 721 00:42:08,000 --> 00:42:11,424 I remember watching Roddy do a wardrobe test, because 722 00:42:11,436 --> 00:42:15,000 they were trying to get the look right of Peter Vincent. 723 00:42:15,000 --> 00:42:22,000 But he was playing this B movie actor. And Roddy said, it's largely me. 724 00:42:22,000 --> 00:42:25,000 And that I was so struck by. 725 00:42:25,000 --> 00:42:31,000 Every child perform as a different group of hurdles to overcome. 726 00:42:31,000 --> 00:42:37,000 I don't think it's easy for an adult either to overcome their initial success. 727 00:42:37,000 --> 00:42:40,000 You know, a legend and an icon. 728 00:42:40,000 --> 00:42:44,000 He was a walking history book of film and of Hollywood. 729 00:42:44,000 --> 00:42:47,817 And before anybody else was into it that I knew, he was 730 00:42:47,829 --> 00:42:52,000 building up an enormous collection of films in 35 and 16 mil. 731 00:42:54,000 --> 00:42:56,855 Whenever I needed a film because I wanted to research 732 00:42:56,867 --> 00:43:00,000 something and I couldn't find it anywhere, I'd go to Roddy. 733 00:43:00,000 --> 00:43:06,000 And ask him, and he almost always had these obscure films and he had the 35 mil prints. 734 00:43:06,000 --> 00:43:08,954 I miss him a lot. And it's too bad he's not 735 00:43:08,966 --> 00:43:12,000 here because he would love all of this stuff. 736 00:43:12,000 --> 00:43:15,164 You know, he was the grand historian as well 737 00:43:15,176 --> 00:43:18,000 as being a really good actor and person. 738 00:43:18,000 --> 00:43:21,000 So it's our loss. 739 00:43:21,000 --> 00:43:23,956 He was an extraordinary friend. Toward the end 740 00:43:23,968 --> 00:43:27,000 as well. When he was dying, he had friends over. 741 00:43:27,000 --> 00:43:32,000 We would sit around and talk, have a glass of wine. He would be impeccably dressed. 742 00:43:32,000 --> 00:43:37,000 He was an amazing guy. Roddy McDowell, God bless you. 743 00:43:37,000 --> 00:43:45,000 Having given the cast the luxury of two weeks of rehearsal time prior to filming, 744 00:43:53,000 --> 00:43:57,233 Tom Holland would allow his actors to develop their 745 00:43:57,245 --> 00:44:01,000 own characters creating their own backstories. 746 00:44:04,000 --> 00:44:07,932 I had them write up biographies for each of their characters and their 747 00:44:07,944 --> 00:44:12,000 relationships with the other actors that happened before the movie began. 748 00:44:12,000 --> 00:44:16,000 We sat around for several days. We talked about the characters. 749 00:44:16,000 --> 00:44:19,542 We did probably five or six pages just on our history together. I 750 00:44:19,554 --> 00:44:23,000 mean, I think we were together 800 years or something like that. 751 00:44:23,000 --> 00:44:26,131 Well, I had them create all of that in their own heads 752 00:44:26,143 --> 00:44:29,000 and whatever their choices were, it didn't matter. 753 00:44:29,000 --> 00:44:32,097 Once we started acting, we could let it all go. But they 754 00:44:32,109 --> 00:44:35,000 had it in their heads when they'd met the first time. 755 00:44:35,000 --> 00:44:38,197 When Charlie and Evelyn first got into horror 756 00:44:38,209 --> 00:44:41,000 films, all of that background was at it. 757 00:44:41,000 --> 00:44:46,000 I rather arrogantly said, oh, I don't need to write a history. 758 00:44:46,000 --> 00:44:49,962 And everyone was kind of shocked. And then I went to my hotel that night and 759 00:44:49,974 --> 00:44:54,000 I got a call from my agent that said, Steve, Tom is kind of worried about you. 760 00:44:59,000 --> 00:45:02,958 You know, almost to the point that, you know, he wasn't sure if I 761 00:45:02,970 --> 00:45:07,000 could do it because I didn't write the suggested character history. 762 00:45:07,000 --> 00:45:09,959 When I got finished reading my bio, it looked like 763 00:45:09,971 --> 00:45:13,000 gone with the wind. That's great. That's such a out. 764 00:45:13,000 --> 00:45:16,913 Mine, as I can recall, was relationship oriented with Charlie of our history, 765 00:45:16,925 --> 00:45:21,000 how we knew each other, where we met, when we started dating, that sort of thing. 766 00:45:22,000 --> 00:45:25,954 I had a couple of ideas that he loved that we used in the 767 00:45:25,966 --> 00:45:30,000 movie, this, in my research. How do you research a vampire? 768 00:45:42,000 --> 00:45:46,073 So I read a lot about vampire lore, but I also read about bats. Because 769 00:45:46,085 --> 00:45:50,000 I figured, well, you know, that's the genealogy of the vampire world. 770 00:45:52,000 --> 00:45:55,370 At some point, back in the very beginning, 771 00:45:55,382 --> 00:45:59,000 the first vampire was bitten by a vampire bat. 772 00:45:59,000 --> 00:46:02,962 So I started researching bats and I discovered that 910s somewhere in that 773 00:46:02,974 --> 00:46:07,000 range of all the bats in the world are not vampire bats. They're fruit bats. 774 00:46:08,000 --> 00:46:12,195 I thought, well, that's kind of interesting. What would be interesting 775 00:46:12,207 --> 00:46:16,000 to have in somewhere in Jerry's genealogy, an urge to eat fruit? 776 00:46:16,000 --> 00:46:19,633 So I brought it up to Tom and he said, oh, that's great. Let's 777 00:46:19,645 --> 00:46:23,000 try some. And so we kind of laced it throughout the movie. 778 00:46:24,000 --> 00:46:28,160 The Gothic Association with the Vampire is a classic and an established association. 779 00:46:28,172 --> 00:46:32,000 What was difficult was finding that house in juxtaposition to Charlie's house. 780 00:46:42,000 --> 00:46:45,414 Charlie's house was, and needed to be, a much 781 00:46:45,426 --> 00:46:49,000 more suburban, traditional, two-story residence. 782 00:46:49,000 --> 00:46:52,880 The Victorian house was built on the back lot of Disney. As serendipity 783 00:46:52,892 --> 00:46:57,000 would have it, the little suburban house was sitting right there next to it. 784 00:46:57,000 --> 00:46:59,054 Now this was after weeks and weeks of location 785 00:46:59,066 --> 00:47:01,000 scouting and traveling all over Los Angeles. 786 00:47:02,000 --> 00:47:03,000 The 787 00:47:10,000 --> 00:47:13,516 first one on the set at the Disney live and saw this house and 788 00:47:13,528 --> 00:47:17,000 I was like, oh my god, this is amazing. It looks really scary. 789 00:47:17,000 --> 00:47:20,352 We shot at the layered studios in Culver City, which were the 790 00:47:20,364 --> 00:47:24,000 original ints studios. And it's where they shot gone with the wind. 791 00:47:24,000 --> 00:47:28,000 So it was very storied and historic and it was great to be on that set. 792 00:47:32,000 --> 00:47:36,000 Very important to keep levity on the set when you're doing a hard one. 793 00:47:36,000 --> 00:47:39,861 Most of the memories I have in the movie are shooting at layered and smoke. 794 00:47:39,873 --> 00:47:44,000 Smoke, smoke, smoke, jam, keys are walking around pumping the smoke onto the set. 795 00:47:50,000 --> 00:47:53,988 John DeCure, our production designer, was very communicative and understood my needs 796 00:47:54,000 --> 00:47:58,000 in lighting and being able to move cameras and have the space and ability to do that. 797 00:48:02,000 --> 00:48:04,087 We worked pretty hard to create looks inside that 798 00:48:04,099 --> 00:48:06,030 house that were not only Victorian consistent 799 00:48:06,042 --> 00:48:07,905 but allowed him to perform some of the magic 800 00:48:07,917 --> 00:48:10,000 that I think makes the film as exciting as it is. 801 00:48:17,000 --> 00:48:20,861 We built this rather grand staircase. It really gave Tom the opportunity to 802 00:48:20,873 --> 00:48:25,000 choreograph the scenes and the action and the special effects that were required. 803 00:48:32,000 --> 00:48:34,109 The schoolhouse was next door to Charlie's house. 804 00:48:34,121 --> 00:48:36,031 It was actually a church originally. And Tom 805 00:48:36,043 --> 00:48:37,883 said, yeah, I don't think they'd moved that 806 00:48:37,895 --> 00:48:40,000 close to a church so they changed it to a school. 807 00:48:46,000 --> 00:48:48,459 Peter being the television host had a sort 808 00:48:48,471 --> 00:48:51,000 of a Hollywood-esque sense to his character. 809 00:48:51,000 --> 00:48:54,936 So we looked at the classic Hollywood courtyard apartment because we wanted 810 00:48:54,948 --> 00:48:59,000 to sell the Hollywood notion of Peter being the guy that worked in television. 811 00:49:03,000 --> 00:49:05,464 I really was happy to hear that Tom wanted to shoot 812 00:49:05,476 --> 00:49:08,000 Animorphic because that's one of my favorite formats. 813 00:49:08,000 --> 00:49:09,000 Wow. 814 00:49:11,000 --> 00:49:13,920 Especially on a smaller budget, it gives a 815 00:49:13,932 --> 00:49:17,000 greater opportunity for three-dimensionality. 816 00:49:18,000 --> 00:49:22,066 Because there's that more restrained depth of field and it's going to be more 817 00:49:22,078 --> 00:49:26,000 specific, it helps the eye kind of drift off into the abstract of the sets. 818 00:49:27,000 --> 00:49:29,887 There is no campiness in this. I would not 819 00:49:29,899 --> 00:49:33,000 show disrespect for the genre by parroting it. 820 00:49:34,000 --> 00:49:40,000 I could just totally trust and depend on Tom to guide me in the right direction. 821 00:49:40,000 --> 00:49:45,000 His approach to the work is somewhat cerebral but just very authentic. 822 00:49:46,000 --> 00:49:49,000 Tom put his hand on my shoulder so I'd knock this hand off. 823 00:49:50,000 --> 00:49:52,515 Because I'm a police officer and it just meant 824 00:49:52,527 --> 00:49:55,000 respect for the position representing the law. 825 00:49:56,000 --> 00:49:57,000 What are you talking about? 826 00:49:58,000 --> 00:50:01,000 I will make your ass have some respect after I go through your ass like X-Laks. 827 00:50:01,000 --> 00:50:06,000 There was just this real genuine sense of everybody on the set. 828 00:50:06,000 --> 00:50:08,000 Nobody was bringing any attitude. 829 00:50:09,000 --> 00:50:12,543 And Chris Sarandon and Rodney McDowell would be the ones I guess 830 00:50:12,555 --> 00:50:16,000 to be the divas, although I think Billy Ragsel really is prone. 831 00:50:17,000 --> 00:50:18,000 But no, kidding. 832 00:50:19,000 --> 00:50:20,000 Not. 833 00:50:20,000 --> 00:50:22,059 Tom was very passionate, very involved and knew every 834 00:50:22,071 --> 00:50:24,026 single aspect about what the lighting was going to 835 00:50:24,038 --> 00:50:26,083 look like, what the shot was going to look like, what 836 00:50:26,095 --> 00:50:28,000 the movement in the frame was going to look like. 837 00:50:31,000 --> 00:50:34,488 I did make the mistake one time we were shooting in an alley and we had 838 00:50:34,500 --> 00:50:38,000 gotten to the end of the alley and there was really no where else to go. 839 00:50:39,000 --> 00:50:47,000 So I sort of jokingly said cut and he did not think that was my job to call cut. 840 00:50:48,000 --> 00:50:52,000 And he let me know that, you know, sort of in front of everybody and I got it. 841 00:50:53,000 --> 00:50:54,000 And I never did it again. 842 00:50:55,000 --> 00:50:56,000 Ahhhhhhhhhh! 843 00:50:57,000 --> 00:51:01,000 Shooting in the alleyway at night where Evil Ed fakes being attacked. 844 00:51:02,000 --> 00:51:05,000 I warned him! He got me Charlie! He bit me! 845 00:51:07,000 --> 00:51:09,000 You know what you're going to have to do now, don't you? 846 00:51:11,000 --> 00:51:18,000 Keep on me. Kill me Charlie before I turn into a vampire and give your HIKI! 847 00:51:18,000 --> 00:51:19,000 HIKI! 848 00:51:19,000 --> 00:51:20,000 HIKI! 849 00:51:20,000 --> 00:51:21,000 HIKI! 850 00:51:21,000 --> 00:51:23,000 You asshole! 851 00:51:23,000 --> 00:51:24,923 It was late at night, the middle of the night in 852 00:51:24,935 --> 00:51:26,909 a downtown alley and people were throwing things, 853 00:51:26,921 --> 00:51:28,988 like literally throwing garbage cans at us and trash 854 00:51:29,000 --> 00:51:31,000 and stuff as we were filming throughout the night. 855 00:51:34,000 --> 00:51:35,000 Not funny! 856 00:51:35,000 --> 00:51:38,000 I gave it a grittiness that we didn't expect, I guess. 857 00:51:40,000 --> 00:51:42,000 Charlie, Amy, is that you? 858 00:51:43,000 --> 00:51:45,000 If that's you, it's not working, I'm not scared. 859 00:51:49,000 --> 00:51:51,812 When I was in the alley with Chris, you 860 00:51:51,824 --> 00:51:55,000 know, obviously it was a life-changing event. 861 00:51:59,000 --> 00:52:00,000 Hello, everyone. 862 00:52:01,000 --> 00:52:03,000 The scene in the alley is so poignant. 863 00:52:03,000 --> 00:52:05,000 It don't have to be afraid of me. 864 00:52:05,000 --> 00:52:09,082 Because it is the dying cry of a young man who says, please help 865 00:52:09,094 --> 00:52:13,000 me and is willing to give up his soul in order to be somebody. 866 00:52:16,000 --> 00:52:18,000 I know what it's like being different. 867 00:52:20,000 --> 00:52:22,000 They won't pick on you anymore. 868 00:52:22,000 --> 00:52:28,000 And Tom's take on it too is that Jerry is not ravenous in that moment. He's tender. 869 00:52:28,000 --> 00:52:30,000 All you have to do is take my hand. 870 00:52:30,000 --> 00:52:35,000 It's not Jerry licking his chops and saying, okay, another victim. 871 00:52:35,000 --> 00:52:36,000 Take my hand. 872 00:52:36,000 --> 00:52:40,058 It just was so intriguing for him to think, wow, I mean I 873 00:52:40,070 --> 00:52:44,000 could live this fantasy that I've been pretending to be. 874 00:52:45,000 --> 00:52:48,000 It's Jerry essentially saying to him, you know what? 875 00:52:48,000 --> 00:52:50,000 Nobody's ever going to make fun of you again. 876 00:52:50,000 --> 00:52:52,000 I'm going to see you then. 877 00:52:54,000 --> 00:52:57,946 And that's an extraordinarily human connection 878 00:52:57,958 --> 00:53:02,000 that's made in a scene that could be horrifying. 879 00:53:05,000 --> 00:53:10,000 It was a Christmas Eve and we had done all the exterior stuff, all the location stuff. 880 00:53:10,000 --> 00:53:13,000 And so it moved inside and we were about to break for a holiday. 881 00:53:13,000 --> 00:53:15,488 There's a scene where I run down the staircase 882 00:53:15,500 --> 00:53:18,000 to say hi to my mom after she's called me down. 883 00:53:18,000 --> 00:53:22,000 So I'm supposed to just sort of glide down the stairs, sort of carefree. 884 00:53:22,000 --> 00:53:23,000 And I did that a few times. 885 00:53:23,000 --> 00:53:26,000 And I said, can you do it faster? Like an idiot. 886 00:53:26,000 --> 00:53:27,988 We had it in the can but we're going to do it one 887 00:53:28,000 --> 00:53:30,000 more time to see if we can get it a little faster. 888 00:53:30,000 --> 00:53:37,000 And when it came down the stairs, I slipped and fell and I sprained my foot. 889 00:53:37,000 --> 00:53:39,438 So it was starting to swell and they said, well, 890 00:53:39,450 --> 00:53:42,000 you know, let's get to my son and let's wrap it up. 891 00:53:42,000 --> 00:53:46,000 And the sound man came over and said, it's not a sprain, it's a break. 892 00:53:46,000 --> 00:53:49,000 Because he could hear the snap on his headphones, I guess. 893 00:53:49,000 --> 00:53:53,000 So they went back and listened to it and said, yeah, let's get him to the hospital. 894 00:53:53,000 --> 00:53:56,000 So I did the rest of the movie with a broken foot. 895 00:53:56,000 --> 00:53:58,905 And a lot of the interior scenes where I sort of run 896 00:53:58,917 --> 00:54:02,000 out of frame, I'm actually kind of falling out of frame. 897 00:54:02,000 --> 00:54:07,000 If you watch it, you can sort of see me kind of go down as I make my escape. 898 00:54:07,000 --> 00:54:11,000 They had a teamster there, a big guy who would catch me. 899 00:54:11,000 --> 00:54:13,000 Cut, then we'd start over. 900 00:54:13,000 --> 00:54:15,460 They had to access their insurance coverage 901 00:54:15,472 --> 00:54:18,000 to sort of extend the shooting because of it. 902 00:54:18,000 --> 00:54:22,000 So I went to the doctor to get my checkup, my osteopath. 903 00:54:22,000 --> 00:54:26,000 And he said, so slow them down. 904 00:54:26,000 --> 00:54:29,000 And I was a movie set. I had never been on one really. 905 00:54:29,000 --> 00:54:32,000 I said, well, you know, I wait for them. Mostly, I just wait for them to set up. 906 00:54:32,000 --> 00:54:33,000 And then I do my thing. 907 00:54:33,000 --> 00:54:37,000 That apparently got back to the producers and to the insurance company. 908 00:54:37,000 --> 00:54:40,640 And the insurance company and the producers started having a difference 909 00:54:40,652 --> 00:54:44,000 of opinion about how much my injury was adding to the shoot dates. 910 00:54:44,000 --> 00:54:48,000 So that became an issue only because one of the producers would follow me around. 911 00:54:48,000 --> 00:54:53,000 It would be behind a set, you know, or by a car, by the catering or something. 912 00:54:53,000 --> 00:54:58,000 And when I wasn't aware, he would say, $100,000. 913 00:54:59,000 --> 00:55:03,000 That's what you cost me every day, $100,000. 914 00:55:03,000 --> 00:55:08,000 And I was a kid, you know, so I felt like that was... 915 00:55:08,000 --> 00:55:12,000 I thought it was a little weird at the time and I think it was pretty lousy now. 916 00:55:12,000 --> 00:55:15,000 So that's a fun story. 917 00:55:16,000 --> 00:55:22,000 The first scene that I filmed that laugh, I kind of didn't want to do it. 918 00:55:22,000 --> 00:55:24,050 And I was trying to weasel my way around doing it 919 00:55:24,062 --> 00:55:26,000 because I just didn't feel comfortable with it. 920 00:55:26,000 --> 00:55:29,488 And then as soon as the first take happened and Tom 921 00:55:29,500 --> 00:55:33,000 just rushed up to me and said, Steve, just trust me. 922 00:55:33,000 --> 00:55:37,000 This laugh is a vital aspect of evil ed. 923 00:55:37,000 --> 00:55:39,000 You've got to do it. 924 00:55:39,000 --> 00:55:47,000 So I dug deep and you know, invented this cackle that turned into this evil ed laugh. 925 00:55:48,000 --> 00:55:56,000 Yeah, I can't do it. You're so cool, Brewster, what are you reading? 926 00:55:57,000 --> 00:56:01,000 Oh, you're so cool, Brewster. 927 00:56:01,000 --> 00:56:03,000 I can't stand it. 928 00:56:06,000 --> 00:56:13,000 The special effects mastery on Fright night not only enhanced the film, 929 00:56:13,000 --> 00:56:20,000 but also added a sense of realism to its terrific scenes. 930 00:56:26,000 --> 00:56:29,988 The effects team headed by Richard Edland did such a 931 00:56:30,000 --> 00:56:34,000 marvelous job that even I, on more than one occasion, 932 00:56:37,000 --> 00:56:43,000 skipped a heartbeat or two. 933 00:56:43,000 --> 00:56:46,417 This is a state of the art special effects film 934 00:56:46,429 --> 00:56:50,000 in terms of prosthetics, make up, optical effects, 935 00:56:50,000 --> 00:56:54,000 and even in terms of the camera design, the shot design of the film. 936 00:56:54,000 --> 00:56:57,206 The best that was available in terms of today's technology 937 00:56:57,218 --> 00:57:00,000 to make the effects work are involved in this film. 938 00:57:00,000 --> 00:57:04,000 They gave me Richard Edland and this brilliant crew Randy and Steve Johnson. 939 00:57:04,000 --> 00:57:06,885 It's just wonderful, wonderful people can 940 00:57:06,897 --> 00:57:10,000 de-ass. They're just talented, talented crew. 941 00:57:10,000 --> 00:57:14,000 You would ask everyone in our department, do you like vampire movies? 942 00:57:14,000 --> 00:57:17,140 What would you like to see in a vampire movie? What 943 00:57:17,152 --> 00:57:20,000 would make a vampire movie more special to you? 944 00:57:20,000 --> 00:57:23,017 I think you really respected the opinion of a lot of 945 00:57:23,029 --> 00:57:26,000 the different crafts that were working on his movie. 946 00:57:26,000 --> 00:57:28,511 We were all kids and we were just making the stuff up, 947 00:57:28,523 --> 00:57:31,000 we went along, and we had this incredible play around. 948 00:57:31,000 --> 00:57:34,079 All we had to do was go in there and make the best 949 00:57:34,091 --> 00:57:37,000 bunch as we could, and that was absolutely fine. 950 00:57:37,000 --> 00:57:40,000 And there was a lot of cooking. 951 00:57:43,000 --> 00:57:46,017 Fright night was practical effects. It was puppets, 952 00:57:46,029 --> 00:57:49,000 it was rubber, it was in your face, it was on sale. 953 00:57:49,000 --> 00:57:51,902 It's sort of like fighting a war. You know, you go 954 00:57:51,914 --> 00:57:55,000 into the battlefield with whatever armaments you have, 955 00:57:55,000 --> 00:57:57,545 and you got to make do with whatever you got 956 00:57:57,557 --> 00:58:00,000 against the enemy, which is time and money. 957 00:58:00,000 --> 00:58:03,544 The only thing visually is possible. If you can think about it 958 00:58:03,556 --> 00:58:07,000 and talk about it, then you can usually draw a picture of it. 959 00:58:07,000 --> 00:58:12,000 If you can do that, then you can figure out a way of visualizing it until... 960 00:58:12,000 --> 00:58:15,041 Gary Martin, who was the president of Physical Protection 961 00:58:15,053 --> 00:58:18,000 at Columbia, said, you got to do me a favor on this one, 962 00:58:18,000 --> 00:58:20,902 because we only got X amount of dollars to do this 963 00:58:20,914 --> 00:58:24,000 movie, and I think we had enough money to do 30 shots. 964 00:58:24,000 --> 00:58:29,000 Richard called up Rick Baker and said, hey, I've got this show called Ghost Busters, 965 00:58:29,000 --> 00:58:30,893 just opened this huge studio. Would you 966 00:58:30,905 --> 00:58:33,000 like to be involved? And Rick said, hell no. 967 00:58:33,000 --> 00:58:36,141 I just got back from here in England, I want to take a break, 968 00:58:36,153 --> 00:58:39,000 and so he goes, but I'll introduce you to Steve Johnson, 969 00:58:39,000 --> 00:58:41,000 which was the perfect way for Rick to get rid of me. 970 00:58:41,000 --> 00:58:44,158 So I went down a map richer than it was really strange, 971 00:58:44,170 --> 00:58:47,000 because they didn't know I was an 18-year-old kid. 972 00:58:47,000 --> 00:58:50,058 And the movie was Ghost Busters, and they didn't really trust me, 973 00:58:50,070 --> 00:58:53,000 so they had me do a test. They had me do the zombie cab driver. 974 00:58:53,000 --> 00:58:57,000 So I just had two weeks to do what I built it in my bedroom. 975 00:58:57,000 --> 00:59:01,000 He was a very handsome guy, and charismatic, and very talented. 976 00:59:01,000 --> 00:59:05,000 Somebody caught him screwing one of the grou- 977 00:59:05,000 --> 00:59:09,000 on the table, in the barber room. 978 00:59:09,000 --> 00:59:12,120 And if you go into this room, you know, the fumes, you know, you think 979 00:59:12,132 --> 00:59:15,000 about these guys, and what's happening to their brains, you know, 980 00:59:15,000 --> 00:59:19,000 because they're dealing with these strange fumes all the time. 981 00:59:19,000 --> 00:59:22,255 He really loves what he does. He's like this mad 982 00:59:22,267 --> 00:59:26,000 scientist, and with sort of a maniacal look in his eyes, 983 00:59:26,000 --> 00:59:29,000 while he's putting all this stuff on you. 984 00:59:29,000 --> 00:59:32,000 When you were down to the last minute and trying to get the stuff on to set, 985 00:59:32,000 --> 00:59:33,553 there was Steve saying, you know, it's just got 986 00:59:33,565 --> 00:59:35,000 to be one better. It's got to be one better. 987 00:59:35,000 --> 00:59:38,000 It's not in front of the camera yet. It's got to be one better. 988 00:59:38,000 --> 00:59:40,926 Steve Johnson and I sort of squabbled over who 989 00:59:40,938 --> 00:59:44,000 was going to get what piece of the pie, you know? 990 00:59:44,000 --> 00:59:48,000 And I lost a few and won a few, you know? 991 00:59:48,000 --> 00:59:52,000 Steven and Randy were really the kind of creative team. 992 00:59:52,000 --> 00:59:56,000 A lot of really good people, those real kind of dream team. 993 00:59:56,000 --> 00:59:58,000 They got asked to come to this meeting. 994 00:59:58,000 --> 01:00:01,160 Tom really liked my work, and he said, I want 995 01:00:01,172 --> 01:00:04,000 you to be the lead makeup artist on this. 996 01:00:04,000 --> 01:00:08,000 I want you to do the prosthetics and apply them on the set. 997 01:00:08,000 --> 01:00:11,000 I remember Randy Cook sitting on the other side of the table at one point, 998 01:00:11,000 --> 01:00:13,369 because he's talking about how he wants 999 01:00:13,381 --> 01:00:16,000 Chris to have multiple stages of the makeup. 1000 01:00:17,000 --> 01:00:20,000 And Randy's looking at me and kind of malting to me. 1001 01:00:20,000 --> 01:00:25,000 What do you want to do the final stage? Let me do the final stage. 1002 01:00:25,000 --> 01:00:29,000 And I'm like, okay, you know, that actually happened. 1003 01:00:29,000 --> 01:00:32,000 Randy probably throw rocks at me for that, but it's true. 1004 01:00:32,000 --> 01:00:36,000 Then I said, look guys, this is great. I'm very flattered. 1005 01:00:36,000 --> 01:00:39,000 I think it's really nice you want me to do this, but I can't do it. 1006 01:00:39,000 --> 01:00:42,000 Tom says, what do you mean you can't do it? I said, I'm not group one. 1007 01:00:42,000 --> 01:00:45,521 Well, in those days, in the makeup artist union, you 1008 01:00:45,533 --> 01:00:49,000 had to get a certain amount of days working on films 1009 01:00:49,000 --> 01:00:53,000 that you could only get if there was no one else to call on in the list on the union. 1010 01:00:53,000 --> 01:00:55,000 And I explained all this to him. 1011 01:00:55,000 --> 01:00:57,620 And Jerry Barrow, they're looking at me, he says, 1012 01:00:57,632 --> 01:01:00,000 Steve, I'm very good friends of Howard Smith. 1013 01:01:00,000 --> 01:01:05,000 Now Howard Smith was the president of the makeup artist union at the time. 1014 01:01:05,000 --> 01:01:08,000 And he says, I can work this out. So he gets the phone. 1015 01:01:08,000 --> 01:01:12,000 He calls it right there. It's just like something out of a Woody Allen movie. 1016 01:01:12,000 --> 01:01:15,000 And he's on the phone. He's saying, yeah, yeah, yeah, yeah, let's bear Jerry Barrow. 1017 01:01:15,000 --> 01:01:17,000 It's your, I got this guy here, Steve. 1018 01:01:17,000 --> 01:01:19,000 Yeah, yeah, yeah, yeah. Huh? What? 1019 01:01:19,000 --> 01:01:23,000 Yeah, well, Tom wants him to do the film. Here's the phone. 1020 01:01:23,000 --> 01:01:25,000 So what? Howard wants to talk to you. 1021 01:01:25,000 --> 01:01:27,000 So I get on the phone. I talk to Howard. 1022 01:01:27,000 --> 01:01:31,000 Howard said, hey, Steve, don't worry about a thing. I got this handle. 1023 01:01:31,000 --> 01:01:33,000 I said, well, I'm not group one. It's just that's okay. 1024 01:01:33,000 --> 01:01:35,000 We're going to overlook that. 1025 01:01:35,000 --> 01:01:39,000 And you're going to do this job because, you know, they want you and all this stuff. 1026 01:01:39,000 --> 01:01:42,000 And I said, okay, I got a really bad feeling about this. 1027 01:01:42,000 --> 01:01:45,000 But okay, the first day of shooting comes up. 1028 01:01:45,000 --> 01:01:48,000 Down there on the set, I'm in the makeup trailers. Rottie. 1029 01:01:48,000 --> 01:01:52,000 I start to make them up. I get as far as getting the prosthetic, ludus forehead. 1030 01:01:52,000 --> 01:01:54,000 And the trailer door kicks open. 1031 01:01:54,000 --> 01:01:58,000 And Howard Smith comes in. And he said, stop right now. 1032 01:01:58,000 --> 01:02:01,000 You know, you're violating union regulations and all this. 1033 01:02:01,000 --> 01:02:04,000 And you have no right to do this. And I'm like, I knew this was going to happen. 1034 01:02:04,000 --> 01:02:08,000 And I said, Howard, what about the deal you made? What deal? 1035 01:02:08,000 --> 01:02:11,000 I don't know anything you're talking about. If you don't leave the set right now, 1036 01:02:11,000 --> 01:02:13,000 I'm going to have the police come down here and arrest you. 1037 01:02:13,000 --> 01:02:15,000 So I said, God, what the hell? 1038 01:02:15,000 --> 01:02:18,000 So I leave the trailer. Rottie's looking at me. 1039 01:02:18,000 --> 01:02:20,000 The actor's like me like, what did I do? 1040 01:02:20,000 --> 01:02:22,000 I go and get on a phone booth. There's no cell phones. 1041 01:02:22,000 --> 01:02:26,000 I said, I call Richard. I said, Richard, I told him what happened. 1042 01:02:26,000 --> 01:02:30,000 And he's like, yeah, well, you know, I said, well, this is all screwed up deal. 1043 01:02:30,000 --> 01:02:34,000 You guys all knew about it. And evidently, somebody rat-fanked or complained 1044 01:02:34,000 --> 01:02:38,000 that I was pushed ahead of everyone else. What am I supposed to do? 1045 01:02:38,000 --> 01:02:43,000 He says, well, it's kind of like getting caught out in the rain without an umbrella. 1046 01:02:43,000 --> 01:02:45,000 You got wet. 1047 01:02:45,000 --> 01:02:47,000 I get this phone call from the studio. 1048 01:02:47,000 --> 01:02:50,000 Okay, well, we still need those prosthetics. How are you doing on them? 1049 01:02:50,000 --> 01:02:52,000 And it's like nothing had ever happened. 1050 01:02:52,000 --> 01:02:54,000 I mean, ultimately, they knew that they screwed up. 1051 01:02:54,000 --> 01:02:57,000 So they're not going to admit that to anyone. 1052 01:02:57,000 --> 01:02:59,000 But they knew that I hadn't done anything wrong. 1053 01:02:59,000 --> 01:03:01,000 And that I was innocent and the whole thing. 1054 01:03:01,000 --> 01:03:03,000 And they kept me working. 1055 01:03:08,000 --> 01:03:10,602 The one shot that was a really tricky one was 1056 01:03:10,614 --> 01:03:13,000 the scene where he comes into the bedroom. 1057 01:03:13,000 --> 01:03:15,000 And he walks past the mirror. 1058 01:03:15,000 --> 01:03:17,000 And you don't see his reflection. 1059 01:03:19,000 --> 01:03:23,000 And that was basically shot in a blue screen shot of the mirror. 1060 01:03:23,000 --> 01:03:25,000 So he walks in front of the blue screen. 1061 01:03:25,000 --> 01:03:29,000 We then shot a plate of the mirror with nobody in the scene 1062 01:03:29,000 --> 01:03:31,000 so that we got the background without his reflection. 1063 01:03:33,000 --> 01:03:37,000 As usual, when someone comes in contact with a vampire, 1064 01:03:37,000 --> 01:03:41,000 things can get a little ugly. 1065 01:03:43,000 --> 01:03:45,000 And we wouldn't want to wake your mother. Would we, Charlie? 1066 01:03:45,000 --> 01:03:48,000 Then I have to kill her, too. 1067 01:03:48,000 --> 01:03:53,000 He picks me up by the neck and breaks the wall with the back of my head. 1068 01:03:53,000 --> 01:03:55,000 I'm coming toward Charlie. 1069 01:03:55,000 --> 01:03:57,000 And I'm walking toward him. 1070 01:03:57,000 --> 01:03:59,000 And Tom came over and said, 1071 01:03:59,000 --> 01:04:02,000 you have to walk like you're the baddest ass in the world. 1072 01:04:02,000 --> 01:04:10,000 You have to walk to him with a sense that you are the most powerful creature alive. 1073 01:04:10,000 --> 01:04:14,000 There's a moment where Jerry offers Charlie a way out. 1074 01:04:14,000 --> 01:04:18,000 He's holding Charlie up and he's saying, come on, you can do this. 1075 01:04:18,000 --> 01:04:20,000 You give you something I don't have. 1076 01:04:20,000 --> 01:04:21,000 A choice. 1077 01:04:21,000 --> 01:04:25,000 All you have to do is just forget about all this and we'll be fine. 1078 01:04:25,000 --> 01:04:27,000 And you say, Charlie. 1079 01:04:27,000 --> 01:04:29,000 And Charlie refuses. 1080 01:04:29,000 --> 01:04:33,000 And Jerry does something very interesting where there's a sense of 1081 01:04:33,000 --> 01:04:35,000 why does this always have to happen? 1082 01:04:35,000 --> 01:04:37,000 Where he says to Charlie, 1083 01:04:37,000 --> 01:04:39,000 fool, you're a fool. 1084 01:04:39,000 --> 01:04:42,000 I gave you a way out and you didn't take it. 1085 01:04:42,000 --> 01:04:45,000 And now it's war. 1086 01:04:45,000 --> 01:04:51,000 Now you are in big fucking trouble. 1087 01:04:51,000 --> 01:04:57,000 You're sticking in the hand with a pencil and then you get very upset. 1088 01:04:57,000 --> 01:05:05,000 That kind of originated from a film that I saw called X-Caliber. 1089 01:05:07,000 --> 01:05:13,000 There was an incredible scene where Lancelot has been stabbed through his guts. 1090 01:05:13,000 --> 01:05:16,000 And he's nude. 1091 01:05:16,000 --> 01:05:19,000 And you see the blade of this lens going into his flesh. 1092 01:05:19,000 --> 01:05:21,000 And you see it actually coming out too. 1093 01:05:21,000 --> 01:05:23,000 So it's gone all the way through him. 1094 01:05:23,000 --> 01:05:25,000 In a one shot, he pulls it out. 1095 01:05:25,000 --> 01:05:27,000 And you see these two little wounds there. 1096 01:05:27,000 --> 01:05:29,552 I got the VHS tape and just studied and studied and studied 1097 01:05:29,564 --> 01:05:32,000 this because I couldn't believe what my eyes were seeing. 1098 01:05:32,000 --> 01:05:35,000 And I'm supposed to be someone of an expert on these things. 1099 01:05:35,000 --> 01:05:37,000 So why couldn't I figure it out? 1100 01:05:37,000 --> 01:05:40,000 And finally, a dawn dummy that had to be a retractable blade. 1101 01:05:40,000 --> 01:05:43,000 So one section is sliding into the next. 1102 01:05:43,000 --> 01:05:44,000 And it sprung. 1103 01:05:44,000 --> 01:05:46,000 The actor is just pushing it in. 1104 01:05:46,000 --> 01:05:47,000 There's no appliance. 1105 01:05:47,000 --> 01:05:49,000 He's pushing it and makes a dent on his belly. 1106 01:05:49,000 --> 01:05:52,000 When he lets go of it, it springs back to his normal length, right? 1107 01:05:52,000 --> 01:05:54,000 One piece slides out of the other. 1108 01:05:54,000 --> 01:05:56,574 But to prove that there's a piece over here, 1109 01:05:56,586 --> 01:05:59,000 there's just a little tiny tip of a sword. 1110 01:05:59,000 --> 01:06:01,000 Stuck onto him, probably, with some kind of adhesive. 1111 01:06:01,000 --> 01:06:03,000 And a monofilament fishing line tied to it. 1112 01:06:03,000 --> 01:06:04,000 Had to be. 1113 01:06:04,000 --> 01:06:07,000 So we see him with his blade sticking through. 1114 01:06:07,000 --> 01:06:10,000 And for just a second, hides that tip from the camera. 1115 01:06:10,000 --> 01:06:12,000 And that's when somebody yanks it off. 1116 01:06:12,000 --> 01:06:15,000 And it's really for years of wanting to use that effect in a film. 1117 01:06:15,000 --> 01:06:16,000 I thought, what a perfect opportunity. 1118 01:06:16,000 --> 01:06:17,000 We'll do the same thing. 1119 01:06:17,000 --> 01:06:19,000 We'll make a retractable pencil. 1120 01:06:19,000 --> 01:06:21,000 Prove that the tip is coming through. 1121 01:06:21,000 --> 01:06:22,000 Roll it back. 1122 01:06:22,000 --> 01:06:23,000 Right as he does this. 1123 01:06:23,000 --> 01:06:25,000 Yank this on. 1124 01:06:25,000 --> 01:06:26,000 Bam, it's done. 1125 01:06:26,000 --> 01:06:27,000 Beautiful. 1126 01:06:27,000 --> 01:06:31,000 One on sat. 1127 01:06:31,000 --> 01:06:32,000 It's my turn. 1128 01:06:32,000 --> 01:06:33,000 Everything worked great. 1129 01:06:33,000 --> 01:06:34,000 Beautiful effect. 1130 01:06:34,000 --> 01:06:36,000 I finally had Max Calibra moment. 1131 01:06:36,000 --> 01:06:39,000 And then I was in the editing room at Boss Film with Tom. 1132 01:06:39,000 --> 01:06:41,000 Here comes the scene. 1133 01:06:41,000 --> 01:06:43,000 Chris proves that it's sticking all the way through. 1134 01:06:43,000 --> 01:06:47,000 Tom cuts to a reaction shot of Billy. 1135 01:06:47,000 --> 01:06:50,000 And then back to this. 1136 01:06:50,000 --> 01:06:52,000 So completely destroyed the effect. 1137 01:06:52,000 --> 01:06:54,000 You know, that it could happen all on one take. 1138 01:06:54,000 --> 01:06:55,504 Because obviously it could have been done as a 1139 01:06:55,516 --> 01:06:57,000 cheat the way Tom and Ed are with the cutaway. 1140 01:06:57,000 --> 01:07:00,000 The point was you don't need a cutaway to show it come all the way out. 1141 01:07:00,000 --> 01:07:01,000 Bam. 1142 01:07:01,000 --> 01:07:04,000 So I told Tom the he'd ruin the shot. 1143 01:07:04,000 --> 01:07:07,000 And then he actually fixed it. 1144 01:07:07,000 --> 01:07:12,000 When Jerry's full vampire nest was upon him, it was disfiguring. 1145 01:07:12,000 --> 01:07:14,000 You know, and it was disturbing. 1146 01:07:14,000 --> 01:07:15,000 It was gross. 1147 01:07:15,000 --> 01:07:18,000 It wasn't like Bella Legosi. 1148 01:07:18,000 --> 01:07:21,000 You know, it wasn't a guy who's just pasty with a little trickle of blood. 1149 01:07:21,000 --> 01:07:24,000 I mean, the guy was a heinous freak. 1150 01:07:24,000 --> 01:07:29,000 Working with Chris Arandon, we did three stages of the vampire transformation. 1151 01:07:29,000 --> 01:07:32,000 The early stages were a brow piece. 1152 01:07:32,000 --> 01:07:35,518 I tried to create a three dimensional paint job that would 1153 01:07:35,530 --> 01:07:39,000 kind of blend into the later stages of the transformation. 1154 01:07:39,000 --> 01:07:42,380 The second stage was more involved with a piece that came down 1155 01:07:42,392 --> 01:07:46,000 like this with a little lines that kind of went down into the face. 1156 01:07:46,000 --> 01:07:51,000 So I kind of drew that with the paint job in the earlier versions to tie that in. 1157 01:07:51,000 --> 01:07:53,000 Randy Cook's a hell of a sculptor. 1158 01:07:53,000 --> 01:07:54,000 He's a really good artist. 1159 01:07:54,000 --> 01:07:56,000 One of the best I think I've ever worked with. 1160 01:07:56,000 --> 01:07:59,000 Whenever you would sit around with him, he would come up and have an idea. 1161 01:07:59,000 --> 01:08:01,000 And ideas would just spill out of his pencil. 1162 01:08:01,000 --> 01:08:03,000 He could sit there in five minutes. 1163 01:08:03,000 --> 01:08:05,569 And what he could put on your desktop, he could 1164 01:08:05,581 --> 01:08:08,000 do caricatures and just descriptive drawings. 1165 01:08:08,000 --> 01:08:10,000 He was just a master of the pencil. 1166 01:08:10,000 --> 01:08:15,000 I wound up with the main final look of Jerry and the fingers, you know, 1167 01:08:15,000 --> 01:08:18,000 and I think Steve did the teeth on that. 1168 01:08:21,000 --> 01:08:25,000 I was one of the back room boys, one of the lab boys. 1169 01:08:25,000 --> 01:08:27,000 We got a bust of Chris. 1170 01:08:27,000 --> 01:08:29,604 We always give the actor who is just getting 1171 01:08:29,616 --> 01:08:32,000 a face cast, a pad of paper and a pencil, 1172 01:08:32,000 --> 01:08:34,000 so that they can communicate with us. 1173 01:08:34,000 --> 01:08:37,000 And they just simply scribble a note, you know. 1174 01:08:37,000 --> 01:08:41,000 Hurry or I'm uncomfortable or I'm fine or whatever. 1175 01:08:41,000 --> 01:08:44,000 And all of a sudden I get a little note that's getting hot in here. 1176 01:08:44,000 --> 01:08:47,000 Shooting day was extremely long for us for the makeup department. 1177 01:08:47,000 --> 01:08:51,000 There's many times where we would only have four hours in between shifts. 1178 01:08:51,000 --> 01:08:53,435 We'd wrap like one o'clock in the morning and 1179 01:08:53,447 --> 01:08:56,000 had to be back like five o'clock in the morning. 1180 01:08:56,000 --> 01:08:58,628 Five thirty in the morning until approximately 1181 01:08:58,640 --> 01:09:01,000 one thirty to two thirty in the afternoon, 1182 01:09:01,000 --> 01:09:03,000 you're in the chair. 1183 01:09:03,000 --> 01:09:05,000 Never been through anything like it in my life. 1184 01:09:05,000 --> 01:09:09,000 The tedium is, as you can imagine, sitting in the chair for eight hours. 1185 01:09:09,000 --> 01:09:11,000 You know, you get up and sort of move around a little bit. 1186 01:09:11,000 --> 01:09:15,000 But until the adhesives are all fixed, you can't really do a hell of a lot. 1187 01:09:15,000 --> 01:09:19,000 After the first day or two, because this makeup was an eight hour makeup, 1188 01:09:19,000 --> 01:09:22,000 I said, you know, you've got to give me something to do. 1189 01:09:22,000 --> 01:09:23,000 Or otherwise I'm going to go crazy. 1190 01:09:23,000 --> 01:09:28,000 He actually started helping us by putting the finger extensions on his hands, 1191 01:09:28,000 --> 01:09:30,077 or at least the one that he could start gluing 1192 01:09:30,089 --> 01:09:32,000 down while Canon I was working on his face. 1193 01:09:32,000 --> 01:09:34,000 I would help do some of the latex blending. 1194 01:09:34,000 --> 01:09:38,000 And then they let me stipple the hands and make up the hands so that, you know, 1195 01:09:38,000 --> 01:09:41,000 I could pass a couple hours of the eight. 1196 01:09:41,000 --> 01:09:43,000 While he was sitting there for initially eight hours, 1197 01:09:43,000 --> 01:09:45,000 we trimmed it down like six and a half hours. 1198 01:09:45,000 --> 01:09:48,000 I don't remember ever falling asleep in the makeup chair. 1199 01:09:48,000 --> 01:09:55,000 But I remember kind of, you know, from 4 a.m. to noon, we make up. 1200 01:09:55,000 --> 01:09:58,000 And then I'd go out and we'd work for eight hours. 1201 01:09:58,000 --> 01:10:03,000 Then I'd come back in and get the makeup off in half an hour, 45 minutes. 1202 01:10:03,000 --> 01:10:05,622 Go home, sleep for six hours, come back the next 1203 01:10:05,634 --> 01:10:08,000 morning and do the same thing for two weeks. 1204 01:10:08,000 --> 01:10:11,000 It was a motherfucker. 1205 01:10:11,000 --> 01:10:19,000 Our makeup trailer had a little cubby hole up on top with a little black curtain. 1206 01:10:19,000 --> 01:10:22,000 And many of nights I slept in that cubby hole. 1207 01:10:22,000 --> 01:10:25,000 I slept with a wolf with a stake through it. 1208 01:10:25,000 --> 01:10:28,000 Up in there. 1209 01:10:28,000 --> 01:10:30,000 And I'd come in the 4 a.m. 1210 01:10:30,000 --> 01:10:32,000 And I'd say, hey, good morning and chemical. 1211 01:10:32,000 --> 01:10:34,000 Hey, all right, let's go. 1212 01:10:34,000 --> 01:10:36,000 Come on, let's do some makeup. 1213 01:10:36,000 --> 01:10:39,000 My wife seldom saw me during the week, only on the weekends. 1214 01:10:39,000 --> 01:10:42,042 There were plenty of sleepless nights, long day shooting 1215 01:10:42,054 --> 01:10:45,000 with not a whole lot of turnaround for the makeup crew. 1216 01:10:45,000 --> 01:10:49,000 You know, some of it's a blur because of that. 1217 01:10:49,000 --> 01:10:52,000 We had to youth in, Roddy. 1218 01:10:52,000 --> 01:10:59,000 What I did there was to use cosmetic lifts, applying tape in six areas of his face. 1219 01:10:59,000 --> 01:11:02,000 And then stretch it back and tie it under his hair. 1220 01:11:02,000 --> 01:11:05,000 He was in that stretch makeup for like over eight hours. 1221 01:11:05,000 --> 01:11:08,000 His makeup look kind of got established during the Peter Vincent, 1222 01:11:08,000 --> 01:11:11,000 right night, bumpers that were shot at first. 1223 01:11:11,000 --> 01:11:13,766 And part of that look was this kind of theatrical 1224 01:11:13,778 --> 01:11:16,000 hair that he had to make him look older. 1225 01:11:16,000 --> 01:11:18,628 The silver hair, which was done more like with 1226 01:11:18,640 --> 01:11:21,000 an old-style streaks and tips, we call it. 1227 01:11:21,000 --> 01:11:24,000 It's almost like a spray paint for the hair that's very theatrical. 1228 01:11:24,000 --> 01:11:26,488 And it worked for the Peter Vincent stuff, but as 1229 01:11:26,500 --> 01:11:29,000 we were filming him and other scenes, we realized, 1230 01:11:29,000 --> 01:11:33,000 well, why would somebody like that actually do that to their hair in real life? 1231 01:11:34,000 --> 01:11:37,000 And Randy Cook, I remember, it really bugged him. 1232 01:11:37,000 --> 01:11:39,000 And he pleaded with the director. 1233 01:11:39,000 --> 01:11:41,436 Can we add a scene where we show Peter Vincent 1234 01:11:41,448 --> 01:11:44,000 answering the door when the kids are at the door. 1235 01:11:44,000 --> 01:11:46,000 And he's got a bald head. 1236 01:11:46,000 --> 01:11:50,000 And then he puts on like a cheap wig to open the door, like his vanity wig. 1237 01:11:50,000 --> 01:11:54,000 And that would kind of sell why the hair looks kind of funky like that. 1238 01:11:54,000 --> 01:11:56,000 But they didn't go for it. 1239 01:11:56,000 --> 01:11:57,000 And we didn't do that. 1240 01:11:57,000 --> 01:12:01,000 And it ended up looking like flocking for a Christmas tree. 1241 01:12:01,000 --> 01:12:05,000 It's the one part that we weren't happy with for the whole film. 1242 01:12:05,000 --> 01:12:07,000 What are we going to do? 1243 01:12:07,000 --> 01:12:09,000 What are you going to do? 1244 01:12:09,000 --> 01:12:14,000 One of my favorite makeups is the vampire transformations for Steven Jeffries. 1245 01:12:14,000 --> 01:12:15,000 Not me. 1246 01:12:15,000 --> 01:12:19,000 It was very much an impressionistic paint job, a lot of vain work. 1247 01:12:19,000 --> 01:12:20,000 Yeah! 1248 01:12:20,000 --> 01:12:27,000 It turned out to be kind of a real life conflict of interest between me and Roddy. 1249 01:12:27,000 --> 01:12:30,887 Tom had instructed me to really go after him when I first 1250 01:12:30,899 --> 01:12:35,000 tried to attack him before he burns the cross on my forehead. 1251 01:12:36,000 --> 01:12:40,107 And the first time I did that, you know, Roddy just 1252 01:12:40,119 --> 01:12:44,000 got all flustered and went right to Tom and said, 1253 01:12:44,000 --> 01:12:47,000 oh my god, he's too rough with me or something like that. 1254 01:12:47,000 --> 01:12:50,000 And, you know, I was like, you got to be kidding. 1255 01:12:50,000 --> 01:12:53,000 And Tom just said, you know, do it again. 1256 01:12:54,000 --> 01:12:59,000 And then at some point he gets burned with a cross. 1257 01:12:59,000 --> 01:13:01,000 That particular effect was evil. 1258 01:13:01,000 --> 01:13:04,226 Ed was quite easy because basically I had a fairly thick prosthetic 1259 01:13:04,238 --> 01:13:07,000 on the forehead, giving him sort of more of a brow effect. 1260 01:13:07,000 --> 01:13:08,000 The kind of thing. 1261 01:13:08,000 --> 01:13:11,791 Smoke tubes on the back of the cross, nothing on Steven's 1262 01:13:11,803 --> 01:13:16,000 forehead, bam, smokes pumped out, probably just cigarette smoke. 1263 01:13:16,000 --> 01:13:19,076 And then we had replaced his forehead with a prosthetic forehead that 1264 01:13:19,088 --> 01:13:22,000 had a very deep cross-shaped wound that was made exactly the same. 1265 01:13:22,000 --> 01:13:25,488 So we just sat the cross into that indentation, some 1266 01:13:25,500 --> 01:13:29,000 slimy stuff, a little more smoke, and pulled it away. 1267 01:13:29,000 --> 01:13:34,000 What if you got to me back out? 1268 01:13:38,000 --> 01:13:41,000 Later he appears in a raggedy end wig. 1269 01:13:41,000 --> 01:13:44,000 And that's like my favorite look for him. 1270 01:13:45,000 --> 01:13:47,000 I know. 1271 01:13:48,000 --> 01:13:52,000 I can really see a lot of depth and translucency in that paint job. 1272 01:13:55,000 --> 01:13:58,000 You'd had all these films at Howling and We're with London. 1273 01:13:58,000 --> 01:14:01,091 Everybody's work was getting better at doing 1274 01:14:01,103 --> 01:14:04,000 human to monster transformations and back. 1275 01:14:04,000 --> 01:14:07,000 And I wanted to push the envelope. 1276 01:14:07,000 --> 01:14:09,488 I worked on the Howling with Robo Team, went 1277 01:14:09,500 --> 01:14:12,000 straight onto American We're with Rick Baker. 1278 01:14:12,000 --> 01:14:15,988 And while these were very jaw-dropping, groundbreaking effect sequences, 1279 01:14:16,000 --> 01:14:20,000 it just always kind of bugged me that they're transforming symmetrically. 1280 01:14:21,000 --> 01:14:22,988 And I know it was probably being a little too hard on this 1281 01:14:23,000 --> 01:14:25,000 is the first time anybody had ever done anything like that. 1282 01:14:25,000 --> 01:14:27,000 I'm going, I could do that better. 1283 01:14:27,000 --> 01:14:31,044 The idea was that when he gets knocked off of the ballast red, the falls 1284 01:14:31,056 --> 01:14:35,000 and under floor, he hits the light and the light swings back and forth. 1285 01:14:36,000 --> 01:14:40,042 And that was the idea to use the light swinging in the shadow to cause the 1286 01:14:40,054 --> 01:14:44,000 transformation from one side of him to the other when he turns in camera. 1287 01:14:45,000 --> 01:14:49,183 So I always thought, wouldn't it be cool? I mean, who's to say if you're transforming 1288 01:14:49,195 --> 01:14:53,000 from a wolf into a boy or vice versa, that it would happen in a very even way? 1289 01:14:53,000 --> 01:14:55,448 I thought it would be much more interesting if we could get a 1290 01:14:55,460 --> 01:14:58,000 little quasi-mode I wanted, but you know, deformities happening. 1291 01:15:00,000 --> 01:15:02,000 I really don't know how I endured that. 1292 01:15:02,000 --> 01:15:05,401 It literally took 18 hours before we could walk him on the set and shoot that 1293 01:15:05,413 --> 01:15:07,043 scene. It was insane. I've never been 1294 01:15:07,055 --> 01:15:09,000 involved in a makeup that's taken that long. 1295 01:15:09,000 --> 01:15:10,992 I think they gave me some kind of pill to sleep in 1296 01:15:11,004 --> 01:15:13,126 the chair. I mean, I was just sitting there basically 1297 01:15:13,138 --> 01:15:14,920 with shorts on, you know, with all these guys 1298 01:15:14,932 --> 01:15:17,000 painting my arms and legs and sticking on wolf hair. 1299 01:15:24,000 --> 01:15:26,214 Stephen's head is inside the neck of the beast. 1300 01:15:26,226 --> 01:15:28,174 So he looks down like this, looks through 1301 01:15:28,186 --> 01:15:32,000 holes in the neck that had hair over it, but the head of the creature is out here. 1302 01:15:33,000 --> 01:15:35,512 So we get this elongated, more dog-like neck. And of 1303 01:15:35,524 --> 01:15:38,000 course that's all cable operation. And on the front. 1304 01:15:42,000 --> 01:15:44,856 There was, you know, at least three people working on him at all 1305 01:15:44,868 --> 01:15:48,000 times. And everything had to be just right for the whole thing to work. 1306 01:15:49,000 --> 01:15:55,000 The hand was another trick altogether. That was so beyond its time and so difficult. 1307 01:15:55,000 --> 01:15:59,093 What we did is I made a dog paw, a skeleton dog paw, and then literally built 1308 01:15:59,105 --> 01:16:03,000 up separate human hand muscles, veins, and tendons of a human-shaped hand. 1309 01:16:06,000 --> 01:16:08,584 And then I put a very thin scandal to that of gelatin 1310 01:16:08,596 --> 01:16:11,000 again that made it look exactly like a human hand. 1311 01:16:11,000 --> 01:16:14,518 Then each of these tendons were attached to cables that we 1312 01:16:14,530 --> 01:16:18,000 could pull underneath the floor, underneath the dog's paw. 1313 01:16:18,000 --> 01:16:21,385 And they were also made of multiple gelatin. So off-frame, we put 1314 01:16:21,397 --> 01:16:25,000 these space heaters, ramp the speed up, and melted the hell out of it. 1315 01:16:25,000 --> 01:16:29,164 Now why were we melting it? When we got soupy to skin, the outer skin, 1316 01:16:29,176 --> 01:16:33,000 we'd start pulling the muscles and veins away to reveal hoof paw. 1317 01:16:33,000 --> 01:16:36,566 Then we reversed that. So what you see is the wolf paw growing human 1318 01:16:36,578 --> 01:16:40,000 muscles and veins and tendons and then a skin forming around that. 1319 01:16:41,000 --> 01:16:43,000 It was pretty out there, it was pretty crazy. 1320 01:16:43,000 --> 01:16:45,753 Originally for Ghostbusters, Steve had me sculpt the 1321 01:16:45,765 --> 01:16:49,000 librarian arms about a year before. They just were never used. 1322 01:16:49,000 --> 01:16:54,000 They were very elongated and we wanted something very thin and spindly, knuckily. 1323 01:16:54,000 --> 01:16:57,404 So you put a little bit of realism together and stretch that 1324 01:16:57,416 --> 01:17:01,000 reality in order to get something that's new and kind of creepy. 1325 01:17:01,000 --> 01:17:04,000 He's got one false skinny arm that's being robbed of to a false wall. 1326 01:17:05,000 --> 01:17:07,506 One leg is going through the false floor, one of his legs, the actors, 1327 01:17:07,518 --> 01:17:10,000 and there's a big fake one that's being runpuppeted through the floor. 1328 01:17:10,000 --> 01:17:13,079 It was really impressive on set. It was just a really good sequence 1329 01:17:13,091 --> 01:17:16,000 and I didn't realize how good it would be until I saw the movie. 1330 01:17:18,000 --> 01:17:20,920 If you look carefully, you can see his arms stuck behind him. So 1331 01:17:20,932 --> 01:17:24,000 you'll see his elbow and then you see the fake arms that I had made. 1332 01:17:25,000 --> 01:17:29,041 At one point, Steve's saying, you know, I have a wet his eye up a little bit 1333 01:17:29,053 --> 01:17:33,000 here. Give me the methacill, which is used as a thickener in food products. 1334 01:17:36,000 --> 01:17:40,074 It doughnuts and like jelly and that sort of thing. And so he's giving 1335 01:17:40,086 --> 01:17:44,000 me the methacill, and grabs it, opens it up and pours it in the eye. 1336 01:17:44,000 --> 01:17:48,000 You start to pour it in his mouth for good measure. And pour Steven's. 1337 01:17:49,000 --> 01:17:52,000 He's like, what is this stuff? He's like, don't worry about it. He doesn't don't it. 1338 01:17:52,000 --> 01:17:55,000 And he's just doesn't taste like he's done as I ever ate. 1339 01:17:55,000 --> 01:17:58,611 And I look at the eye that he ported in, not Steven's real 1340 01:17:58,623 --> 01:18:02,000 eye, but the glass science getting all cloudy. Oh hell. 1341 01:18:02,000 --> 01:18:05,000 It's not methacill, it's glue. 1342 01:18:05,000 --> 01:18:09,000 It was just the most inhumane experience. 1343 01:18:11,000 --> 01:18:13,026 It was always nice for me to come in, you know, five 1344 01:18:13,038 --> 01:18:15,000 minutes before shooting star. It's a cup of coffee. 1345 01:18:15,000 --> 01:18:18,000 Hey, how's it going? Let's get to work. 1346 01:18:18,000 --> 01:18:21,871 I remember getting out of this, you know, for the 1347 01:18:21,883 --> 01:18:26,000 last time. And I ran as fast as I could away from it. 1348 01:18:26,000 --> 01:18:30,194 And it just brings with it a lot of mixed feelings 1349 01:18:30,206 --> 01:18:34,000 at this present time to be sitting next to it. 1350 01:18:37,000 --> 01:18:40,000 And action. 1351 01:18:40,000 --> 01:18:47,000 What makes that scene work is Steven. 1352 01:18:47,000 --> 01:18:55,000 Is cry of pain and of loss and of realizing what he's given up and what he's become. 1353 01:18:55,000 --> 01:18:59,083 I think I cried the first time I saw it. It was like, wow, the way it was edited, the 1354 01:18:59,095 --> 01:19:03,000 makeup, it just really came to this point where you just felt so sad for this guy. 1355 01:19:07,000 --> 01:19:10,421 That was also a really heartfelt scene by Roddy. I 1356 01:19:10,433 --> 01:19:14,000 mean, his performance in that scene was pretty great. 1357 01:19:14,000 --> 01:19:20,000 I mean, my heart breaks every time I watch it. Steven makes it kill. 1358 01:19:20,000 --> 01:19:23,635 Randy had set up a grid in front of the camera and trace with 1359 01:19:23,647 --> 01:19:27,000 grease pencil for registration for Steven Jeffery's head. 1360 01:19:27,000 --> 01:19:30,590 And I would go in and I would progressively add more 1361 01:19:30,602 --> 01:19:34,000 and more makeup on him in like five or six stages. 1362 01:19:34,000 --> 01:19:38,073 And we did a dissolve, we shot it in, it was shot in reverse. And I was 1363 01:19:38,085 --> 01:19:42,000 very impressed with that, just like how we pulled that off. Low tech. 1364 01:19:42,000 --> 01:19:47,000 Billi attacks Peter. Stop or I'll shoot. 1365 01:19:47,000 --> 01:19:55,000 And in his demise, the deterioration of the body went from a series of phases. 1366 01:19:56,000 --> 01:19:59,546 The producers were kind of pushing us to work faster. And we 1367 01:19:59,558 --> 01:20:03,000 were up on the stairs with the camera shooting down at him. 1368 01:20:03,000 --> 01:20:04,897 And he's going to take a bullet to the 1369 01:20:04,909 --> 01:20:07,160 forehead and one of us would get right behind 1370 01:20:07,172 --> 01:20:11,000 camera and look at what was being filmed from the point of view of the camera. 1371 01:20:12,000 --> 01:20:15,396 And so if we could see anything weird shadow or something that was out of 1372 01:20:15,408 --> 01:20:19,000 place, we could tell the other guy that was down there, you know, what to fix. 1373 01:20:19,000 --> 01:20:22,833 And I was up there painting little dots and painting with the 1374 01:20:22,845 --> 01:20:27,000 shadow and color to try to get rid of this edge or whatever it was. 1375 01:20:27,000 --> 01:20:30,040 And I just remember one of the producers yelling down, hey 1376 01:20:30,052 --> 01:20:33,000 Rick, stop trying to pick the fly shit out of the pepper. 1377 01:20:33,000 --> 01:20:36,488 In other words, it was something he couldn't really see was 1378 01:20:36,500 --> 01:20:40,000 wrong and everybody's waiting on me. Come on, we got a roll. 1379 01:20:40,000 --> 01:20:44,000 But there was something that definitely needed to be fixed. 1380 01:20:44,000 --> 01:20:47,321 One of the things I like about that sequence 1381 01:20:47,333 --> 01:20:50,000 is there's a certain humor about it. 1382 01:20:50,000 --> 01:20:57,000 You know, you catch Billi sitting up at the bottom of the stairs. 1383 01:20:57,000 --> 01:21:01,062 It was great. That's one of the things I like about the script is that opportunity 1384 01:21:01,074 --> 01:21:05,000 for humor, which is that they're great contrast for this, you know, they horror. 1385 01:21:11,000 --> 01:21:15,102 If you look at the one I'm going up the stairs, there's one contact I'm 1386 01:21:15,114 --> 01:21:19,000 looking this way, but the other one straight ahead in my actual eye. 1387 01:21:19,000 --> 01:21:21,404 I actually had two contacts and I couldn't 1388 01:21:21,416 --> 01:21:24,000 see. So every time I go up the stairs, I trip. 1389 01:21:24,000 --> 01:21:28,089 And after like three times, Tom just take one out so you can 1390 01:21:28,101 --> 01:21:32,000 see Bill writes, he'll take that stake and shows it at me. 1391 01:21:32,000 --> 01:21:34,053 Then of course they cut and they put this thing 1392 01:21:34,065 --> 01:21:36,000 around me with the stakes sticking out of me. 1393 01:21:36,000 --> 01:21:39,000 And I'm ready to shoot and they go, oh, lunch. 1394 01:21:39,000 --> 01:21:41,390 I'm like, okay, so we're going to take this off, 1395 01:21:41,402 --> 01:21:44,000 right? When we put it on, it's a long process. So no. 1396 01:21:44,000 --> 01:21:47,450 So I go into the commentary. I got the stakes 1397 01:21:47,462 --> 01:21:51,000 sticking out this far. And I've got to eat now. 1398 01:21:51,000 --> 01:21:54,085 Try eating when you've got a stake sticking out 1399 01:21:54,097 --> 01:21:57,000 of you that goes out to here. Very difficult. 1400 01:21:57,000 --> 01:22:00,904 That's a whole series of different effects melded together. There's a 1401 01:22:00,916 --> 01:22:05,000 shot of Billi and then there's a separate shot or a puppet hand comes up. 1402 01:22:07,000 --> 01:22:08,000 Melting. 1403 01:22:08,000 --> 01:22:09,902 With the hands, I wanted to do something really interesting 1404 01:22:09,914 --> 01:22:11,956 and I didn't want it to be that typical 80s thing where I mean, 1405 01:22:11,968 --> 01:22:13,734 every move you see when somebody starts transforming or 1406 01:22:13,746 --> 01:22:16,000 deteriorating, they always look at their hand first and it transforms. 1407 01:22:21,000 --> 01:22:24,572 What's next? So I thought, okay, well, we don't want to do just 1408 01:22:24,584 --> 01:22:28,000 that. And we've got boss films optical facility here to help. 1409 01:22:28,000 --> 01:22:30,085 In order to make our shots intercut with regularly shot 1410 01:22:30,097 --> 01:22:32,044 anamorphic footage, we would shoot our plates in 65 1411 01:22:32,056 --> 01:22:34,016 millimeter, which is a wide screen format, more than 1412 01:22:34,028 --> 01:22:36,000 three times the size of a normal 35 millimeter film. 1413 01:22:41,000 --> 01:22:43,039 So basically what we do is we shoot it on 65 1414 01:22:43,051 --> 01:22:45,194 and then we make a composite in 35 anamorphic. 1415 01:22:45,206 --> 01:22:49,000 And the quality of our shots often exceeds the quality of the original photography. 1416 01:22:53,000 --> 01:22:54,928 And so what we designed together with Richard was to have both 1417 01:22:54,940 --> 01:22:56,942 hands come up in the same shot. But the first one, again, I came 1418 01:22:56,954 --> 01:22:59,026 with this really off of a little concept. I was looking at my hands 1419 01:22:59,038 --> 01:23:01,000 and thinking, wow, left and right hands are very, very similar. 1420 01:23:06,000 --> 01:23:09,449 What if I took a life casting of Jonathan's 1421 01:23:09,461 --> 01:23:13,000 palm and sculpted the back of the hand on it? 1422 01:23:13,000 --> 01:23:14,906 Start it up by doing life casts off of very small women off of 1423 01:23:14,918 --> 01:23:16,927 their hands. They were women about five foot, but Jonathan starts 1424 01:23:16,939 --> 01:23:18,897 probably six, three, six, four. So he's very tall. So with their 1425 01:23:18,909 --> 01:23:21,000 smaller hands, I actually built everything on top of a woman's hand. 1426 01:23:31,000 --> 01:23:32,919 Foam and rubber on top of that were tubes, which pumped ooze 1427 01:23:32,931 --> 01:23:34,925 on top of that then was a foam latex. So this girl gets out of 1428 01:23:34,937 --> 01:23:36,878 frame raises her hand up like this. We're editing here so you 1429 01:23:36,890 --> 01:23:39,000 don't frame in here so you don't see it. And all she had to do was 1430 01:23:47,000 --> 01:23:49,562 and it looks like the hand is bending backwards and 1431 01:23:49,574 --> 01:23:52,000 with some sound effects, it was pretty effective. 1432 01:23:53,000 --> 01:23:57,102 Richard Edelman's genius was optical printing. He did 1433 01:23:57,114 --> 01:24:01,000 what they now do with CGI, but he did it in camera. 1434 01:24:02,000 --> 01:24:04,033 So we shot all three separate elements, composite 1435 01:24:04,045 --> 01:24:05,967 them into one shot so we could kick Rick Baker 1436 01:24:05,979 --> 01:24:07,957 and Robo Teen's ass and say, hey, look, look how 1437 01:24:07,969 --> 01:24:10,000 cool this is. We got three effects in one sucker. 1438 01:24:13,000 --> 01:24:15,042 His character was kind of weird. I mean, it's kind 1439 01:24:15,054 --> 01:24:16,948 of like, what is he? And John would say that's 1440 01:24:16,960 --> 01:24:18,948 like, who am I? When I went as what is Billy Cole 1441 01:24:18,960 --> 01:24:21,000 in my like a zombie era? And it was kind of vague. 1442 01:24:25,000 --> 01:24:31,000 Here's my answer. I don't know. I don't know. 1443 01:24:31,000 --> 01:24:34,343 No, I didn't have an idea. I mean, it never came up and I 1444 01:24:34,355 --> 01:24:38,000 never thought about it. Everybody wants to know I want to know. 1445 01:24:39,000 --> 01:24:41,955 Go to Tom Holland's house, knock on his door 1446 01:24:41,967 --> 01:24:45,000 and ask him what I was because I have no idea. 1447 01:24:46,000 --> 01:24:49,061 I figured, well, he's eager. He's the helper. He's bitten, but 1448 01:24:49,073 --> 01:24:52,000 he hasn't turned yet, which is why he can go out in the day. 1449 01:24:53,000 --> 01:24:56,488 He's what a vampire needs as a helper to accomplish his task 1450 01:24:56,500 --> 01:25:00,000 where he has to go out into sunlight. So that's who Billy is. 1451 01:25:02,000 --> 01:25:03,925 We made a fairly standard, you know, Raiders of Lost Ark shoulders up puppet that was just, I 1452 01:25:03,937 --> 01:25:05,998 mean, I think it probably took 30 people to operate this thing. Now, it was made of gelatin, layers 1453 01:25:06,010 --> 01:25:08,034 of colored gelatin so that when we hit it with space heaters from outside of frame, it would melt. 1454 01:25:08,046 --> 01:25:10,000 Of course, we had to shoot it a lower frame rate because it took too long to actually melt it. 1455 01:25:19,000 --> 01:25:20,743 I remember when they were testing the Billy 1456 01:25:20,755 --> 01:25:22,948 disintegration, it had like a dozen hoses in different 1457 01:25:22,960 --> 01:25:24,968 parts of them so it would swell up. And you've got 1458 01:25:24,980 --> 01:25:27,000 all these people on not highly trained techniques. 1459 01:25:34,000 --> 01:25:36,038 You just kids, you know, kids like the rest of us. And 1460 01:25:36,050 --> 01:25:37,988 they're pushing these things and hoping it'll work. 1461 01:25:38,000 --> 01:25:39,951 And one of them pushed too hard and this hose became 1462 01:25:39,963 --> 01:25:42,000 disentangled from Billy's rubber face and whipped off. 1463 01:25:47,000 --> 01:25:48,982 And this big spurred of benzene went across, you know, 30 feet 1464 01:25:48,994 --> 01:25:51,051 across the studio and hit me right in the eye, right in the eye. 1465 01:25:51,063 --> 01:25:53,004 And so I had to go to the hospital. I thought, I'm dying. I'm 1466 01:25:53,016 --> 01:25:55,000 going to go blind from fright night, you know, but the doctor. 1467 01:26:02,000 --> 01:26:04,899 And I think a fifth of Lafroy Scott reassured me 1468 01:26:04,911 --> 01:26:08,000 that it was that always going to be well eventually. 1469 01:26:08,000 --> 01:26:09,885 One thing that I created was I took just a standard skull and I added, you know, just little 1470 01:26:09,897 --> 01:26:11,937 subtleties in the sculpture so that there was points, you know, of course, the vampire fangs. And I 1471 01:26:11,949 --> 01:26:13,891 thought, well, you know, he's a henchman. Steve had already decided to use the longer skull for 1472 01:26:13,903 --> 01:26:16,000 Jerry. I thought, well, let's just go something a little similar. They don't have to be the same race. 1473 01:26:36,000 --> 01:26:37,949 The skull at the end, that ended up with John and Stark and 1474 01:26:37,961 --> 01:26:39,955 he's been promising to give it to me for years, says it's in 1475 01:26:39,967 --> 01:26:41,939 his garage, he just hasn't gotten around looking for it, but 1476 01:26:41,951 --> 01:26:44,000 he hasn't gotten around looking for it for about 20 years now. 1477 01:26:48,000 --> 01:26:50,000 But that would complete my fright night collection, that skull. 1478 01:26:51,000 --> 01:26:53,007 After the thing was wrapped, I had to go down to a warehouse 1479 01:26:53,019 --> 01:26:55,038 in Santa Monica. And they basically just had me stand up and 1480 01:26:55,050 --> 01:26:56,947 put tubes through my head of green stuff and blood, which 1481 01:26:56,959 --> 01:26:59,000 was basically kind of like carosurup, which is really sticky. 1482 01:27:03,000 --> 01:27:06,964 And after about four hours of that, I was covered in blood and this green muck and 1483 01:27:06,976 --> 01:27:11,000 everything I was, it was sticky and every time I pulled my shirt out, it would hurt. 1484 01:27:14,000 --> 01:27:17,093 So they said, well, you're wrapped. And I said, oh, great, great. So just 1485 01:27:17,105 --> 01:27:20,000 point me to the shower. Let me get this thing off and I'll head home. 1486 01:27:21,000 --> 01:27:25,167 You know, our plumbing's down. So I, what got a drive home like this? 1487 01:27:25,179 --> 01:27:29,000 Yeah. Okay. So I'm a little car driving on Santa Monica freeway. 1488 01:27:33,000 --> 01:27:36,488 I'm covered in blood and green stuff and the clothes are a mess, 1489 01:27:36,500 --> 01:27:40,000 you know. And I look at my gas gauge and I have to get gas. Fuck. 1490 01:27:41,000 --> 01:27:45,016 So I go on a gas station and I'm not going to pump my own, right? So I 1491 01:27:45,028 --> 01:27:49,000 wait for the guy to come out and he, I'm trying to keep my head above. 1492 01:27:52,000 --> 01:27:53,361 Yeah, just give me a couple bucks for 1493 01:27:53,373 --> 01:27:55,000 regular and the guy looks down like this ago. 1494 01:27:56,000 --> 01:27:57,952 Okay. Okay. Okay. And he does it and then I just 1495 01:27:57,964 --> 01:28:00,048 like, yeah, thanks. Thanks to take off. And then as 1496 01:28:00,060 --> 01:28:02,038 I'm leaving, I see him on the phone like this and 1497 01:28:02,050 --> 01:28:04,000 thinking, oh my guy's probably calling the cops. 1498 01:28:09,000 --> 01:28:10,068 You know, that's the stuff that always happens 1499 01:28:10,080 --> 01:28:11,000 when you really don't want it to happen. 1500 01:28:14,000 --> 01:28:17,018 One of the thoughts that I had was that there was 1501 01:28:17,030 --> 01:28:20,000 somehow a prior connection between Jerry and Amy. 1502 01:28:21,000 --> 01:28:23,635 Part of Jerry Danjage's connection to Amy's character 1503 01:28:23,647 --> 01:28:26,000 is that I reminded him of someone that he loved. 1504 01:28:27,000 --> 01:28:31,049 Looks just like it doesn't she? She looked to me like someone that 1505 01:28:31,061 --> 01:28:35,000 I was deeply in love with and that I was determined to return to. 1506 01:28:36,000 --> 01:28:39,988 I couldn't because this woman was obviously gone, but here she is again. Chomped. And 1507 01:28:40,000 --> 01:28:42,057 for Amy, it's knowing that there's something 1508 01:28:42,069 --> 01:28:44,000 there. What's the attraction in this guy? 1509 01:28:48,000 --> 01:28:49,808 God, it's neat. And that decision colored that 1510 01:28:49,820 --> 01:28:52,027 relationship from the very beginning of the relationship 1511 01:28:52,039 --> 01:28:54,104 straight through to the denumine, you know, the final 1512 01:28:54,116 --> 01:28:56,000 sort of turning her into that horrible creature. 1513 01:29:04,000 --> 01:29:12,000 That is so iconic. No crushes after that. I saw the real, the real Amy. 1514 01:29:13,000 --> 01:29:16,278 Vampires have always been a metaphor for seduction 1515 01:29:16,290 --> 01:29:19,000 and they are sensual in and of themselves. 1516 01:29:19,000 --> 01:29:20,895 They do things that we all want to do, play all night, 1517 01:29:20,907 --> 01:29:22,953 sleep all day. And in this story, there is a sensuality, a 1518 01:29:22,965 --> 01:29:24,919 subtext, an undercurrent that runs underneath it because 1519 01:29:24,931 --> 01:29:27,000 the young boy finds that the vampires after his girlfriend. 1520 01:29:32,000 --> 01:29:36,000 I had a great team in terms of wardrobe and hair and makeup. 1521 01:29:36,000 --> 01:29:39,910 She starts off as the plane jane and she gets entranced by Jerry Dandrich. 1522 01:29:39,922 --> 01:29:44,000 And it's a seductive dance and her makeup and hair starts to get more extreme. 1523 01:29:46,000 --> 01:29:47,906 She transforms, and this was something that 1524 01:29:47,918 --> 01:29:50,010 Tom very specifically wrote into the script and 1525 01:29:50,022 --> 01:29:51,999 filmed that way in which she met a more foses 1526 01:29:52,011 --> 01:29:54,000 from a girl into a woman by dancing with him. 1527 01:29:58,000 --> 01:30:02,074 And it's very subtle, but I don't know if you've noticed it, fans, but 1528 01:30:02,086 --> 01:30:06,000 in the makeup, literally Amy in one of the turns turns into a woman. 1529 01:30:07,000 --> 01:30:10,963 We're all made up of good and bad and giving Chris a rend and something to play, 1530 01:30:10,975 --> 01:30:15,000 deep in that character and has made Jerry Dandrich resound in the audience's mind, 1531 01:30:24,000 --> 01:30:30,000 and it has also led to a lot of women being madly in love with Chris Sarandon. 1532 01:30:32,000 --> 01:30:34,988 One of the things that I hear from a lot of females who watch the 1533 01:30:35,000 --> 01:30:38,000 film, their big fans of the film, is the way Chris Sarandon looks. 1534 01:30:38,000 --> 01:30:42,102 They just think he's so hot in this film. And I'm hearing them talk and 1535 01:30:42,114 --> 01:30:46,000 I said, well, you know, I thought I had a lot to contribute to that. 1536 01:30:46,000 --> 01:30:48,012 My early conversations with Tom Holland, he told me he wanted Chris 1537 01:30:48,024 --> 01:30:50,018 to look super sexy. And what I did was utilize basic beauty makeup 1538 01:30:50,030 --> 01:30:51,973 techniques by shaping the face with highlights and shadow, blush, 1539 01:30:51,985 --> 01:30:54,000 eyeliner, but really well blended to not look like a beauty makeup. 1540 01:31:03,000 --> 01:31:07,000 Chris is a good looking man, but we took it to the extreme with him. 1541 01:31:07,000 --> 01:31:10,064 When she began transforming into a vampire, Tom wanted to be 1542 01:31:10,076 --> 01:31:13,000 more sexy. Makes a lot of sense, vampires are sexy, right? 1543 01:31:13,000 --> 01:31:16,465 And so the straight makeup department did her makeup even better and she did 1544 01:31:16,477 --> 01:31:20,000 look sexy. She put the lenses. That's always sexy. It works for the golf kids. 1545 01:31:20,000 --> 01:31:23,545 Amy's transformation not only was it wardrobe getting tighter 1546 01:31:23,557 --> 01:31:27,000 and then they built the white dress, which was so beautiful. 1547 01:31:27,000 --> 01:31:31,057 And Amy's boobs got bigger. Her eyes changed color and all 1548 01:31:31,069 --> 01:31:35,000 of a sudden her hair went from brown to this kind of red. 1549 01:31:35,000 --> 01:31:38,988 When you turn into a vampire, your hair grows. It's 1550 01:31:39,000 --> 01:31:43,000 very simple. It changes to Hannah if you're a woman. 1551 01:31:44,000 --> 01:31:47,914 Her hair got longer for the same reasons her breasts 1552 01:31:47,926 --> 01:31:52,000 got bigger. I actually made prosthetic breasts for her. 1553 01:31:52,000 --> 01:31:54,965 Full-mover appliance. It was just my dream breast at the time. So 1554 01:31:54,977 --> 01:31:58,000 that was kind of cool. It's kind of a subtle thing, but it was fun. 1555 01:31:58,000 --> 01:32:00,958 So on the day she shows up and she's already. She 1556 01:32:00,970 --> 01:32:04,000 said, I've got a swimsuit on underneath my clothes. 1557 01:32:04,000 --> 01:32:08,059 So when you guys are ready, what I will do is I will just simply drop my top. You can 1558 01:32:08,071 --> 01:32:12,000 do the impression. She gets the sardonic grin, but she also gets a very nice chest. 1559 01:32:12,000 --> 01:32:14,988 Thanks to the Special Effects Department. I mean, 1560 01:32:15,000 --> 01:32:18,000 Fright night. What a great film. And we got girls. 1561 01:32:18,000 --> 01:32:22,176 And I kept those breasts in a box on my closet shelf for 25 years. 1562 01:32:22,188 --> 01:32:26,000 I finally let them go at one of these conventions that we do. 1563 01:32:26,000 --> 01:32:28,064 I was like, why am I keeping these rubber breasts? 1564 01:32:28,076 --> 01:32:30,070 I should have kept my things. I loved my things. 1565 01:32:30,082 --> 01:32:31,968 I had three different pairs. I had little baby 1566 01:32:31,980 --> 01:32:34,000 ones. Those are the ones I'd really like to have. 1567 01:32:36,000 --> 01:32:41,000 And then the mediums and then the big ones as Amy, the monster grew. 1568 01:32:41,000 --> 01:32:45,199 She was kind of like this nightmarish Marilyn Monroe thing, 1569 01:32:45,211 --> 01:32:49,000 you know, that whole dress and the hair and the voice. 1570 01:32:50,000 --> 01:32:53,000 Don't you want me anymore? 1571 01:32:53,000 --> 01:32:57,065 What is vampy? What was going to get Charlie the sort of finishing touches the 1572 01:32:57,077 --> 01:33:01,000 icing on the cake, if you will, with this character before it turns to that? 1573 01:33:08,000 --> 01:33:11,000 Maybe Tom has a thing for Redheads. I don't know. 1574 01:33:11,000 --> 01:33:15,053 Late into the game, Tom Holland, who's a great guy. I like him 1575 01:33:15,065 --> 01:33:19,000 a lot. But he came over and was being extra special friendly. 1576 01:33:24,000 --> 01:33:28,113 Wow, I really need something special and Richard won't go for it. 1577 01:33:28,125 --> 01:33:32,000 You think just as a favor to me, you can sculpt a shark mouth. 1578 01:33:32,000 --> 01:33:36,102 I was blocking that scene in the basement and Amy said, oh Charlie, you 1579 01:33:36,114 --> 01:33:40,000 promised you'd protect me. Why did you do that? And she turned away. 1580 01:33:40,000 --> 01:33:45,000 You promised you wouldn't let him get me. You promised. 1581 01:33:45,000 --> 01:33:48,544 Then she turned back in the playing of the scene, but it didn't 1582 01:33:48,556 --> 01:33:52,000 play like being a terrible moment because I hadn't written it. 1583 01:33:52,000 --> 01:33:55,522 And I realized that if she turned around and if she 1584 01:33:55,534 --> 01:33:59,000 had the mouth from hell, that it was a huge scream. 1585 01:33:59,000 --> 01:34:02,488 We can't pay for it. Could you do it for free? Yeah, I 1586 01:34:02,500 --> 01:34:06,000 guess. Don't tell anybody, you know, it shoots Tuesday. 1587 01:34:06,000 --> 01:34:09,515 Yeah, but you know, that's real quick. I can't do it that quick. 1588 01:34:09,527 --> 01:34:13,000 It's only going to be on screen for a second. Just for a second. 1589 01:34:13,000 --> 01:34:15,988 I don't care how bad it is, how rickety or whatever. It's 1590 01:34:16,000 --> 01:34:19,000 a quick shot. You know, should be running right at camera. 1591 01:34:19,000 --> 01:34:23,000 No matter how bad it is, nobody of care. As long as there's a shock on the reveal. 1592 01:34:23,000 --> 01:34:26,045 But it was crude as hell, rough as guts, right? But I 1593 01:34:26,057 --> 01:34:29,000 knew it was only going to be on screen for a second. 1594 01:34:29,000 --> 01:34:32,637 I think that Tom didn't want me to see he wanted 1595 01:34:32,649 --> 01:34:36,000 it to be a reveal, you know, a real surprise. 1596 01:34:36,000 --> 01:34:44,000 You know, for those who went into oral sex, that's your nightmare come alive. 1597 01:34:47,000 --> 01:34:51,133 So it put that on, blended it in, and put a very extreme 1598 01:34:51,145 --> 01:34:55,000 deep set eyes. Something I felt it would be jump out. 1599 01:34:57,000 --> 01:34:59,988 Tom loved it so much. He ended up shooting with it all day. 1600 01:35:00,000 --> 01:35:03,000 And like, there's so much coverage. And I was just in sense. 1601 01:35:03,000 --> 01:35:06,036 This is never going to work. We're going to look like assholes 1602 01:35:06,048 --> 01:35:09,000 with this, you know, immobile mask glued on his actress face. 1603 01:35:09,000 --> 01:35:11,000 And look what happened. I'm showing you how much I know. 1604 01:35:11,000 --> 01:35:13,467 When the movie was about to be released, have you seen the 1605 01:35:13,479 --> 01:35:16,000 poster? No, I haven't seen the poster. What's on the poster? 1606 01:35:16,000 --> 01:35:19,118 Because I thought, you know, Jerry Danage makeup pretty good. You know, 1607 01:35:19,130 --> 01:35:22,000 that might be it. He's lead vampire. That ought to be pretty good. 1608 01:35:22,000 --> 01:35:24,540 And I said, no, it's a man to be rich as a shark 1609 01:35:24,552 --> 01:35:27,000 mouth. I said, oh fuck you. I'm doing anything. 1610 01:35:27,000 --> 01:35:30,932 I put that on a poster and I showed the poster. I just about plodged. 1611 01:35:30,944 --> 01:35:35,000 You know, they painted it better than we made it, you know, fortunately, 1612 01:35:36,000 --> 01:35:43,000 because it wasn't a photograph. But boy, you know, you never trusted director. 1613 01:35:43,000 --> 01:35:47,108 We did it on the spur of the moment and we improvised and it worked. See that, that's 1614 01:35:47,120 --> 01:35:51,000 why, that's why God has to bless you and you have to catch lightning in a bottle. 1615 01:35:54,000 --> 01:35:56,125 You know, and that this whole movie was like 1616 01:35:56,137 --> 01:35:58,083 that. It wound up working. But you don't 1617 01:35:58,095 --> 01:36:02,000 want to freeze frame that. Don't want to freeze frame that on Blu-ray, okay folks? 1618 01:36:03,000 --> 01:36:09,000 Just sort of just let the movie play as it was meant to be seen. 1619 01:36:09,000 --> 01:36:13,042 We've been filming. It was very hot. It was claustrophobic. And there were 1620 01:36:13,054 --> 01:36:17,000 all these low beams and she kept hitting her head on the beams, you know, 1621 01:36:17,000 --> 01:36:20,869 doing what she was supposed to be doing and the camera is really 1622 01:36:20,881 --> 01:36:25,000 tight. And after a bunch of takes of this, I realized she was crying. 1623 01:36:25,000 --> 01:36:27,014 She had hit her head really bad. But, you know, 1624 01:36:27,026 --> 01:36:29,094 everybody around her on the set were like, haha, 1625 01:36:29,106 --> 01:36:31,104 and this cool, you know, look, she, because she 1626 01:36:31,116 --> 01:36:33,000 looked like she was laughing the whole time. 1627 01:36:35,000 --> 01:36:36,879 But I knew inside that she was really crying. 1628 01:36:36,891 --> 01:36:38,947 And at one point I said, oh, listen, I had enough 1629 01:36:38,959 --> 01:36:40,947 of this. And I reached in and I pulled the teeth 1630 01:36:40,959 --> 01:36:43,000 out of her mouth, ripping the lips on the makeup. 1631 01:36:45,000 --> 01:36:49,000 I think, okay, I think we're done here because I just was pissed off. 1632 01:36:49,000 --> 01:36:53,000 That didn't feel very good, but again, show must go on. 1633 01:36:53,000 --> 01:36:55,466 And then someone tapped me on the shoulder and said, hey 1634 01:36:55,478 --> 01:36:58,000 Rick, you know, we're not done shooting this sequence yet. 1635 01:36:58,000 --> 01:37:03,000 What can you do to fix him? It's like, oh Jesus, I realized I made a bonehead move. 1636 01:37:03,000 --> 01:37:08,000 Contact lenses were not that old at that time. 1637 01:37:08,000 --> 01:37:10,988 Now we have full scleral lenses that are soft and they 1638 01:37:11,000 --> 01:37:14,000 go in the eye and they could be worn for several hours. 1639 01:37:14,000 --> 01:37:17,581 Back then you were limited to 20 minutes, half an hour at 1640 01:37:17,593 --> 01:37:21,000 the most before they just got unbearable for the actor. 1641 01:37:21,000 --> 01:37:24,000 The dreaded legendary contact lenses, those were all my fault. 1642 01:37:25,000 --> 01:37:29,017 The only way to let you know what it feels like is if somebody throws 1643 01:37:29,029 --> 01:37:33,000 a handful of sand in your eye for an hour, that's what it feels like. 1644 01:37:33,000 --> 01:37:35,000 Because they're just uncomfortable. 1645 01:37:35,000 --> 01:37:38,988 So they were painted. Now these are not soft contact lenses, these 1646 01:37:39,000 --> 01:37:43,000 are glass pieces of semi-circular glass that you stuck in your eye. 1647 01:37:44,000 --> 01:37:46,515 I did the artwork with fluorescent paints and 1648 01:37:46,527 --> 01:37:49,000 then laminated in layers, your desert paints. 1649 01:37:49,000 --> 01:37:52,000 And actual flakes of glitter. Now that sounds awful and dangerous. 1650 01:37:52,000 --> 01:37:55,021 It probably would be if not for the fact that 1651 01:37:55,033 --> 01:37:58,000 they were layered in another coat of a croat. 1652 01:37:58,000 --> 01:38:00,988 I'm in this pair of lenses and they go in my eyes 1653 01:38:01,000 --> 01:38:04,000 and I'm just saying they're going, oh this is bad. 1654 01:38:04,000 --> 01:38:09,000 And I'm not one to squeak the wheel but this really doesn't feel right. 1655 01:38:09,000 --> 01:38:11,231 So I finally had to. I just said something's 1656 01:38:11,243 --> 01:38:12,938 going on and they took the lenses 1657 01:38:12,950 --> 01:38:17,000 out and realized that they hadn't sanded the paint on the back of the glass lens. 1658 01:38:19,000 --> 01:38:22,559 So it was kind of scratch in my eyes a little bit 1659 01:38:22,571 --> 01:38:26,000 and I like to give Steve a hard time about that. 1660 01:38:26,000 --> 01:38:28,962 The legend has it that everybody hated them and it was a 1661 01:38:28,974 --> 01:38:32,000 disaster and I almost blinded them but it might have been. 1662 01:38:32,000 --> 01:38:34,964 Even if there was no paint on these things at all they would 1663 01:38:34,976 --> 01:38:38,000 have hurt. These were hard shells put on top of people's eyes. 1664 01:38:38,000 --> 01:38:42,000 Looking back I'm amazed that they were able to get away with that. 1665 01:38:42,000 --> 01:38:45,988 They were really really big and thick and I swear to 1666 01:38:46,000 --> 01:38:50,000 God it was the most painful uncomfortable experience. 1667 01:38:51,000 --> 01:38:54,000 They somehow dealt with it. 1668 01:38:56,000 --> 01:39:03,000 It's not fun but nobody said this was going to be fun but they pays a lot of money. 1669 01:39:05,000 --> 01:39:07,868 Tom wanted to accomplish the vampire's point of 1670 01:39:07,880 --> 01:39:11,000 view. We see what is Jerry's point of view is a bat. 1671 01:39:12,000 --> 01:39:15,856 The opportunity is one of the metaphors for Jerry as well which was wind 1672 01:39:15,868 --> 01:39:20,000 where a lot of the times wind came along with light to symbolize his presence. 1673 01:39:23,000 --> 01:39:26,000 It's a man at Charlie scared. 1674 01:39:26,000 --> 01:39:29,543 Richard Edeland coming up with the off the balcony into a shadow 1675 01:39:29,555 --> 01:39:33,000 of the bat. That's Richard figuring out how to do it in camera. 1676 01:39:34,000 --> 01:39:38,014 Brewster is confronted by the vampire and then you cut back to Brewster and 1677 01:39:38,026 --> 01:39:42,000 the vampire the shadow of the vampire becomes you know and then flies away. 1678 01:39:45,000 --> 01:39:48,906 That was the way to do it and my theory on how to do transformations is 1679 01:39:48,918 --> 01:39:53,000 always do it within action and do it in an unexpected way for the audience. 1680 01:39:53,000 --> 01:39:56,000 You're out of time. 1681 01:39:57,000 --> 01:40:00,960 And also do it inexpensively so it was actually quite cheap to do that 1682 01:40:00,972 --> 01:40:05,000 because it was basically a black man animated and it was very effective. 1683 01:40:14,000 --> 01:40:16,943 Rendy Cook's bat. Now that was amazing. That was a huge overhead 1684 01:40:16,955 --> 01:40:20,000 rig. It was like you know the old bats they used to put on strings. 1685 01:40:20,000 --> 01:40:22,002 It was like ten leagues beyond that. It had pole cables for different parts 1686 01:40:22,014 --> 01:40:23,948 of the skeleton and it also had tension going down so when you pulled up 1687 01:40:23,960 --> 01:40:26,060 you had tension which would make it look like you're really muscling it because 1688 01:40:26,072 --> 01:40:28,000 it were pulling down at the same time a little bit less than pulling up. 1689 01:40:34,000 --> 01:40:37,000 I love the bad effects but I think my effects suck. 1690 01:40:39,000 --> 01:40:40,941 So one of the tricks we used for the veins because we knew 1691 01:40:40,953 --> 01:40:43,005 we had to do several sets of wings they had to match is I did 1692 01:40:43,017 --> 01:40:44,980 a pinnacle on the paper and then we sent that out to have a 1693 01:40:44,992 --> 01:40:47,000 brass etched and created a one of a kind of a kind of thing. 1694 01:40:50,000 --> 01:40:52,042 Mark would spray coats of vein colored rubber on top of the 1695 01:40:52,054 --> 01:40:54,005 rubber and then it was encased in more rubber could have 1696 01:40:54,017 --> 01:40:55,980 just painted it you know as it turned out for all you saw 1697 01:40:55,992 --> 01:40:58,000 it because it's all the wings are all wrinkling like hell. 1698 01:41:05,000 --> 01:41:08,909 We're doing the bat on the set and working very late because we've made a 1699 01:41:08,921 --> 01:41:13,000 very fine structure and I was puppeteering it fiberglass mostly over my hand. 1700 01:41:23,000 --> 01:41:26,934 And Roddy you know grabs a bone puts in the bath's mouth to keep the bat 1701 01:41:26,946 --> 01:41:31,000 from biting it and the goddamn head broke him like that and just like that. 1702 01:41:31,000 --> 01:41:35,091 I was thrilled because now I can say I was the guy that got 1703 01:41:35,103 --> 01:41:39,000 to scratch Roddy went down on the cheek for fright night. 1704 01:41:39,000 --> 01:41:40,990 I mean who else gets to do that I mean there he was laying on 1705 01:41:41,002 --> 01:41:42,972 the ground you know back claw up there director yells action 1706 01:41:42,984 --> 01:41:44,996 and then you pull the hand away to reveal that you know cut on 1707 01:41:45,008 --> 01:41:47,000 his cheek and then you're you're in film history right there. 1708 01:41:53,000 --> 01:41:57,000 Right there fright night on set movie moments which people remember. 1709 01:41:59,000 --> 01:42:01,057 You were smoking a and B smoke right and I'm 1710 01:42:01,069 --> 01:42:03,000 up there lying in Roddy with dowels laugh. 1711 01:42:03,000 --> 01:42:06,921 The A and B smoke on it splashing around and it gets on my 1712 01:42:06,933 --> 01:42:11,000 neck and the acid part acid and base that's why it's A and P. 1713 01:42:11,000 --> 01:42:15,000 I believe God on my neck you can see that you can still see the scar. 1714 01:42:15,000 --> 01:42:23,000 We were dealing with stupid chemicals in a rather stupid way but most of us lived. 1715 01:42:23,000 --> 01:42:27,027 You had to have certain shots in order to make it a 1716 01:42:27,039 --> 01:42:31,000 vampire movie and we got those shots and then some. 1717 01:42:31,000 --> 01:42:37,000 We had a burn that was created I think we pretty much built it up on the day. 1718 01:42:37,000 --> 01:42:39,274 That was done with the liquid vinyl application 1719 01:42:39,286 --> 01:42:41,000 on top of the foam latex prosthetic. 1720 01:42:41,000 --> 01:42:45,228 The final makeup scene the very final scene in which 1721 01:42:45,240 --> 01:42:49,000 Jerry is the kind of Nosferatu character comes. 1722 01:42:49,000 --> 01:42:53,019 You know ears and facial pieces of hair skull cap hands had to be 1723 01:42:53,031 --> 01:42:57,000 completely redone everything literally a complete transformation. 1724 01:43:01,000 --> 01:43:04,918 Trying to find the type of device to give us the really 1725 01:43:04,930 --> 01:43:09,000 parallel rays of sunlight to get the hair out of the body. 1726 01:43:09,000 --> 01:43:13,000 The whole rays of sunlight to get the lights coming through the windows. 1727 01:43:13,000 --> 01:43:16,101 We ended up using sky trackers which were zined on but 1728 01:43:16,113 --> 01:43:19,000 they were just made for search lights at that time. 1729 01:43:19,000 --> 01:43:23,117 The heavens life ended and ended by a teenage boy first of all massively ironic 1730 01:43:23,129 --> 01:43:27,000 and what must be running through this creature's mind when that's going on. 1731 01:43:31,000 --> 01:43:37,000 I've made it this far how do I hang on and yet I don't. 1732 01:43:37,000 --> 01:43:43,000 And you know what that's fun. 1733 01:43:43,000 --> 01:43:45,931 They break open the windows and the light hits them 1734 01:43:45,943 --> 01:43:49,000 on the chest and the body goes flying through the air. 1735 01:43:49,000 --> 01:43:53,000 Well that was a stunt man that was done in a set that was turned on it's side. 1736 01:43:53,000 --> 01:43:57,000 So they dropped him on his back through frame into a block of styrofoam. 1737 01:43:57,000 --> 01:44:01,051 They strapped him into this whole rig on wheels that they could 1738 01:44:01,063 --> 01:44:05,000 pull him against this wall like these of all a fire exploding. 1739 01:44:05,000 --> 01:44:09,091 I'd seen so many vampire deteriorations in my time from the 1740 01:44:09,103 --> 01:44:13,000 heart of Dracula or Christopher Lee turns into cardboard. 1741 01:44:13,000 --> 01:44:15,000 I mean you name it. But it's always an effect. 1742 01:44:15,000 --> 01:44:16,953 It's not a real vampire really deteriorating and I 1743 01:44:16,965 --> 01:44:19,162 thought damn it there's got to be a way to some chemical 1744 01:44:19,174 --> 01:44:20,998 or some process on this earth that can actually 1745 01:44:21,010 --> 01:44:23,000 make an animatronic puppet and actually destroy it. 1746 01:44:27,000 --> 01:44:31,000 Just really have it melt not a fake effect but really do it. 1747 01:44:31,000 --> 01:44:34,042 I decided why sculpt a new puppet when I've got one left 1748 01:44:34,054 --> 01:44:37,000 over from Ghostbusters that was never used in the film. 1749 01:44:37,000 --> 01:44:38,556 If you remember the librarian 1750 01:44:38,568 --> 01:44:41,000 transformation of the beginning of the film. 1751 01:44:41,000 --> 01:44:44,988 We used the skull from Ghostbusters they were left over us but they were so cool 1752 01:44:45,000 --> 01:44:49,000 and we were pressed for time so off the shelves and they became part of the film. 1753 01:44:49,000 --> 01:44:51,038 You had to do different hopefully imaginative 1754 01:44:51,050 --> 01:44:53,100 bits of sleight of hand that hadn't been done 1755 01:44:53,112 --> 01:44:55,088 to death so people would feel like they were 1756 01:44:55,100 --> 01:44:57,000 seeing something they'd never seen before. 1757 01:44:59,000 --> 01:45:03,000 We put rods like through the elbows and poke holes through the walls. 1758 01:45:03,000 --> 01:45:06,388 Put a rod from the back of the head which went through the wall and 1759 01:45:06,400 --> 01:45:10,000 then also through the feet so that the feet could be raised and lowered. 1760 01:45:10,000 --> 01:45:14,082 So you have him raising and lowering and then kicking along with 1761 01:45:14,094 --> 01:45:18,000 the flame effects going so you have him just burning in frame. 1762 01:45:18,000 --> 01:45:21,000 It looked like something at the carnival you know. 1763 01:45:21,000 --> 01:45:24,616 Those were literally the last days of filming so we blew up and burned 1764 01:45:24,628 --> 01:45:28,000 up as much stuff as we could until we had nothing to burn anymore. 1765 01:45:28,000 --> 01:45:30,000 And we were done. 1766 01:45:36,000 --> 01:45:39,022 I told you there was a lot of cocaine but it 1767 01:45:39,034 --> 01:45:42,000 led me to come up with liquid nitroglycerin. 1768 01:45:42,000 --> 01:45:46,000 That could be pumped through brass tubing into foam rubber. 1769 01:45:46,000 --> 01:45:49,000 Now the way that works is you pump nitric acid in. 1770 01:45:49,000 --> 01:45:51,468 The animatronic puppet will get soaked with that and then you 1771 01:45:51,480 --> 01:45:54,000 have other brass tubes that you pump a little sulfuric acid in. 1772 01:45:54,000 --> 01:45:56,411 Now the menophanacyl furoch acid hits the foam 1773 01:45:56,423 --> 01:45:59,000 rubber puppet that's been soaked in nitroglycerin. 1774 01:45:59,000 --> 01:46:01,956 It becomes nitroglycerin, liquid nitroglycerin 1775 01:46:01,968 --> 01:46:05,000 and blackens and charrs and literally goes away. 1776 01:46:07,000 --> 01:46:11,000 Making a face out of flash paper, what the hell, that's crazy. 1777 01:46:11,000 --> 01:46:14,000 Which is something that burns like that. 1778 01:46:15,000 --> 01:46:18,091 Sometimes it's the crazy ideas that leads you into the most 1779 01:46:18,103 --> 01:46:21,000 interesting solutions and that was sure and interesting. 1780 01:46:22,000 --> 01:46:24,324 A lot of the stuff we were burning is toxic so we 1781 01:46:24,336 --> 01:46:27,000 couldn't burn it in a closed building or on a closed set. 1782 01:46:27,000 --> 01:46:31,000 It was a pretty light and kind of a party atmosphere that day. 1783 01:46:33,000 --> 01:46:36,000 There's a chemical that you can neutralize, acid with. 1784 01:46:36,000 --> 01:46:37,519 So I'm just neutralizing the puppet, neutralizing 1785 01:46:37,531 --> 01:46:39,000 it, neutralizing so we can throw it away safely. 1786 01:46:39,000 --> 01:46:42,128 Not thinking of thing until I'm driving home 1787 01:46:42,140 --> 01:46:45,000 on the 405 and my feet started to tingle. 1788 01:46:45,000 --> 01:46:47,422 I don't know, I guess it's really odd. I wonder why my 1789 01:46:47,434 --> 01:46:50,000 feet are maybe they're asleep and I've got home literally. 1790 01:46:51,000 --> 01:46:53,625 Ran in the house, looked out at my tennis shoes 1791 01:46:53,637 --> 01:46:56,000 and they were literally burned off my feet. 1792 01:46:56,000 --> 01:46:59,000 From not the acid but the neutralizing. 1793 01:46:59,000 --> 01:47:00,950 But it's just as strong but on the other end of the 1794 01:47:00,962 --> 01:47:03,000 spectrum, the excitement of having the effect of work. 1795 01:47:03,000 --> 01:47:07,000 I just paid no attention to the fact that my feet were literally melting off. 1796 01:47:08,000 --> 01:47:11,000 I couldn't walk for a few weeks but they're all better now. 1797 01:47:12,000 --> 01:47:20,000 The music of Fright Night is as much loved by the fans as the movie itself. 1798 01:47:23,000 --> 01:47:29,000 Starting his career in the 1970s, composer Brad Fieldals, 1799 01:47:30,000 --> 01:47:34,290 unique yet campaign score for Fright Night would capture 1800 01:47:34,302 --> 01:47:38,000 the imagination of horror fans for years to come. 1801 01:47:41,000 --> 01:47:49,000 Not that. I am an of classical tastes, found it so appealing. 1802 01:47:59,000 --> 01:48:02,430 I was walking across the studio a lot with my agent at the 1803 01:48:02,442 --> 01:48:06,000 time and Gary Lemel, who was the head of music at the studio, 1804 01:48:06,000 --> 01:48:11,000 came by and said, wow, what a job you did on Terminator, really cool, great job. 1805 01:48:11,000 --> 01:48:15,000 There's something coming up that I think I'm going to want to talk to you about. 1806 01:48:16,000 --> 01:48:20,000 I thought he did such a brilliant job with the Terminator. That's why I hired Brad. 1807 01:48:20,000 --> 01:48:23,053 You could see electronic music coming on and I 1808 01:48:23,065 --> 01:48:26,000 had heard it previously with Tangerine Dream. 1809 01:48:27,000 --> 01:48:31,286 I felt very lucky because often in film you meet with a director 1810 01:48:31,298 --> 01:48:35,000 and he tells you all the stuff about what's in his film, 1811 01:48:36,000 --> 01:48:40,000 where it comes from what this point of view is and he quotes other films. 1812 01:48:40,000 --> 01:48:43,613 This is real window, this is this, and really the subtext 1813 01:48:43,625 --> 01:48:47,000 is about the older man stealing the young man's woman. 1814 01:48:47,000 --> 01:48:52,000 He had all of this inside of him because he invented all of this. 1815 01:48:53,000 --> 01:48:57,000 When every movie you do, you always have your temporary music and then you have to, 1816 01:48:57,000 --> 01:49:00,137 as it comes a point, we have to let it go and listen 1817 01:49:00,149 --> 01:49:03,000 to what your composer is doing and embrace that. 1818 01:49:03,000 --> 01:49:06,000 Sometimes that's quite challenging, especially if they don't really hit it. 1819 01:49:06,000 --> 01:49:09,929 Tom and I collaborated very closely on everything in the movie, so 1820 01:49:09,941 --> 01:49:14,000 we went up to Brad's house to hear Brad's initial takes on the music. 1821 01:49:14,000 --> 01:49:18,000 He played us these things and it was like, wow, this is great. 1822 01:49:23,000 --> 01:49:27,384 The score for Fright Night is mostly synthesizer 1823 01:49:27,396 --> 01:49:31,000 plus acoustic piano plus electric violin. 1824 01:49:37,000 --> 01:49:40,875 I thought the violin, first of all, Transylvania, the whole thing of 1825 01:49:40,887 --> 01:49:45,000 violin, but it's really the sustains that I loved and that kind of scary, 1826 01:49:47,000 --> 01:49:50,000 that baddy, vampire-y kind of thing that we could do. 1827 01:49:56,000 --> 01:49:58,549 A lot of people didn't realize it was electric violin and over 1828 01:49:58,561 --> 01:50:01,000 the years through social media, I've gotten these questions. 1829 01:50:01,000 --> 01:50:03,077 And there are people who sent things and look, 1830 01:50:03,089 --> 01:50:05,000 I got that solo, but there's this one part. 1831 01:50:05,000 --> 01:50:08,000 You know, and I'm like, that's because it's violin, dude. 1832 01:50:09,000 --> 01:50:13,044 I do remember a couple of times where we disagreed about some things and 1833 01:50:13,056 --> 01:50:17,000 then his fire would come up in my memory and I'm pretty passionate too. 1834 01:50:19,000 --> 01:50:21,049 So we had a couple of things where I'm like, but I really think this 1835 01:50:21,061 --> 01:50:23,063 scene, you know, to check this out, listen to this and he listened 1836 01:50:23,075 --> 01:50:24,936 to my thing and he was like, I don't know because I think it's 1837 01:50:24,948 --> 01:50:27,000 going too much this way and I'm like, yeah, but really listen again. 1838 01:50:32,000 --> 01:50:34,325 And then we'd get through it or I'd make a 1839 01:50:34,337 --> 01:50:37,000 certain change and he'd be like, yeah, that's it. 1840 01:50:37,000 --> 01:50:39,532 And he'd go, I remember him once going, I thought we were 1841 01:50:39,544 --> 01:50:42,000 going to have a tough time there for a minute, you know. 1842 01:50:43,000 --> 01:50:46,522 Some of those opening moments when Charlie sees the 1843 01:50:46,534 --> 01:50:50,000 vampire next door, that could have been just scary. 1844 01:50:50,000 --> 01:50:53,488 But knowing what Tom was going for, I kept it 1845 01:50:53,500 --> 01:50:57,000 just kind of curious and a little bit lighter. 1846 01:50:58,000 --> 01:50:59,946 So it's really important to understand what a director 1847 01:50:59,958 --> 01:51:01,917 is going for and then kind of put that behind and then 1848 01:51:01,929 --> 01:51:03,899 just become an audience of the film and see, how is the 1849 01:51:03,911 --> 01:51:06,000 music going to make this the most enjoyable ride possible. 1850 01:51:15,000 --> 01:51:18,988 Gary Lemell gave me David Shackler who had this brilliant idea of 1851 01:51:19,000 --> 01:51:23,000 creating the music to reflect whatever was going on in each scene. 1852 01:51:28,000 --> 01:51:30,988 We didn't buy existing songs, we created songs for 1853 01:51:31,000 --> 01:51:34,000 the movie and for the album which wasn't done then. 1854 01:51:37,000 --> 01:51:38,962 That point soundtracks were becoming very, very 1855 01:51:38,974 --> 01:51:41,070 important for these features. They appealed to the 1856 01:51:41,082 --> 01:51:42,907 younger demographic radio played them and it 1857 01:51:42,919 --> 01:51:45,000 became a whole other marketing piece for the film. 1858 01:51:47,000 --> 01:51:49,400 And Tom had wanted a piece of electronic 1859 01:51:49,412 --> 01:51:52,000 sport that would appeal to the younger demo. 1860 01:51:52,000 --> 01:51:55,435 In his script he left reading spots for the music to come in, he 1861 01:51:55,447 --> 01:51:59,000 knew exactly what he wanted. So we went through the script, Q by Q. 1862 01:52:02,000 --> 01:52:04,099 Then I got together with some of the writers 1863 01:52:04,111 --> 01:52:06,035 that we worked with, some of the artists 1864 01:52:06,047 --> 01:52:10,000 and we created a song for each Q. I would do a demo of the songs, can you pick them? 1865 01:52:11,000 --> 01:52:14,417 The challenge for composers when the songs from 1866 01:52:14,429 --> 01:52:18,000 the film made millions of dollars for the studios. 1867 01:52:18,000 --> 01:52:22,100 So then all of a sudden there was this pressure to use 1868 01:52:22,112 --> 01:52:26,000 songs in the films to have a profitable sound track. 1869 01:52:27,000 --> 01:52:31,000 The Jay Giles band who we used for the title track, they were always fun. 1870 01:52:31,000 --> 01:52:33,488 The group that did the title song, I know that they did 1871 01:52:33,500 --> 01:52:36,000 a music video because I went out to watch them shoot it. 1872 01:52:36,000 --> 01:52:39,885 We were originally giving some footage of the film to take a look at and it 1873 01:52:39,897 --> 01:52:44,000 struck us that it was sort of like a documentary of our harmonica player's life. 1874 01:52:53,000 --> 01:52:56,077 Because he's been living next door to a vampire for 1875 01:52:56,089 --> 01:52:59,000 some 15 or 16 years and no one believes him here. 1876 01:53:07,000 --> 01:53:10,149 We had a group in there called the Fabulous Fontaine which 1877 01:53:10,161 --> 01:53:13,000 was not really a group, it was two of my songwriters. 1878 01:53:15,000 --> 01:53:18,017 We just needed this little cube to fit in this radio 1879 01:53:18,029 --> 01:53:21,000 sequence and these guys wrote perfect radio records. 1880 01:53:24,000 --> 01:53:27,622 The dance sequence was just really critical, it all had to be woven 1881 01:53:27,634 --> 01:53:31,000 together and capture the entire scene. It was pretty intricate. 1882 01:53:36,000 --> 01:53:39,488 The dance scene was one of my favorite scenes to edit as well. Then I used to 1883 01:53:39,500 --> 01:53:43,000 David Bowie cut, it called Criminal World and it played great with that scene. 1884 01:53:44,000 --> 01:53:47,000 It played so well that we wanted to use it in the movie but we couldn't afford it. 1885 01:53:47,000 --> 01:53:50,354 I don't remember the choreographer's name, it was a woman. I'm 1886 01:53:50,366 --> 01:53:54,000 pretty sure that Tom said to her, look this dance has got to be hot. 1887 01:53:54,000 --> 01:53:56,886 This has got to be something that both men and women are 1888 01:53:56,898 --> 01:54:00,000 going to get turned on by because that's the whole idea here. 1889 01:54:00,000 --> 01:54:03,017 We didn't have a music track, we had probably a beat 1890 01:54:03,029 --> 01:54:06,000 track, I don't think the music had been created yet. 1891 01:54:06,000 --> 01:54:09,880 Part of the vampire attraction to people I think is a sensual one and a 1892 01:54:09,892 --> 01:54:14,000 sexual one and the dance itself is kind of the personification of that idea. 1893 01:54:19,000 --> 01:54:23,000 It's about chemistry, it's about physical chemistry. 1894 01:54:24,000 --> 01:54:30,000 We were just connected with each other and our energy together and so it plays. 1895 01:54:30,000 --> 01:54:32,073 It's very interesting to me because I get a lot of women 1896 01:54:32,085 --> 01:54:33,988 who come up to me about it and talk about the dance 1897 01:54:34,000 --> 01:54:35,988 scene, you know, just say I've watched that scene over 1898 01:54:36,000 --> 01:54:38,000 and over again and a lot of men who do the same thing. 1899 01:54:41,000 --> 01:54:45,078 When it came time to do the dance scene where he isn't there in his 1900 01:54:45,090 --> 01:54:49,000 reflection, he would step in with me, he stayed there on the set. 1901 01:54:51,000 --> 01:54:53,488 It's very generous in that way with his time because 1902 01:54:53,500 --> 01:54:56,000 a lot of actors if they're not working, they're gone. 1903 01:54:56,000 --> 01:54:59,553 And then he would come in and spot so he would step in 1904 01:54:59,565 --> 01:55:03,000 and out of it for me and that was enormously helpful. 1905 01:55:03,000 --> 01:55:07,000 He picks up one bouncer and throws him across the room. 1906 01:55:11,000 --> 01:55:14,000 Which was just a cable pole I think with a stuntman. 1907 01:55:14,000 --> 01:55:18,000 The other one where he takes the big guy, we had the bouncer on a dolly. 1908 01:55:18,000 --> 01:55:20,285 He's standing on his platform, we just pranked the 1909 01:55:20,297 --> 01:55:23,000 hydraulic, and he raises a mother to cheer you up like that. 1910 01:55:23,000 --> 01:55:26,000 And it worked really well. 1911 01:55:29,000 --> 01:55:32,666 I went to that film mix where we were mixing all the elements 1912 01:55:32,678 --> 01:55:36,000 together and I was curious to see what songs they chose. 1913 01:55:36,000 --> 01:55:40,000 For the most part there was no conflict. That was a lucky thing about Fright Night. 1914 01:55:40,000 --> 01:55:42,959 There wasn't any area where I thought the score had 1915 01:55:42,971 --> 01:55:46,000 a really important expression in its own development. 1916 01:55:46,000 --> 01:55:49,000 That was being eliminated because they were sticking a song on top. 1917 01:55:49,000 --> 01:55:54,000 I thought David Schackler and Tom had a very smart use of the songs. 1918 01:55:54,000 --> 01:55:58,000 The songs dramatically reflected what was going on in the scenes. 1919 01:55:58,000 --> 01:56:06,000 Your life is the same day after day. 1920 01:56:07,000 --> 01:56:11,000 Everything that you do. 1921 01:56:13,000 --> 01:56:15,000 You do the same only. 1922 01:56:15,000 --> 01:56:19,000 I came up with what it later became called Come To Me. 1923 01:56:19,000 --> 01:56:22,988 I wrote it for the scene where Chris is finally seducing Amanda's character 1924 01:56:23,000 --> 01:56:27,000 and the bite on the neck and the classic The Blood Dripping Downer shoulder. 1925 01:56:29,000 --> 01:56:32,000 And that's what inspired that piece. 1926 01:56:32,000 --> 01:56:37,000 I think the agreement was that he could do one song in it. 1927 01:56:37,000 --> 01:56:39,515 I wasn't really into writing songs for film. I 1928 01:56:39,527 --> 01:56:42,000 actually thought songs were kind of intrusive. 1929 01:56:42,000 --> 01:56:46,000 But I wrote that song and I felt, wow, that is perfect. 1930 01:56:46,000 --> 01:56:50,019 And I called Tom and he came over and I said, this is something I 1931 01:56:50,031 --> 01:56:54,000 can use throughout the film but here is where it really pays off. 1932 01:56:56,000 --> 01:56:59,000 It was my vocal at that point. 1933 01:57:00,000 --> 01:57:04,073 When I was in the dubbing stage, putting together the scene, the lyrics 1934 01:57:04,085 --> 01:57:08,000 fought the dialogue or it pulled away from the emotion of the moment. 1935 01:57:11,000 --> 01:57:14,000 And the emotion of the moment of course was that Chris was playing. 1936 01:57:14,000 --> 01:57:19,000 That Amy was the reincarnation of his long lost love, which gave it a pathos. 1937 01:57:19,000 --> 01:57:22,000 He listened, he said, I can't have the singing. 1938 01:57:22,000 --> 01:57:26,000 I felt that the lyrics pulled away from that. 1939 01:57:26,000 --> 01:57:31,000 I was like really deflated, you know, because I thought it was really cool. 1940 01:57:31,000 --> 01:57:34,932 And I thought about it and I thought, you know, I lost my objectivity 1941 01:57:34,944 --> 01:57:39,000 because I wrote the song and I'm singing it and I'm loving it, you know. 1942 01:57:39,000 --> 01:57:43,219 And he's really right because at that moment the scene 1943 01:57:43,231 --> 01:57:47,000 is so crucial that if you hear some dude singing, 1944 01:57:47,000 --> 01:57:50,407 you're like hearing a lyrics and a little 1945 01:57:50,419 --> 01:57:54,000 piece of your brain is going off the moment. 1946 01:57:56,000 --> 01:57:59,930 I did get a phone call once. This is really funny because on the CD 1947 01:57:59,942 --> 01:58:04,000 it's a certain length, not very long because the cue wasn't that long. 1948 01:58:04,000 --> 01:58:05,925 And I got a call from this woman, this before 1949 01:58:05,937 --> 01:58:08,000 social media, so I have no idea how she found me. 1950 01:58:08,000 --> 01:58:09,966 I pick up the phone, there's a woman, hi, you 1951 01:58:09,978 --> 01:58:12,000 know, my name's Beth, I'm calling for Michigan. 1952 01:58:12,000 --> 01:58:15,000 This Brad Fidel, yeah, this is Brad Fidel. 1953 01:58:15,000 --> 01:58:18,514 You know that song for Fright night, you know, the piece where Chris 1954 01:58:18,526 --> 01:58:22,000 is biting her neck and stuff, he said, do you have a longer version? 1955 01:58:23,000 --> 01:58:28,000 And I'm like, no, that's the version we recorded. 1956 01:58:28,000 --> 01:58:31,821 And she goes, well, my boyfriend and I really 1957 01:58:31,833 --> 01:58:36,000 like that song, but we could use a longer version. 1958 01:58:37,000 --> 01:58:42,000 And I was like, well, just copy it and paste it together. 1959 01:58:42,000 --> 01:58:45,896 I couldn't believe that she was actually calling me saying, you 1960 01:58:45,908 --> 01:58:50,000 know, it needs to be longer for what we want to do to it, you know. 1961 01:58:52,000 --> 01:58:56,056 I think it's a killer album. I still have fans who bring me 1962 01:58:56,068 --> 01:59:00,000 the LP design, it's evocative, it's sexy, it's terrifying. 1963 01:59:02,000 --> 01:59:05,917 It's all the things the movie is, and more, in that it 1964 01:59:05,929 --> 01:59:10,000 enhances all those qualities that the movie has in space. 1965 01:59:11,000 --> 01:59:15,108 There was kind of an added bonus job doing the score for Fright night, which was that 1966 01:59:15,120 --> 01:59:19,000 there were these old films that were on Peter Vincent's show and on Charlie's TV. 1967 01:59:21,000 --> 01:59:25,020 So I had to create this music that was believable. Luckily, it 1968 01:59:25,032 --> 01:59:29,000 was only coming out of a TV speaker, so that helped the chief. 1969 01:59:31,000 --> 01:59:35,146 Because I couldn't go in with a live orchestra and those old films were always 1970 01:59:35,158 --> 01:59:39,000 done with live orchestra. There wasn't the technology to do other things. 1971 01:59:39,000 --> 01:59:42,757 So I had to come up both musically and sonically 1972 01:59:42,769 --> 01:59:46,000 sound-wise with something that would work. 1973 01:59:46,000 --> 01:59:48,412 It was like 12 seconds or something, and it was 1974 01:59:48,424 --> 01:59:51,000 coming out of a little speaker, it had to be right. 1975 01:59:51,000 --> 01:59:59,000 I kept the vampires wrist-putted to wild. Right, Charlie. 1976 01:59:59,000 --> 02:00:00,951 The original ending that I had written was that 1977 02:00:00,963 --> 02:00:02,762 Amy and Charlie were in bed, finally having 1978 02:00:02,774 --> 02:00:04,875 consummated their relationship, I hope, and they're 1979 02:00:04,887 --> 02:00:07,000 watching Peter Vincent on the Friday night frights. 1980 02:00:12,000 --> 02:00:16,208 And I had Peter Vincent start to transform into 1981 02:00:16,220 --> 02:00:20,000 a vampire, meaning that he had been bitten. 1982 02:00:21,000 --> 02:00:24,988 And I went out on Charlie and Amy looking at 1983 02:00:25,000 --> 02:00:29,000 Peter and the whole thing was starting again. 1984 02:00:30,000 --> 02:00:34,016 You know, it didn't feel right. You know, these were guys who had sailed 1985 02:00:34,028 --> 02:00:38,000 through this horrible experience and to have the vampire win at the end. 1986 02:00:39,000 --> 02:00:44,000 In those days, you know, it wasn't really what people were looking for. 1987 02:00:44,000 --> 02:00:48,066 And Guy McIlley in the head of the studio called me 1988 02:00:48,078 --> 02:00:52,000 up almost hysterical, shouting at me in the phone. 1989 02:00:52,000 --> 02:00:58,000 You can't do that with this movie. You can't have a down ending. 1990 02:00:58,000 --> 02:01:02,148 You have come to like these people so much, and are rooting for them so much, 1991 02:01:02,160 --> 02:01:06,000 there's no way you can turn Peter Vincent into a vampire for God's sake. 1992 02:01:08,000 --> 02:01:15,000 No. Wow. That seemed sacrilegious. 1993 02:01:15,000 --> 02:01:18,988 So that put me with what was I going to do? So I took that 1994 02:01:19,000 --> 02:01:23,000 scene and I added it into Peter Vincent giving them a wink. 1995 02:01:24,000 --> 02:01:28,063 But that still didn't give me a button for it. So I had Charlie get up and that's 1996 02:01:28,075 --> 02:01:32,000 when I had him turn and look out the window and there he sees the glowing eyes. 1997 02:01:34,000 --> 02:01:38,156 And that can only be the lead. And then I looked at that when 1998 02:01:38,168 --> 02:01:42,000 I cut it all together and it still didn't have a closure. 1999 02:01:42,000 --> 02:01:47,000 It still didn't have a button. Charlie, is something wrong? 2000 02:01:47,000 --> 02:01:51,017 What am I going to do? You know, and then I started going through the 2001 02:01:51,029 --> 02:01:55,000 dialogue looking if there was something I could steal from somewhere. 2002 02:01:55,000 --> 02:02:01,000 And I came to that scene and I thought that's the key line. 2003 02:02:02,000 --> 02:02:08,000 This is the last time I'm ever ever going to say this again. 2004 02:02:08,000 --> 02:02:13,000 You're so cool, Brewster. 2005 02:02:20,000 --> 02:02:24,000 Oh, you're so cool, Brewster. 2006 02:02:24,000 --> 02:02:27,903 Fright Night would be released in 1545 theaters and became a surprise 2007 02:02:27,915 --> 02:02:32,000 hit at the box office making six million dollars in its opening weekend. 2008 02:02:45,000 --> 02:02:49,000 I really think I should have been paid more. 2009 02:02:54,000 --> 02:02:56,015 Much to the amazement every day and with more 2010 02:02:56,027 --> 02:02:58,187 than a little help from the great Peter Vincent, 2011 02:02:58,199 --> 02:03:00,197 Fright Night became the best performing horror 2012 02:03:00,209 --> 02:03:02,000 film released during the summer of 1985. 2013 02:03:18,000 --> 02:03:22,026 What would you do if you accidentally discovered the 2014 02:03:22,038 --> 02:03:26,000 house next door was occupied by something not human? 2015 02:03:28,000 --> 02:03:30,077 Directors always feel that the studio reveals too much 2016 02:03:30,089 --> 02:03:32,102 in the trailer. I mean, that's a constant complaint. 2017 02:03:32,114 --> 02:03:33,989 You look at the trailer and everything's in there 2018 02:03:34,001 --> 02:03:36,000 and you feel like, well, why bother to see the film? 2019 02:03:38,000 --> 02:03:43,000 The problem was they were selling it as hardcore horror. 2020 02:03:44,000 --> 02:03:46,000 It's unspeakably evil. 2021 02:03:46,000 --> 02:03:49,930 And it wasn't. It had all the scares and the jumps, but it had this 2022 02:03:49,942 --> 02:03:54,000 heart and this humor and charm and it was totally lost in the trailer. 2023 02:03:59,000 --> 02:04:02,464 The studio cut a very straightforward horror trailer with no comedy and 2024 02:04:02,476 --> 02:04:06,000 at whatsoever, which we felt was misrepresenting the nature of the movie. 2025 02:04:06,000 --> 02:04:09,856 I guess in marketing one of the biggest fears is a confused audience. So 2026 02:04:09,868 --> 02:04:14,000 sometimes to make sure it's clear what something is, they simplify what it is. 2027 02:04:15,000 --> 02:04:22,000 You'll do anything to protect yourself, but it will do anything to protect its secret. 2028 02:04:22,000 --> 02:04:26,151 And so I was trying to argue with marketing, which 2029 02:04:26,163 --> 02:04:30,000 is an exercise in futility with a large studio. 2030 02:04:30,000 --> 02:04:32,845 So the best I could think of was that I would have Kent cut 2031 02:04:32,857 --> 02:04:36,000 something together and I didn't remember, but I guess I voiced it. 2032 02:04:36,000 --> 02:04:40,037 Of course we thought it was a really good trailer and because it really showed you 2033 02:04:40,049 --> 02:04:44,000 more about the movie it was, it wasn't as straight horror, it was more than that. 2034 02:04:44,000 --> 02:04:46,556 But, you know, the studio publicity department was still 2035 02:04:46,568 --> 02:04:49,000 re-humoring us, but they didn't end up going that way. 2036 02:04:49,000 --> 02:04:55,000 Fright Night, if you love being scared, this could be the night of your life. 2037 02:04:56,000 --> 02:05:00,081 I remembered going to a screening, to a preview, I was so nervous 2038 02:05:00,093 --> 02:05:04,000 in such a nervous wreck that I went home and I hyperventilated. 2039 02:05:06,000 --> 02:05:09,259 I just was a total nervous wreck and I don't know 2040 02:05:09,271 --> 02:05:13,000 whether it was because I felt my career was riding on it. 2041 02:05:13,000 --> 02:05:16,036 I don't think it was that. I think that I loved the movie and I 2042 02:05:16,048 --> 02:05:19,000 was hoping that the audience would feel the same way about it. 2043 02:05:20,000 --> 02:05:23,553 When the film was initially screened at the Motion Picture Academy, I said, oh my 2044 02:05:23,565 --> 02:05:27,000 god, I'm going to suck. I'm going to be terrible, I'm going to get out of town. 2045 02:05:27,000 --> 02:05:28,907 So I actually laughed, I didn't go because I 2046 02:05:28,919 --> 02:05:31,009 was afraid, you know, I fear, what if I was bad? 2047 02:05:31,021 --> 02:05:32,829 I would have to walk out through all these 2048 02:05:32,841 --> 02:05:35,000 people, everybody going, yeah, it was interesting. 2049 02:05:37,000 --> 02:05:40,419 I had no idea that this face, that that was going 2050 02:05:40,431 --> 02:05:44,000 to turn into the one sheet, the poster for the film. 2051 02:05:45,000 --> 02:05:50,000 And when I saw that, for the first time, on the giant billboard on Sunset. 2052 02:05:50,000 --> 02:05:52,000 That was really cool to see. 2053 02:05:52,000 --> 02:05:55,777 My name up on the billboard and something I was in on 2054 02:05:55,789 --> 02:06:00,000 Sunset Boulevard, that's about as far as you can go with it. 2055 02:06:00,000 --> 02:06:03,921 The little light inside Jerry Dandridge's house was a real 2056 02:06:03,933 --> 02:06:08,000 light that they would turn on and it just had this awe to it. 2057 02:06:11,000 --> 02:06:16,000 When I saw the movie for the first time with an audience, they went fucking crazy. 2058 02:06:17,000 --> 02:06:21,243 I mean screaming, yelling, yelling at the screen, 2059 02:06:21,255 --> 02:06:25,000 cheering, clapping. This audience went wild. 2060 02:06:26,000 --> 02:06:29,890 I remember going to see it on Hollywood Boulevard at just a 2061 02:06:29,902 --> 02:06:34,000 theater there with just a regular crowd, not an industry crowd. 2062 02:06:36,000 --> 02:06:39,000 And that was a hoot and a half because people get taken on this ride. 2063 02:06:39,000 --> 02:06:43,136 They get taken on this journey, this roller coaster ride of the story 2064 02:06:43,148 --> 02:06:47,000 that's just at once kind of a funny, goofy, crazy, what happened? 2065 02:06:55,000 --> 02:06:58,895 And to know what's coming by that time and then to just really 2066 02:06:58,907 --> 02:07:03,000 enjoy the moment while other people experience it was really cool. 2067 02:07:04,000 --> 02:07:11,000 You have to have faith for that to work Mr. Vincent. 2068 02:07:12,000 --> 02:07:14,459 When it came out, I think it got generally 2069 02:07:14,471 --> 02:07:17,000 good reviews. They do got very good reviews. 2070 02:07:17,000 --> 02:07:20,955 The movie that Columbia thought was going to be the big hit 2071 02:07:20,967 --> 02:07:25,000 which was Silverado made about half of what Fright Night did. 2072 02:07:25,000 --> 02:07:30,000 Fright Night was like a big box office success to everybody's surprise. 2073 02:07:31,000 --> 02:07:32,846 It reminds me if you take a little child 2074 02:07:32,858 --> 02:07:34,897 and you throw it up in the air, it gets this 2075 02:07:34,909 --> 02:07:36,920 terrible, horrible, fearful look on its face 2076 02:07:36,932 --> 02:07:39,000 and almost maybe cries and then you catch it. 2077 02:07:42,000 --> 02:07:46,000 And once it knows it's caught and say it starts to laugh immediately. 2078 02:07:46,000 --> 02:07:48,920 This is humor, fear, mix. And I think that 2079 02:07:48,932 --> 02:07:52,000 happens in Fright Night in a very unique way. 2080 02:07:52,000 --> 02:07:57,000 The real horror movie buffs will get their goods. 2081 02:07:58,000 --> 02:08:01,049 You can actually get involved with the characters 2082 02:08:01,061 --> 02:08:04,000 and at the same time it'll scare your socks off. 2083 02:08:10,000 --> 02:08:13,488 When you're working on a movie, it's not this kind of romantic 2084 02:08:13,500 --> 02:08:17,000 kind of atmosphere. It's really a technical sort of experience. 2085 02:08:17,000 --> 02:08:22,000 But when you see it all come together, it was really, really a great experience. 2086 02:08:22,000 --> 02:08:24,932 And I remember walking out of the theater and people 2087 02:08:24,944 --> 02:08:28,000 reacting to seeing me as if I was still that character. 2088 02:08:28,000 --> 02:08:31,000 You really believe me, you poor dope! 2089 02:08:31,000 --> 02:08:34,609 That really freaked me out. I said no, no, no, no, that was 2090 02:08:34,621 --> 02:08:38,000 just a character in the movie. I'm not really like that. 2091 02:08:38,000 --> 02:08:42,000 There are no such things as vampires through cake. 2092 02:08:42,000 --> 02:08:47,000 Overall, I was really pleased and enjoyed the film a great deal. 2093 02:08:48,000 --> 02:08:51,228 And much to my surprise is I'm sitting there watching 2094 02:08:51,240 --> 02:08:54,000 the credits go by, I got a credit on the film. 2095 02:08:54,000 --> 02:08:57,000 After all that, you know, so that was pleasing. 2096 02:08:57,000 --> 02:09:00,388 And I was grateful to Tom Holland and Richard Edel 2097 02:09:00,400 --> 02:09:04,000 and everyone involved who made sure I got that credit. 2098 02:09:04,000 --> 02:09:07,000 I got their message. 2099 02:09:08,000 --> 02:09:11,777 After my sensational success in Fright Night, it was a foregone 2100 02:09:11,789 --> 02:09:16,000 conclusion that they would ask me back to reprise my role in a sequel. 2101 02:09:27,000 --> 02:09:31,057 With their heroes secured, they had to decide which of the 2102 02:09:31,069 --> 02:09:35,000 rest of the cast would be recalled to fight evil with me. 2103 02:09:44,000 --> 02:09:47,000 We heard that there was going to be a sequel. 2104 02:09:47,000 --> 02:09:50,861 And at the time, I'm not sure the exact chronology, but I do 2105 02:09:50,873 --> 02:09:55,000 know that Tom and I subsequently worked on Charles Play Together. 2106 02:09:57,000 --> 02:10:00,817 When there was talk about the sequel, we actually had a 2107 02:10:00,829 --> 02:10:05,000 reading of the first draft of the script and Amy was in that. 2108 02:10:05,000 --> 02:10:10,000 Tom was not attached to direct, he was not attached to the project at all. 2109 02:10:10,000 --> 02:10:15,000 And I think he'd probably gone on to start his Chuck E franchise. 2110 02:10:15,000 --> 02:10:19,000 The Fright Night sequel I went to see because Bill was in it. 2111 02:10:19,000 --> 02:10:22,000 And I enjoyed it. I thought it was a good film. 2112 02:10:22,000 --> 02:10:26,000 It didn't stack up to the original of me, but that was okay. 2113 02:10:26,000 --> 02:10:30,000 I mean, I didn't expect it to or I didn't really have any expectations of it. 2114 02:10:30,000 --> 02:10:34,151 My memories of the sequel to Fright Night are very vague because 2115 02:10:34,163 --> 02:10:38,000 I wasn't really involved in any of the negotiations for it. 2116 02:10:40,000 --> 02:10:43,000 I don't recall being asked to be involved. 2117 02:10:43,000 --> 02:10:48,000 I knew Tom wasn't doing it. And so it didn't happen. 2118 02:10:49,000 --> 02:10:53,000 I was contractually obliged to do Fright Night too. 2119 02:10:53,000 --> 02:10:57,000 And I had to get out of it somehow. 2120 02:10:57,000 --> 02:11:02,000 I mean, I would have done it, but it was cute. 2121 02:11:05,000 --> 02:11:08,000 They had a draft of a script and we had a reading. 2122 02:11:08,000 --> 02:11:10,000 And then it just went away. 2123 02:11:10,000 --> 02:11:12,000 And I didn't hear anything more about it. 2124 02:11:12,000 --> 02:11:16,000 I went on to do this little television show that I stayed with for about 10 years. 2125 02:11:17,000 --> 02:11:20,000 And in that time, another script surfaced. 2126 02:11:20,000 --> 02:11:23,000 And this time, it did not have Amy's character. 2127 02:11:23,000 --> 02:11:25,131 I mean, I would have liked to have continued 2128 02:11:25,143 --> 02:11:27,000 with that character because I love her. 2129 02:11:27,000 --> 02:11:29,000 But it wasn't Tom. 2130 02:11:29,000 --> 02:11:33,000 And it's that sort of lightning and a bottle sort of thing. 2131 02:11:33,000 --> 02:11:36,774 Not sure that the second one, nor the remake version 2132 02:11:36,786 --> 02:11:41,000 really had that lightning strikes two times or three times. 2133 02:11:41,000 --> 02:11:43,000 Quality to it. 2134 02:11:47,000 --> 02:11:49,000 The End 2135 02:11:51,000 --> 02:11:54,899 Already a key element in the John Carpenter 2136 02:11:54,911 --> 02:11:59,000 horror film making machine, Tommy Lee Wallace, 2137 02:12:01,000 --> 02:12:06,000 would attempt to fill the boots of my dear friend Tom Holland, 2138 02:12:07,000 --> 02:12:15,000 as director and co-writer of Fright Night Part 2 born in Kentucky in 1949. 2139 02:12:16,000 --> 02:12:24,000 Wallace had already established himself as an accomplished director on Halloween 3. 2140 02:12:25,000 --> 02:12:29,000 Season of the witch. 2141 02:12:30,000 --> 02:12:33,000 You get jobs one of two ways. 2142 02:12:33,000 --> 02:12:36,590 Either the system kind of steers someone towards you 2143 02:12:36,602 --> 02:12:40,000 and perhaps your agent goes out and finds the job. 2144 02:12:40,000 --> 02:12:43,430 In other words, the structure of the business causes a job 2145 02:12:43,442 --> 02:12:47,000 to come your way and you go and do the traditional interview. 2146 02:12:47,000 --> 02:12:50,000 And maybe you get the job and maybe you don't. 2147 02:12:50,000 --> 02:12:52,988 And then there's this other way that happens more often 2148 02:12:53,000 --> 02:12:56,000 than not, which is you know somebody who knows somebody. 2149 02:12:56,000 --> 02:12:59,000 And then you happen to know somebody else, you know somebody else. 2150 02:12:59,000 --> 02:13:02,954 And those two people meet in the parking lot and your name 2151 02:13:02,966 --> 02:13:07,000 comes up and suddenly you've got an inside track to the job. 2152 02:13:07,000 --> 02:13:11,092 I think my anointment, if you will, on Fright Night Part 2 probably came about 2153 02:13:11,104 --> 02:13:15,000 more because of the second idea where I had a neighbor who became a friend. 2154 02:13:21,000 --> 02:13:25,071 His name is Miguel Tejada Flores, who was one of 2155 02:13:25,083 --> 02:13:29,000 the co-writers of the sequel script originally. 2156 02:13:30,000 --> 02:13:33,962 And Miguel had knowledge of this script. He knew I was getting a reputation 2157 02:13:33,974 --> 02:13:38,000 for scary movies and kind of had the right pedigree for his boss, herb Jaffy. 2158 02:13:44,000 --> 02:13:50,000 I was really taken by how he was able to juggle 20 plates at the same time. 2159 02:13:50,000 --> 02:13:52,061 I mean with high-style glamour, vampire heart 2160 02:13:52,073 --> 02:13:54,056 on a low budget, he was really beautifully, 2161 02:13:54,068 --> 02:13:55,933 very gracefully juggling a lot of complex 2162 02:13:55,945 --> 02:13:58,000 questions thrown at him all at the same time. 2163 02:14:03,000 --> 02:14:06,962 I knew that in the carcass of your thesis, I met with him of course for the 2164 02:14:06,974 --> 02:14:11,000 you know before signing on and he seemed to have a very clear vision as well. 2165 02:14:11,000 --> 02:14:14,961 It started with Tommy being very involved in wanting relationships clear 2166 02:14:14,973 --> 02:14:19,000 between the characters at the same time, affection between the characters. 2167 02:14:22,000 --> 02:14:25,629 And incredibly open to any ideas that we would have regarding the 2168 02:14:25,641 --> 02:14:30,000 individuality and what would separate our characters from the other characters. 2169 02:14:32,000 --> 02:14:36,065 I remember just wow, love what you do, have fun with 2170 02:14:36,077 --> 02:14:40,000 it and make movies, yeah I'm in the right business. 2171 02:14:40,000 --> 02:14:41,924 And Tommy, we also gave me that feeling when I was pretty 2172 02:14:41,936 --> 02:14:44,038 young and to this day I do recall some of this, oh remember I, 2173 02:14:44,050 --> 02:14:45,930 yeah you know so you take something from everybody and I 2174 02:14:45,942 --> 02:14:48,000 take that working in this business is fun from Tommy Wallace. 2175 02:14:56,000 --> 02:14:57,971 I believe it was the first sequel I had ever 2176 02:14:57,983 --> 02:14:59,922 done. But it was interesting for me because 2177 02:14:59,934 --> 02:15:01,977 here I was kind of invited to take the ride in 2178 02:15:01,989 --> 02:15:04,000 a sense again except it was a different ride, 2179 02:15:08,000 --> 02:15:10,027 different director, different material, same underlying 2180 02:15:10,039 --> 02:15:11,970 story in a sense. So for me I was challenging myself 2181 02:15:11,982 --> 02:15:13,961 to find some freshness in it, to be reminiscent enough 2182 02:15:13,973 --> 02:15:16,000 to be familiar to the audience and support it properly. 2183 02:15:22,000 --> 02:15:24,894 Tommy Lee knew exactly what he wanted because this was a film 2184 02:15:24,906 --> 02:15:28,000 about redemption. It's someone who says I'm cured, I'm all better. 2185 02:15:28,000 --> 02:15:31,988 I love this girl, let's do this, what, what was that, oh no, oh no, what's 2186 02:15:32,000 --> 02:15:36,000 happening. And now we're, as an audience we're with him, we're easy for it. 2187 02:15:36,000 --> 02:15:38,077 And now we're descendant to I don't believe what's happening. It's not happening. 2188 02:15:38,089 --> 02:15:39,950 It is happening. Here's proof I got the thing. Oh no, it is happening. I 2189 02:15:39,962 --> 02:15:41,982 went by one he has to convince people that it is happening. They get to witness 2190 02:15:41,994 --> 02:15:44,000 it. And then it's this heroic journey. In this case it was literally a rescue. 2191 02:15:52,000 --> 02:15:53,942 I'd seen Halloween three. We were shooting close 2192 02:15:53,954 --> 02:15:55,948 to Halloween, so Brian Wade and I I think we were 2193 02:15:55,960 --> 02:15:57,928 like seeing in that you know three more days till 2194 02:15:57,940 --> 02:16:00,000 Halloween, you know from the Silver Shamrock songs. 2195 02:16:01,000 --> 02:16:03,014 Tommy was good natured about that. The exciting 2196 02:16:03,026 --> 02:16:05,094 thing about Tommy Lee Wallace was he was married 2197 02:16:05,106 --> 02:16:07,020 to Nancy Luminus from the first Halloween, so 2198 02:16:07,032 --> 02:16:09,000 she would cut once or while she would call up. 2199 02:16:11,000 --> 02:16:15,000 Oh my god, it's because we all had a crush on her. 2200 02:16:15,000 --> 02:16:17,051 I saw Tommy out once I got the gig on Fright 2201 02:16:17,063 --> 02:16:19,172 night part two. I saw him out as the director 2202 02:16:19,184 --> 02:16:20,898 of the original. I didn't want to get 2203 02:16:20,910 --> 02:16:23,000 anything completely wrong that he had set up. 2204 02:16:27,000 --> 02:16:31,128 And I just imagined that even if all we talked about was the weather that 2205 02:16:31,140 --> 02:16:35,000 somehow being together for a little while could only be a good thing. 2206 02:16:35,000 --> 02:16:38,777 We had lunch. He was complimentary about the 2207 02:16:38,789 --> 02:16:43,000 script. Basically gave me a salute and off I went. 2208 02:16:43,000 --> 02:16:47,188 For Fright night part two, it would take the combined prowess 2209 02:16:47,200 --> 02:16:51,000 of Tommy Lee Wallace, Miguel Tejade Flores, Tim Mitchell, 2210 02:16:55,000 --> 02:17:03,000 and even the effects go to Jean Warren, Jr. to revamp. 2211 02:17:03,000 --> 02:17:05,000 Re... 2212 02:17:05,000 --> 02:17:07,000 Re... 2213 02:17:07,000 --> 02:17:08,000 Re... 2214 02:17:08,000 --> 02:17:10,000 Revamp. 2215 02:17:10,000 --> 02:17:18,000 I'm sorry, I'm sorry, Chris. It's a joke isn't it? 2216 02:17:19,000 --> 02:17:23,000 I'm sorry, I'm sorry, I'll carry on. 2217 02:17:23,000 --> 02:17:31,000 To revamp the adventures of the great Peter Vincent and his sidekick Charlie Brewster. 2218 02:17:33,000 --> 02:17:37,188 Set three years after the original and not looking a day older 2219 02:17:37,200 --> 02:17:41,000 I might add, I was to fight Vampireless, Regine Dandrich. 2220 02:17:47,000 --> 02:17:55,000 She sought revenge for the death of her blood sucking sibling, Jerry. 2221 02:17:56,000 --> 02:18:03,000 It follows the brilliant original fright night, Tom Holland's Opus. 2222 02:18:03,000 --> 02:18:08,000 And it continues the story of Charlie Brewster and his old buddy Peter Vincent. 2223 02:18:08,000 --> 02:18:12,136 And so it continues that saga with a new set of vampires, one of whom 2224 02:18:12,148 --> 02:18:16,000 is a blood kin of Jerry Dandrich, play greatly by Chris Sarandon. 2225 02:18:20,000 --> 02:18:25,000 And it continues that adventure to a logical vampire movie conclusion. 2226 02:18:25,000 --> 02:18:29,073 Tommy Lee Wallace was thinking I think of how to service the characters 2227 02:18:29,085 --> 02:18:33,000 that had already been established and also broadened up a little bit. 2228 02:18:35,000 --> 02:18:39,000 So there were more cultural references outside into the 80s. 2229 02:18:39,000 --> 02:18:47,000 It tried to make it a bigger story and add a bit more sex appeal to Charlie and to... 2230 02:18:47,000 --> 02:18:50,556 And it's a journey for some reason. I don't know if it's about eternal life or 2231 02:18:50,568 --> 02:18:54,000 not wanting to see themselves in a mirror, but people are drawn to vampires. 2232 02:18:54,000 --> 02:18:58,000 Or being a vampire. And so this was a continuation of that journey. 2233 02:18:58,000 --> 02:19:01,952 And Tommy, he kind of rewrote the script because there 2234 02:19:01,964 --> 02:19:06,000 were two other writers that Herb had hired to write too. 2235 02:19:07,000 --> 02:19:09,018 And I know I got it early and he had asked me what did I 2236 02:19:09,030 --> 02:19:11,059 think of it and I said wow, you know, it's missing a lot 2237 02:19:11,071 --> 02:19:12,971 of storytelling stuff and it's a little too much just 2238 02:19:12,983 --> 02:19:15,000 vampire stuff that has no human element to bring you in. 2239 02:19:23,000 --> 02:19:27,000 And Tommy thought the same thing when he got it. 2240 02:19:27,000 --> 02:19:35,000 First of all, you got to think about this in terms of how quickly we were moving. 2241 02:19:35,000 --> 02:19:41,000 Writing our little fingertips off and getting this thing together. 2242 02:19:41,000 --> 02:19:46,000 You could have taken Christopher Lloyd's character and Michael Day Fox's character. 2243 02:19:46,000 --> 02:19:50,000 And you probably could have plugged those two into Fright Night 2. 2244 02:19:50,000 --> 02:19:53,267 You have very much a very similar relationship 2245 02:19:53,279 --> 02:19:56,000 and you would have had a similar movie. 2246 02:19:56,000 --> 02:20:00,082 Both, you know, this seasoned person who's a bit nutty and obviously older, taking the 2247 02:20:00,094 --> 02:20:04,000 young naive and curious boy under his wing and introducing him into this new world. 2248 02:20:09,000 --> 02:20:11,988 His devotion to the fearless vampire killer 2249 02:20:12,000 --> 02:20:15,000 has waned and waxed and now it's back again. 2250 02:20:15,000 --> 02:20:19,050 And that's the adventure that interested me because the first one 2251 02:20:19,062 --> 02:20:23,000 was a kind of standalone story and sequels are always a journey. 2252 02:20:24,000 --> 02:20:26,000 They can't repeat the same story. 2253 02:20:26,000 --> 02:20:30,000 We have to go somewhere and then find our way back again. 2254 02:20:30,000 --> 02:20:33,803 From returning characters to completely new ones, the casting 2255 02:20:33,815 --> 02:20:38,000 process for Fright Night 2 would bring menacingly camp where it was. 2256 02:20:44,000 --> 02:20:47,780 Roll-escaping vampires, seductive vampires, is a bug, a bunching, chauffeur and a 2257 02:20:47,792 --> 02:20:49,655 completely new love interest for Charlie 2258 02:20:49,667 --> 02:20:52,000 Brewster, the delectable Alex to the Silver Squee. 2259 02:21:07,000 --> 02:21:11,139 I inherited two great characters, Charlie Brewster and 2260 02:21:11,151 --> 02:21:15,000 the fearless vampire killer himself, Peter Vincent. 2261 02:21:16,000 --> 02:21:23,000 This pair really held the screen impressively throughout Fright Night. 2262 02:21:23,000 --> 02:21:31,000 So I knew unless I screwed up some colossal way that we were already on solid ground. 2263 02:21:31,000 --> 02:21:38,000 The thing for me to do was cultivate that relationship, make sure it held steady. 2264 02:21:38,000 --> 02:21:41,890 It could have some rocky spots, some ups and downs but they 2265 02:21:41,902 --> 02:21:46,000 would finish on the same page and be comrades and arms forever. 2266 02:21:47,000 --> 02:21:50,395 I was on tour with a play and my agent called and said 2267 02:21:50,407 --> 02:21:54,000 would you be interested in doing a sequel to Fright Night? 2268 02:21:54,000 --> 02:21:57,000 Fright Night, and I said yeah of course I love to. 2269 02:21:57,000 --> 02:22:00,000 Let me see the scripts until they sent me the scripts. 2270 02:22:00,000 --> 02:22:02,035 And I noticed Chris wasn't in it which I wasn't 2271 02:22:02,047 --> 02:22:03,881 expecting but then I guess how could he be 2272 02:22:03,893 --> 02:22:05,913 because Fright Night was in it and Julie Carmen 2273 02:22:05,925 --> 02:22:08,000 was going to be in it which I was excited about. 2274 02:22:12,000 --> 02:22:15,000 So I signed on and said yes. 2275 02:22:15,000 --> 02:22:19,013 It was very much a cat and mouse relationship 2276 02:22:19,025 --> 02:22:22,000 and I just loved to play with him. 2277 02:22:22,000 --> 02:22:23,000 Bowling? 2278 02:22:23,000 --> 02:22:27,073 Bowling alone, you know those kind of moments in the movie were planted 2279 02:22:27,085 --> 02:22:31,000 there to help reinforce the fact that he's a weirdo, he's our weirdo. 2280 02:22:33,000 --> 02:22:37,126 We love him. Bill Ragsdale acted that quality and certainly 2281 02:22:37,138 --> 02:22:41,000 characters carries a little bit of that quality himself. 2282 02:22:42,000 --> 02:22:49,000 Fright Night, who do you think? 2283 02:22:49,000 --> 02:22:52,000 I know what you're saying. 2284 02:22:52,000 --> 02:22:55,054 There was no alumni, no one coming back from the first one and no one 2285 02:22:55,066 --> 02:22:58,000 really to speak of it so it was a franchise without a continuation. 2286 02:22:58,000 --> 02:23:04,000 And I can't imagine Mark Campbell not being in other Star Wars. 2287 02:23:04,000 --> 02:23:08,000 It just wouldn't happen but Fright Night did and Roddy was the link. 2288 02:23:08,000 --> 02:23:14,000 We were very familiar with each other, we knew each other's performance tempo. 2289 02:23:14,000 --> 02:23:18,014 We were socially familiar with each other too, we were friends by that point 2290 02:23:18,026 --> 02:23:22,000 so it was great fun to just get to hang out with him again and do our thing. 2291 02:23:24,000 --> 02:23:26,635 The thing that separates Fright Night 2 from 2292 02:23:26,647 --> 02:23:29,000 all those other films is Roddy McDowell. 2293 02:23:29,000 --> 02:23:33,130 You don't know whether he's just a paranoid guy or he's a vampire slayer 2294 02:23:33,142 --> 02:23:37,000 and at the same time he offers a very tongue and cheek a little bit. 2295 02:23:39,000 --> 02:23:42,960 He throws stuff away, it's very quick and so sometimes when you watch 2296 02:23:42,972 --> 02:23:47,000 it over and over again you start to get the essence of what he's doing. 2297 02:23:48,000 --> 02:23:49,897 There's really no one like Roddy McDowell 2298 02:23:49,909 --> 02:23:52,000 now. I can't think of anybody that's like him. 2299 02:23:52,000 --> 02:23:55,921 He had such a unique combination, so much a product of the 2300 02:23:55,933 --> 02:24:00,000 era and had he been a child actor and then long, long career. 2301 02:24:00,000 --> 02:24:02,558 I think that he's one of those people that had to act. 2302 02:24:02,570 --> 02:24:05,000 No one has anything bad to say about Roddy McDowell. 2303 02:24:05,000 --> 02:24:08,885 He was very, very diplomatic and kind and complimentary, 2304 02:24:08,897 --> 02:24:13,000 extraordinarily elegant and there was a lightness about him. 2305 02:24:16,000 --> 02:24:19,903 He wasn't slumming doing this kind of B-movie horror gig. He brought 2306 02:24:19,915 --> 02:24:24,000 his entire talent to it, took it seriously, showed respect to everybody. 2307 02:24:28,000 --> 02:24:33,000 He was always well prepared. If he had a problem, he stuck it right out there. 2308 02:24:33,000 --> 02:24:37,013 I do remember one time we're watching Daly's. It was like a profile shot and he's 2309 02:24:37,025 --> 02:24:41,000 big close up and he forgets his line and he asked the script person for the line. 2310 02:24:44,000 --> 02:24:46,907 But he doesn't break character. He's got one of these 2311 02:24:46,919 --> 02:24:50,000 Roddy McDowell expressions or whatever in his mouth open. 2312 02:24:50,000 --> 02:24:52,529 But he just, you know, without like a ventrologist, he's just 2313 02:24:52,541 --> 02:24:55,000 like a line and she gives him the line and then he moves on. 2314 02:24:55,000 --> 02:24:58,184 So like that whole take was usable even when he's asking 2315 02:24:58,196 --> 02:25:01,000 for the line, they could just take that sound out. 2316 02:25:01,000 --> 02:25:03,404 Whereas a more novice actor would be like, 2317 02:25:03,416 --> 02:25:06,000 oh, I screwed up. I'm sorry, what was my line? 2318 02:25:06,000 --> 02:25:08,000 So I was just very impressed with that. 2319 02:25:08,000 --> 02:25:15,000 You're always a little bit chuckodacious when someone has star power. 2320 02:25:15,000 --> 02:25:23,000 And at the cast's read through, you met this remarkably engaged person with you. 2321 02:25:26,000 --> 02:25:29,606 He turned, he gave you his sparkling eyes and 2322 02:25:29,618 --> 02:25:33,000 his kindness and immediately was welcoming. 2323 02:25:33,000 --> 02:25:36,455 Immediately, he gave you a space as a person and as 2324 02:25:36,467 --> 02:25:40,000 an actor and I had a great deal of affection for him. 2325 02:25:40,000 --> 02:25:44,360 I remember specifically Roddy McDowell saying, 2326 02:25:44,372 --> 02:25:48,000 you know, I have a tendency to be hami. 2327 02:25:48,000 --> 02:25:52,126 You know, just just make, just keep an eye on that. Because 2328 02:25:52,138 --> 02:25:56,000 all I ask is keep an eye on it and don't let me be fake. 2329 02:25:56,000 --> 02:25:59,552 Don't let me, don't let me ham it up too much. Bring me 2330 02:25:59,564 --> 02:26:03,000 down. If you see that, I want to stay as real as I can 2331 02:26:03,000 --> 02:26:06,361 and yet at the same time be in the character which I 2332 02:26:06,373 --> 02:26:10,000 was, that was my first idea as an actor of having a dial. 2333 02:26:10,000 --> 02:26:13,957 I was such a huge fan of his. I mean, come on Cornelius, one of 2334 02:26:13,969 --> 02:26:18,000 the apes, I was like my god, you know, he's a vampire killer now. 2335 02:26:19,000 --> 02:26:22,988 Roddy was such a polite and light kind of character that the 2336 02:26:23,000 --> 02:26:27,000 darkness had to come from surrounding him with other elements 2337 02:26:27,000 --> 02:26:30,042 and with the cape and the deer stalker cap and so on. It 2338 02:26:30,054 --> 02:26:33,000 was an adventure for him where it was kind of a tragedy 2339 02:26:33,000 --> 02:26:35,000 and down the rabbit hole am I ever going to come out? 2340 02:26:35,000 --> 02:26:39,051 On Roddy McDowell my two cents. Well, how about two thumbs up. I 2341 02:26:39,063 --> 02:26:43,000 mean, he was a sweet man and had a great relationship with him. 2342 02:26:45,000 --> 02:26:49,000 I'm glad I got to double him and so many shots in that movie. 2343 02:26:54,000 --> 02:26:58,039 The assignment was then okay, who were the bad guys? It's what about a bad gal, 2344 02:26:58,051 --> 02:27:02,000 you know. Let's make a really sexy and come on people. Vampires are about sex. 2345 02:27:04,000 --> 02:27:07,753 Regine needed a very particular kind of woman to pull it off. This is a 2346 02:27:07,765 --> 02:27:12,000 character that needs to feel universal, not grounded in any particular geography. 2347 02:27:16,000 --> 02:27:20,087 Seductive is hell, but not necessarily in an obvious way. She 2348 02:27:20,099 --> 02:27:24,000 knows she's alluring, Charlie knows she's coming on to him. 2349 02:27:25,000 --> 02:27:28,936 I looked at the script and it's had a very kind of archetypal vampire and I 2350 02:27:28,948 --> 02:27:33,000 basically turned it down and I said, is there a way to humanize the character? 2351 02:27:37,000 --> 02:27:41,000 She just seemed a little bit too comic book in a vampire way. 2352 02:27:41,000 --> 02:27:44,660 She really seemed just right for the role. She has that 2353 02:27:44,672 --> 02:27:49,000 international sort of quality. I'm not sure what her ethnicity is. 2354 02:27:50,000 --> 02:27:56,000 It just seems universal, beautiful woman, not a girl, woman. 2355 02:27:56,000 --> 02:27:59,875 She was steamy, she was very sexy and attractive and sultry. She had 2356 02:27:59,887 --> 02:28:04,000 that voice too, it wasn't just her look. She had this kind of soft thing. 2357 02:28:07,000 --> 02:28:10,000 Sorry to wake you, I must have the wrong dormant to her. 2358 02:28:10,000 --> 02:28:13,850 I just started cracking every facade that 2359 02:28:13,862 --> 02:28:18,000 you had and it was really, really, very good. 2360 02:28:19,000 --> 02:28:22,488 I didn't know Tom Holland before we shot Fright Night part two and 2361 02:28:22,500 --> 02:28:26,000 after it came out, my husband knew Tom, he knew his agent actually. 2362 02:28:26,000 --> 02:28:29,000 We went to his house for a party, he's got a great house. 2363 02:28:29,000 --> 02:28:33,131 I heard someone he was talking about Fright night two and 2364 02:28:33,143 --> 02:28:37,000 I said, didn't like the film. He said, did you see it? 2365 02:28:37,000 --> 02:28:40,124 I said, what, I played Virginia. He said, but 2366 02:28:40,136 --> 02:28:43,000 an African American woman played Virginia. 2367 02:28:44,000 --> 02:28:47,888 I realized then that all of my ethnic mix shows up on film in a wonderful way 2368 02:28:47,900 --> 02:28:52,000 because I look so different no matter what the light is, what the camera angle is. 2369 02:28:56,000 --> 02:29:00,202 My great-grandfather was Cuban, so I have that Cuban which 2370 02:29:00,214 --> 02:29:04,000 has African blood in it and all of that came through. 2371 02:29:04,000 --> 02:29:07,932 I think that it's perfect for the regime character because she's 2,000 2372 02:29:07,944 --> 02:29:12,000 years old and she has all these different ethnic and cultural influences. 2373 02:29:15,000 --> 02:29:17,000 I like that about the character. 2374 02:29:17,000 --> 02:29:22,000 She became more of like a mother. She was like the mother to the group. 2375 02:29:22,000 --> 02:29:25,835 In a way, the best thing I could do with Julie was listen very 2376 02:29:25,847 --> 02:29:30,000 carefully and then just get out of the way and let her do her magic. 2377 02:29:30,000 --> 02:29:33,584 Now it wasn't just the good guy against the bad guy, it 2378 02:29:33,596 --> 02:29:37,000 was this, you know, there was kind of a sexual thing. 2379 02:29:37,000 --> 02:29:40,988 Charlie had grown up a bit and to have the repulsion and 2380 02:29:41,000 --> 02:29:45,000 the attraction going on at the same time was fun to play. 2381 02:29:45,000 --> 02:29:47,000 Did she know about that? 2382 02:29:47,000 --> 02:29:50,000 About the vampires, Mr. Vincent. 2383 02:29:50,000 --> 02:29:54,120 We wanted to put a stabilizing female force in 2384 02:29:54,132 --> 02:29:58,000 there and that's where Tracy Lynn came from. 2385 02:29:58,000 --> 02:30:02,018 She was being Charlie's new girlfriend, Alex, who presumably he met 2386 02:30:02,030 --> 02:30:06,000 on that college campus or somewhere nearby in therapy or something. 2387 02:30:07,000 --> 02:30:10,880 I didn't at the time feel the need to explain to Thurley where she came 2388 02:30:10,892 --> 02:30:15,000 from. She's his girlfriend so she came from where all girlfriends come from. 2389 02:30:16,000 --> 02:30:18,000 The girlfriend place. 2390 02:30:18,000 --> 02:30:21,661 Tom Cruise has a different new love in every mission 2391 02:30:21,673 --> 02:30:25,000 possible, you know, or James Bond or that stuff. 2392 02:30:25,000 --> 02:30:29,000 She's out with the old and with the new, I guess. It's brutal. 2393 02:30:29,000 --> 02:30:31,694 She was the rationale, she was the scientific 2394 02:30:31,706 --> 02:30:34,000 reminder, she was a psychology student. 2395 02:30:34,000 --> 02:30:37,279 And I think that Tracy was looking at some things that 2396 02:30:37,291 --> 02:30:41,000 Charlie Brewster was saying and wondering if he was all there. 2397 02:30:41,000 --> 02:30:47,000 So I think that in a real clinical way, Tracy held a through line for reality. 2398 02:30:47,000 --> 02:30:51,000 I thought that Tracy filled out the chemistry very nicely. 2399 02:30:51,000 --> 02:30:57,000 He said, lovely actress, easy presence and a stabilizing force for Charlie. 2400 02:30:57,000 --> 02:31:01,000 Charlie is a weird character when you stop and think about it. 2401 02:31:01,000 --> 02:31:04,956 He's got a lot of quirks and I thought one of the reasons she 2402 02:31:04,968 --> 02:31:09,000 was there were to allow an audience to see Charlie as a weirdo. 2403 02:31:10,000 --> 02:31:13,814 But that's okay because he's got a beautiful girlfriend who's the 2404 02:31:13,826 --> 02:31:18,000 smartest person in the room and she thinks he's okay so he must be okay. 2405 02:31:18,000 --> 02:31:21,000 I found her incredibly attractive, you know, Tracy. 2406 02:31:21,000 --> 02:31:25,000 So it became easy and she was cheeky. She was always cheeky. 2407 02:31:25,000 --> 02:31:27,533 Kind of in her character a little bit but on set she was 2408 02:31:27,545 --> 02:31:30,000 so it just opened the door to be a little more playful. 2409 02:31:30,000 --> 02:31:33,339 And you know, for me is my character wishing 2410 02:31:33,351 --> 02:31:37,000 that I were mortal instead of immortal, you know, 2411 02:31:37,000 --> 02:31:40,000 because she was hot. 2412 02:31:40,000 --> 02:31:43,517 Alex and Charlie are both older, they're in college, they're 2413 02:31:43,529 --> 02:31:47,000 a little steamier and not quite as innocent as the original. 2414 02:31:47,000 --> 02:31:53,000 And she was great. She was a beautiful charming comedic actress. 2415 02:31:53,000 --> 02:31:59,000 There had been a script around that featured evil ed as the chief antagonist. 2416 02:31:59,000 --> 02:32:03,000 It was determined pretty early that we wanted to go in a different direction. 2417 02:32:03,000 --> 02:32:07,061 Evil certainly seemed prime to come back for the sequel 2418 02:32:07,073 --> 02:32:11,000 but he had a, I guess, a conflict, a working conflict. 2419 02:32:11,000 --> 02:32:13,699 To be honest, I didn't get that same feeling 2420 02:32:13,711 --> 02:32:16,000 reading the script to Fright Night 2. 2421 02:32:16,000 --> 02:32:19,488 I planned on doing it, you know, and I told my agent, 2422 02:32:19,500 --> 02:32:23,000 sure, you know, I'm not doing anything else right now. 2423 02:32:23,000 --> 02:32:29,000 But at pretty much the same time I was offered another movie, 976 Evil, 2424 02:32:29,000 --> 02:32:33,000 which I knew was going to be directed by Robert England. 2425 02:32:33,000 --> 02:32:38,000 And I read that script and it was by far my preference of the two. 2426 02:32:38,000 --> 02:32:40,000 And I chose to do that. 2427 02:32:40,000 --> 02:32:47,000 I never knew that Louis was like the replacement for Evil Ed from the first one. 2428 02:32:47,000 --> 02:32:52,000 I always found Evil Ed just annoying as I'll get out. 2429 02:32:52,000 --> 02:32:56,044 Sorry. Stephen did such a great job with the role that in a way I would 2430 02:32:56,056 --> 02:33:00,000 have felt a little bit saddled by him if I'd had to go down that road. 2431 02:33:04,000 --> 02:33:06,407 So I was a little relieved when the decision 2432 02:33:06,419 --> 02:33:09,000 came down that we'd go in a different direction. 2433 02:33:09,000 --> 02:33:13,000 I never considered that I was like some kind of replacement to that. 2434 02:33:13,000 --> 02:33:20,000 I always saw Louis as he was the shortest version of Vampire. 2435 02:33:20,000 --> 02:33:22,000 He was like the newest of the new recruits. 2436 02:33:22,000 --> 02:33:27,000 Louis still has like, he still has the desires of the flesh. 2437 02:33:27,000 --> 02:33:30,000 Of course, that's why he's like all about Tracy. 2438 02:33:30,000 --> 02:33:32,359 And so when I went in and read for the movie, 2439 02:33:32,371 --> 02:33:35,000 that's kind of why I was planning on kind of goofy. 2440 02:33:35,000 --> 02:33:40,000 You know, like, I don't think that that was really the way he was originally written. 2441 02:33:40,000 --> 02:33:44,000 I think we kind of we built that as we went along. 2442 02:33:44,000 --> 02:33:47,000 I mean, there was definitely a side to him that was there. 2443 02:33:47,000 --> 02:33:50,000 But I think that it just went a little more so. 2444 02:33:50,000 --> 02:33:52,000 He didn't jive with that whole thing. 2445 02:33:52,000 --> 02:33:54,000 He was like, oh, that's true. 2446 02:33:54,000 --> 02:33:57,000 I got this other thing that I am old. 2447 02:33:57,000 --> 02:33:58,000 Anybody is that? 2448 02:33:58,000 --> 02:34:01,000 Yeah, yeah. I'm a vampire. 2449 02:34:01,000 --> 02:34:05,000 You know, I felt like that was not really what he wanted to do. 2450 02:34:05,000 --> 02:34:07,000 He never wanted to be that. 2451 02:34:07,000 --> 02:34:09,701 He wanted to just be, he was still kind of wanting 2452 02:34:09,713 --> 02:34:12,000 to get back to the other side a little bit. 2453 02:34:12,000 --> 02:34:17,000 John was a funny, you know, a comedic guy and brought a lot of that to it. 2454 02:34:17,000 --> 02:34:23,000 You know, it's sort of goofy, how doggish aspect to the wolf man character. 2455 02:34:23,000 --> 02:34:26,000 Hydro-mena. 2456 02:34:29,000 --> 02:34:31,000 Nublio Fasiata. 2457 02:34:33,000 --> 02:34:36,000 Fah is the bug man who drove the getaway car you could say. 2458 02:34:36,000 --> 02:34:39,609 That doesn't vote the kind of humor that I'm 2459 02:34:39,621 --> 02:34:43,000 fond of, which is, okay, we mean business. 2460 02:34:43,000 --> 02:34:46,000 This is a scary movie and these people will kill you. 2461 02:34:46,000 --> 02:34:49,000 But you're going to have quite a few laughs along the way. 2462 02:34:49,000 --> 02:34:53,000 It's not out in out comedy, but it's that delicate balance. 2463 02:34:53,000 --> 02:34:55,000 It took one interview. 2464 02:34:55,000 --> 02:34:59,000 Tommy was pretty much on board with having Brian play BOSS. 2465 02:34:59,000 --> 02:35:02,124 His first name is Brian because his character 2466 02:35:02,136 --> 02:35:05,000 BOSS was based to some degree in a comedy. 2467 02:35:05,000 --> 02:35:09,000 It's to some degree in a surface way on Brian BOSSworth. 2468 02:35:09,000 --> 02:35:13,000 At the time Brian BOSSworth was a very famous professional football player. 2469 02:35:13,000 --> 02:35:18,000 Had a, had the spiked hair, had high cheekbone muscular dude. 2470 02:35:18,000 --> 02:35:24,000 Who had, they'd not have latched on the name BOSS and BOSSworth in the script. 2471 02:35:24,000 --> 02:35:28,000 I possibly, they would have cast somebody else, but we had similarities. 2472 02:35:28,000 --> 02:35:33,000 And I think they nudged them in the direction of that look. 2473 02:35:33,000 --> 02:35:36,735 I just thought that was a dazzling sort of character 2474 02:35:36,747 --> 02:35:40,000 to send up, you know, and make into a bad guy. 2475 02:35:40,000 --> 02:35:44,051 One of the things that Tommy had to ask me in the interview was, 2476 02:35:44,063 --> 02:35:48,000 Brian, are you going to be comfortable, you're handing insects. 2477 02:35:49,000 --> 02:35:53,000 Do you think you'd be okay with putting them in your mouth? 2478 02:35:53,000 --> 02:35:56,000 I'm like, I think I'm going to be okay with it. 2479 02:35:56,000 --> 02:36:00,000 There's some people that present themselves in such a way that you, oh yeah, yeah. 2480 02:36:00,000 --> 02:36:04,000 That is an actor. That person is like showing up. We know who they are. 2481 02:36:04,000 --> 02:36:07,000 He shows up. He's like this guy. 2482 02:36:07,000 --> 02:36:10,000 And he puts on his wardrobe. 2483 02:36:10,000 --> 02:36:13,000 And he starts speaking a little bit differently. 2484 02:36:13,000 --> 02:36:16,157 And he starts doing everything. So he was kind 2485 02:36:16,169 --> 02:36:19,000 of a surprised to me how effective he was. 2486 02:36:19,000 --> 02:36:21,936 I really liked the character choice. He made it was kind 2487 02:36:21,948 --> 02:36:25,000 of sophisticated and, you know, and a tasteful kind of guy. 2488 02:36:25,000 --> 02:36:30,000 I remember feeling kind of bad for ever thinking, I hope this guy's got the chops. 2489 02:36:30,000 --> 02:36:33,581 You know, when we first started, I didn't know. I mean, when I first met him 2490 02:36:33,593 --> 02:36:37,000 or when we were, I was like, I wonder, he's got such an interesting look. 2491 02:36:37,000 --> 02:36:40,488 Is that what he's hired for? Is he? And no, it 2492 02:36:40,500 --> 02:36:44,000 was this incredible talent. He's very talented. 2493 02:36:44,000 --> 02:36:46,920 I said, what if before he eats these parts 2494 02:36:46,932 --> 02:36:50,000 that he says they're genius and species name? 2495 02:36:50,000 --> 02:36:56,000 And thereby we know he's a connoisseur. And Tom is like, yes, we're doing it. 2496 02:36:56,000 --> 02:36:59,008 So I went and got all the genius and species of all the bugs that we were 2497 02:36:59,020 --> 02:37:02,000 actually going to have, which were different from the ones in the script. 2498 02:37:02,000 --> 02:37:09,000 And it became a really memorable part of his character in a part of the movie. 2499 02:37:09,000 --> 02:37:11,658 Because I got people come up to me and imitate 2500 02:37:11,670 --> 02:37:14,000 me saying the name and dropping whatever. 2501 02:37:14,000 --> 02:37:17,000 After or after not, not die and dropping. 2502 02:37:17,000 --> 02:37:22,000 I just had an image of my mind of him wretching. 2503 02:37:22,000 --> 02:37:24,344 I think he wretched a couple times and I 2504 02:37:24,356 --> 02:37:27,000 don't think he'd ever want to say that he did. 2505 02:37:27,000 --> 02:37:30,962 But I think he wretched. He put like bugs to his mouth and almost bombeted, 2506 02:37:30,974 --> 02:37:35,000 you know, having them in there while we're waiting to get the camera rolling. 2507 02:37:37,000 --> 02:37:40,988 Put him in the mouth was not as odd as I thought. I'm 2508 02:37:41,000 --> 02:37:45,000 positive that my ancestors were bug munchers positive. 2509 02:37:47,000 --> 02:37:52,000 And maybe some of the recessive DNA was surfacing in buzz. 2510 02:37:52,000 --> 02:37:56,000 I was antagonizing him all the time, trying to always find him. 2511 02:37:56,000 --> 02:38:00,000 I can find a way to make him uncomfortable. 2512 02:38:00,000 --> 02:38:04,000 Because that's like what that was the dynamic that just happened there. 2513 02:38:04,000 --> 02:38:06,277 I don't think that was definitely not 2514 02:38:06,289 --> 02:38:09,000 written. It was just us, you know, go for it. 2515 02:38:15,000 --> 02:38:19,340 It was great. There was an undrogyny, you know, and a placefulness, 2516 02:38:19,352 --> 02:38:23,000 a balladic, you know, kind of what is this type of thing. 2517 02:38:23,000 --> 02:38:27,000 I think probably we were together through the ages for a while. 2518 02:38:27,000 --> 02:38:30,988 You couldn't tell if he was male, female, he was really going 2519 02:38:31,000 --> 02:38:35,000 for that mid-1980s, gender neutral feel and extremely elegant. 2520 02:38:35,000 --> 02:38:39,046 It worked as part of it was the 80s, you know, you could do that. You 2521 02:38:39,058 --> 02:38:43,000 could go around on roller blades and hair extensions. We all did it. 2522 02:38:44,000 --> 02:38:47,959 Russell Clark was Michael Jackson's choreographer when I met him and 2523 02:38:47,971 --> 02:38:52,000 we rented a studio, a moral land a studio, and a interpretable of art. 2524 02:38:52,000 --> 02:38:57,000 We met there every day, six, eight hours, hardcore dance rehearsal. 2525 02:38:57,000 --> 02:39:00,000 Russell was always kind of royalty a little bit. 2526 02:39:00,000 --> 02:39:02,068 When he talked about movement and giving instruction, 2527 02:39:02,080 --> 02:39:03,814 there is a sense of history when a master is 2528 02:39:03,826 --> 02:39:06,035 speaking, and when they know exactly what they're talking 2529 02:39:06,047 --> 02:39:08,000 about with zero doubt, Russell certainly had that. 2530 02:39:16,000 --> 02:39:20,192 Well, there was a lot more of cinematic ballet, of choreographed camera 2531 02:39:20,204 --> 02:39:24,000 moves that were designed to draw people in. The music, the dance. 2532 02:39:26,000 --> 02:39:30,111 It was important to have a choreography presence, not just the dancing, the obvious 2533 02:39:30,123 --> 02:39:34,000 dancing, like the dressed in red, number, but just in vampire movement as well. 2534 02:39:37,000 --> 02:39:41,188 If people watch closely, they'll see that the force some moves 2535 02:39:41,200 --> 02:39:45,000 as a unit in a coordinated way. It isn't just accidental. 2536 02:39:47,000 --> 02:39:50,408 What is it I remember the most from Fright 2537 02:39:50,420 --> 02:39:54,000 Night 2? It's a very simple, beautiful image. 2538 02:39:54,000 --> 02:39:57,814 Russell flying down that walkway on his roller blades, 2539 02:39:57,826 --> 02:40:02,000 stretched out, gliding through the air on his roller blades. 2540 02:40:06,000 --> 02:40:09,937 I really give enormous amount of credit to Russell Clark, the choreographer, 2541 02:40:09,949 --> 02:40:14,000 and he's a huge loss in Hollywood, and I'm really sad he's not with us anymore. 2542 02:40:20,000 --> 02:40:23,831 The character of Merit Butric, there's a scene where Russell 2543 02:40:23,843 --> 02:40:28,000 Clark's character and I both attack Merit Butric at the same time. 2544 02:40:29,000 --> 02:40:33,065 It's a great job as my friend and non-believer until 2545 02:40:33,077 --> 02:40:37,000 it was too late. I try to tell him and I'll listen. 2546 02:40:38,000 --> 02:40:41,929 He spoke with everyone about the fact that he had end stage aides. 2547 02:40:41,941 --> 02:40:46,000 This was in 1987, when no one knew that much about contagion factors. 2548 02:40:47,000 --> 02:40:51,142 The makeup department was bending over backwards to make sure that when my fangs 2549 02:40:51,154 --> 02:40:55,000 ripped into his wrist that it wasn't touched and everything was sterilized. 2550 02:40:57,000 --> 02:41:00,848 He really wanted the role as his last piece of footage 2551 02:41:00,860 --> 02:41:05,000 knowing that he was dying, but it was also kind of awkward. 2552 02:41:05,000 --> 02:41:09,070 No one wanted to be worried about their own health in front of him because 2553 02:41:09,082 --> 02:41:13,000 there was just so little known then, but that's the last footage of him. 2554 02:41:18,000 --> 02:41:22,000 I think you've been under a lot of stress lately. 2555 02:41:22,000 --> 02:41:24,040 Ernie Sibela, who was very funny and was perfect for the role 2556 02:41:24,052 --> 02:41:26,005 of my psychologist at the very beginning of the sequel, is 2557 02:41:26,017 --> 02:41:27,914 sort of talking me through giving the audience and me the 2558 02:41:27,926 --> 02:41:30,000 reasons to believe why the first movie kind of never happened. 2559 02:41:39,000 --> 02:41:42,000 That's the starting point for the second film. 2560 02:41:43,000 --> 02:41:44,000 Back off. 2561 02:41:44,000 --> 02:41:50,000 What? Your Peter Vincent? The bear's fat pirate killer? Oh, you're a star! 2562 02:41:50,000 --> 02:41:52,021 I was reading for the part that Jonathan Grise got, 2563 02:41:52,033 --> 02:41:53,988 just like in River Zez I was reading for the part 2564 02:41:54,000 --> 02:41:55,969 that Keanu Reeves got, and just like in Heathers I 2565 02:41:55,981 --> 02:41:58,000 was reading for the part that Christian Slater got. 2566 02:42:00,000 --> 02:42:02,488 We were there for the final callback and so 2567 02:42:02,500 --> 02:42:05,000 as a consolation they offered him that role. 2568 02:42:05,000 --> 02:42:08,460 We don't believe when I auditioned that I did any of the stuff 2569 02:42:08,472 --> 02:42:12,000 that I did on screen, which tends to a lot of times be the case. 2570 02:42:12,000 --> 02:42:15,795 So that when I got on set, Tommy Lee Wallace was so cool and we went 2571 02:42:15,807 --> 02:42:20,000 through it and we rehearsed and I started, because it was like he's mopping. 2572 02:42:20,000 --> 02:42:26,000 So when you're mopping, you can either say nothing and mop or you can just ramble on. 2573 02:42:26,000 --> 02:42:27,970 And so he let me and then as I was making him laugh, he 2574 02:42:27,982 --> 02:42:30,000 just kept letting me go so it was like a snowball effect. 2575 02:42:30,000 --> 02:42:33,412 He thought he was really, really good in that part. I mean I really 2576 02:42:33,424 --> 02:42:37,000 loved what he did. He took a nothing role and turned it into something. 2577 02:42:37,000 --> 02:42:41,000 Joshua Rissman was a, I hate to say I had to cliche the breath and fresh air. 2578 02:42:41,000 --> 02:42:44,855 One of the great things about Fright night two for me was that I wasn't the ornamental 2579 02:42:44,867 --> 02:42:46,789 degenerate who smoked cigarettes and talked 2580 02:42:46,801 --> 02:42:49,000 tough and wore all his own rock and roll clothes. 2581 02:42:51,000 --> 02:42:53,545 And you know, which is a lot of times they liked that about me and 2582 02:42:53,557 --> 02:42:56,000 then they would say like, well leave your clothes with wardrobe. 2583 02:42:56,000 --> 02:42:58,528 And then they were nervous that I would lose it and continuity 2584 02:42:58,540 --> 02:43:01,000 be all screwed. But this was cool. I got to put on an outfit. 2585 02:43:01,000 --> 02:43:03,988 I got to do something completely different than what 2586 02:43:04,000 --> 02:43:07,000 I had done before. And Tommy Lee Wallace was so cool. 2587 02:43:07,000 --> 02:43:10,000 He's obviously on screen. He let me do whatever I wanted. 2588 02:43:10,000 --> 02:43:13,757 He was crazy. He does this kind of crazy antics. 2589 02:43:13,769 --> 02:43:17,000 Like he was kind of like a short tiny Tim. 2590 02:43:17,000 --> 02:43:21,076 He had this kind of weird proto neo Adam Sandler, Saturday Night Live 2591 02:43:21,088 --> 02:43:25,000 kind of voice. And he just lit up the whole crew and kept us going. 2592 02:43:26,000 --> 02:43:29,962 At the time my friend Bob Downey and I had this sort of other language that 2593 02:43:29,974 --> 02:43:34,000 we literally spoke in daily and nightly and like you would see us out in L.A. 2594 02:43:37,000 --> 02:43:41,044 If you were like this whirlwind of two these two lunatics just rolled by 2595 02:43:41,056 --> 02:43:45,000 and a lot of that diatribe and banter is what that fritzy craziness is. 2596 02:43:46,000 --> 02:43:51,000 And I figured this was going to be my one shot to get that up on screen forever. 2597 02:43:51,000 --> 02:43:54,587 Everybody remembers him. Like as usually as a case of Hollywood, who was 2598 02:43:54,599 --> 02:43:58,000 that guy? What was his name? Oh yeah, that guy. And what's the thing? 2599 02:43:58,000 --> 02:44:01,043 And that's he's that guy. I mean, people want remembers 2600 02:44:01,055 --> 02:44:04,000 name necessarily didn't go on to be a character actor. 2601 02:44:04,000 --> 02:44:07,558 But you had a lot of snap and a lot of style. None 2602 02:44:07,570 --> 02:44:11,000 of us had expected. I really walked everybody up. 2603 02:44:16,000 --> 02:44:19,988 With cast and crew and script completed, it 2604 02:44:20,000 --> 02:44:24,000 was time for principal photography to begin. 2605 02:44:27,000 --> 02:44:34,000 Locations in Hollywood and Palm Beach Beckoned the Fright Night Magic. 2606 02:44:34,000 --> 02:44:38,117 They much anticipated exploits of Peter Vincent 2607 02:44:38,129 --> 02:44:42,000 in Fright Night 2, or finally coming to life. 2608 02:44:44,000 --> 02:44:45,803 Thanks to the creative vision of Tommy Lee 2609 02:44:45,815 --> 02:44:48,009 Wallace, helped by cinematographer Mark Irwin fresh 2610 02:44:48,021 --> 02:44:49,810 from his own success on David Cronenberg's 2611 02:44:49,822 --> 02:44:52,000 classics such as The Fly, Video Drome and Scanners. 2612 02:45:08,000 --> 02:45:11,488 Working for this to pictures was a dream come true for a 2613 02:45:11,500 --> 02:45:15,000 young filmmaker like myself because I was spoiled rotten. 2614 02:45:15,000 --> 02:45:18,544 What I remember from Fright Night was Tommy Lee's tunnel vision 2615 02:45:18,556 --> 02:45:22,000 in terms of here's the story and there's endless distractions. 2616 02:45:22,000 --> 02:45:26,000 And maybe there's the sighting of Chris Sarandon on the set. 2617 02:45:26,000 --> 02:45:27,000 Who knows? 2618 02:45:27,000 --> 02:45:30,902 John Carpenter's approach to filmmaking was, hey, I'm going to make 2619 02:45:30,914 --> 02:45:35,000 movie deals with people who can't say no because I'm doing it so cheap. 2620 02:45:36,000 --> 02:45:40,000 And my only requirements are going to be that I get total control. 2621 02:45:40,000 --> 02:45:43,988 It's like, okay, and I watched how that worked out because there is 2622 02:45:44,000 --> 02:45:48,000 a dynamic about filmmaking that says somebody needs to be in charge. 2623 02:45:50,000 --> 02:45:55,000 We shot mostly location stuff just all over Los Angeles. 2624 02:45:55,000 --> 02:46:01,000 There's a big party scene which we shot in an old 1930s hotel in Long Beach. 2625 02:46:01,000 --> 02:46:05,000 Peter Vincent's house was an apartment in Hollywood. 2626 02:46:05,000 --> 02:46:08,000 So we were kind of all over for that one. 2627 02:46:08,000 --> 02:46:11,382 It was a place of grandeur, had a big boardwalk, a lot of grand 2628 02:46:11,394 --> 02:46:15,000 apartment buildings so that was where we did a lot of the interiors. 2629 02:46:15,000 --> 02:46:17,000 Mark Irwin was fantastic. 2630 02:46:17,000 --> 02:46:19,150 I came up through a fairly stratified system 2631 02:46:19,162 --> 02:46:21,036 of sort of even though a lot of it was 2632 02:46:21,048 --> 02:46:25,000 non-union, it was union structure that is to say, you had category for everything. 2633 02:46:28,000 --> 02:46:32,132 And I leaped from doing 10 jobs on Halloween to a kind of understanding 2634 02:46:32,144 --> 02:46:36,000 that no, you can't pick up that hammer unless you're in that union. 2635 02:46:39,000 --> 02:46:42,000 Didn't like that structure. 2636 02:46:42,000 --> 02:46:46,181 And yet it was a system that had yielded great results for me in the camera 2637 02:46:46,193 --> 02:46:50,000 department of having a director of photography and a camera operator. 2638 02:46:52,000 --> 02:46:56,000 Two separate jobs. Two big jobs, two. 2639 02:46:56,000 --> 02:46:59,000 I was lucky in 1986 and 87. 2640 02:46:59,000 --> 02:47:00,988 I didn't know at the time that that was the last film 2641 02:47:01,000 --> 02:47:03,000 I would shoot for David Cronenberg, which was the fly. 2642 02:47:03,000 --> 02:47:05,359 But I had done the Dead Zone and Scanners and 2643 02:47:05,371 --> 02:47:08,000 Video Drome and the Brune and lots of horror films. 2644 02:47:08,000 --> 02:47:12,000 I lived in Toronto at that time, by the way in Canada, and I had an agent. 2645 02:47:12,000 --> 02:47:14,883 And the fly came out and he said, you know, if there's 2646 02:47:14,895 --> 02:47:18,000 ever a time for you to move to Hollywood, this is the time. 2647 02:47:18,000 --> 02:47:20,404 Going to location on Fright night part two 2648 02:47:20,416 --> 02:47:23,000 was exciting for me because again I was young. 2649 02:47:23,000 --> 02:47:26,988 I kind of got full access to things because of the visual effects part of what 2650 02:47:27,000 --> 02:47:31,000 we were doing and the friendship between Tommy Lee and my father and Marguerun. 2651 02:47:33,000 --> 02:47:35,000 I just watched Marguerun light all the time. 2652 02:47:35,000 --> 02:47:37,397 There are restrictions to how late you can shoot, so suddenly, oh 2653 02:47:37,409 --> 02:47:40,000 yeah, we have all these things, but we've got to be done in 20 minutes. 2654 02:47:40,000 --> 02:47:41,000 What? 2655 02:47:41,000 --> 02:47:44,988 It seemed like the town was our oyster and we opened it up and 2656 02:47:45,000 --> 02:47:49,000 just explored all sorts of locations and built a bunch of sets. 2657 02:47:51,000 --> 02:47:53,000 It was truly a family feel. 2658 02:47:53,000 --> 02:47:56,557 The film company was a boutique company run by Herb 2659 02:47:56,569 --> 02:48:00,000 Jaffee who had produced the original Fright night. 2660 02:48:00,000 --> 02:48:07,000 He was an avuncular kind of person and truly did feel like your favorite uncle. 2661 02:48:07,000 --> 02:48:12,000 He ran his company by good nature, not like a dictator. 2662 02:48:12,000 --> 02:48:15,000 And that filtered right down through. 2663 02:48:15,000 --> 02:48:18,913 A lot of fun, a lot of contemporary, a few who were 2664 02:48:18,925 --> 02:48:23,000 older friends on the set with me or behind the scenes. 2665 02:48:24,000 --> 02:48:27,418 And the cutting room was right there in the same 2666 02:48:27,430 --> 02:48:31,000 building as Vista Pictures out on Sunset Boulevard. 2667 02:48:31,000 --> 02:48:35,000 So the whole thing had a very local, very family friendly feel to it. 2668 02:48:35,000 --> 02:48:42,000 No Horacee Quill would be complete without a preponderance of special effects. 2669 02:48:42,000 --> 02:48:45,000 And Fright night too was to be no different. 2670 02:48:45,000 --> 02:48:48,897 At the helm, practical effects wizard Greg 2671 02:48:48,909 --> 02:48:53,000 Canem and visual effects guru Jean Warren Jr. 2672 02:48:54,000 --> 02:49:00,000 and his special effects company Fantasy 2 Effects. 2673 02:49:00,000 --> 02:49:08,000 In their safe hands, monstrous ideas became chilling realities. 2674 02:49:10,000 --> 02:49:16,000 In time, these effects became as applauded as the original movie. 2675 02:49:16,000 --> 02:49:19,000 And that was no mean feat. 2676 02:49:19,000 --> 02:49:22,000 I can tell you. 2677 02:49:30,000 --> 02:49:34,000 Would you like a drink there? 2678 02:49:34,000 --> 02:49:37,000 There you go. 2679 02:49:41,000 --> 02:49:46,000 We worked primarily and mostly with an outfit called Fantasy 2. 2680 02:49:46,000 --> 02:49:49,000 Jean and Leslie Warren out in the San Fernando Valley. 2681 02:49:49,000 --> 02:49:55,000 It was in a horse stable and funky everywhere you turned. 2682 02:49:55,000 --> 02:50:01,000 Funky little, makeshift, wooden beams, nailed back up for the 20th time. 2683 02:50:01,000 --> 02:50:04,000 And nothing slick about it, which is my kind of world. 2684 02:50:04,000 --> 02:50:08,000 Coming from a family visual effects company, we got to do everything. 2685 02:50:08,000 --> 02:50:12,000 Because it was always a closely knit group of people. 2686 02:50:12,000 --> 02:50:15,000 I mean, look, Brett and Bart, twin brothers. 2687 02:50:15,000 --> 02:50:17,000 We were a family business. 2688 02:50:17,000 --> 02:50:19,000 I really love working with both of them. 2689 02:50:19,000 --> 02:50:20,000 Terrific guys. 2690 02:50:20,000 --> 02:50:23,000 The type of work that I do is strictly post-production. 2691 02:50:23,000 --> 02:50:26,000 I'm usually just involved after the film has been shot. 2692 02:50:26,000 --> 02:50:29,000 But since the company was also doing the makeup effects, 2693 02:50:29,000 --> 02:50:32,000 I was able to visit the day they were doing the big party scene and the apartment. 2694 02:50:32,000 --> 02:50:37,000 Because there had been talk at one point about my brother and I since we were twins, 2695 02:50:37,000 --> 02:50:41,000 they thought it might find or interesting to put us in the film. 2696 02:50:41,000 --> 02:50:42,000 But it didn't work out. 2697 02:50:42,000 --> 02:50:43,000 We didn't make it in there. 2698 02:50:43,000 --> 02:50:46,000 Bart's twin brother, Brett. 2699 02:50:46,000 --> 02:50:50,000 Ran, our Roto department, that fed opticals. 2700 02:50:50,000 --> 02:50:53,834 The sequence in the elevator where you have these 2701 02:50:53,846 --> 02:50:58,000 mirrors using to reflect the sun were optical effects. 2702 02:50:59,000 --> 02:51:02,000 And the rays were created in roto. 2703 02:51:02,000 --> 02:51:05,000 And then were optical compositing to the film. 2704 02:51:05,000 --> 02:51:08,000 My son, Chris, worked on it. 2705 02:51:08,000 --> 02:51:11,000 And then we worked with Mad Effects, which were based in our studio, 2706 02:51:11,000 --> 02:51:14,000 which was Bruce Block and Ken Marchelle, 2707 02:51:14,000 --> 02:51:17,000 because there's a couple of Mad paintings in the movie. 2708 02:51:17,000 --> 02:51:20,000 They're kind of unique since it was squeezed. 2709 02:51:20,000 --> 02:51:22,000 The picture was in scope. 2710 02:51:22,000 --> 02:51:25,000 Most of the films I'd ever done had been practical effects. 2711 02:51:25,000 --> 02:51:29,000 And most of the films that I'd ever done only had a budget for practical effects. 2712 02:51:29,000 --> 02:51:31,000 So when we did Fright Night Part 2, 2713 02:51:31,000 --> 02:51:33,955 a lot of what we saw with people's eyes were 2714 02:51:33,967 --> 02:51:37,000 a few opticals that were added in the ballast. 2715 02:51:37,000 --> 02:51:40,000 But if somebody was going to have weird eyes, 2716 02:51:40,000 --> 02:51:43,000 they were going to put in contact lenses, just weird bizarre contact lenses. 2717 02:51:43,000 --> 02:51:46,000 The bowling alley scene was a fun one. 2718 02:51:46,000 --> 02:51:51,000 My main contribution to that was the bowling ball head, the buzz worth head. 2719 02:51:51,000 --> 02:51:53,000 I remember when we did do the life cast. 2720 02:51:53,000 --> 02:51:54,000 This guy shows up. 2721 02:51:54,000 --> 02:51:56,414 He had very little hair anyway, just like he was 2722 02:51:56,426 --> 02:51:59,000 bald, except for like a little band across the back. 2723 02:51:59,000 --> 02:52:03,000 I didn't want to cover it with a bald cap, just have to sculpt it off again later. 2724 02:52:03,000 --> 02:52:06,000 We took probably his hand lotion, like massage it into his hair. 2725 02:52:06,000 --> 02:52:10,000 And then when we took the life cast, we massage the alginate into the hair, 2726 02:52:10,000 --> 02:52:13,000 which normally you don't want to get it in hair because it grabs and locks up. 2727 02:52:13,000 --> 02:52:16,000 But because his hair is so short, and we slicked it up, 2728 02:52:16,000 --> 02:52:18,000 it just pulled right out of the alginate. 2729 02:52:18,000 --> 02:52:22,000 So we had this beautiful cast of his bald head. 2730 02:52:22,000 --> 02:52:26,000 We did it what John Carpenter and I used to call Little Rascal's style. 2731 02:52:26,000 --> 02:52:28,000 There are several ways to do it. 2732 02:52:28,000 --> 02:52:32,000 Millions of dollars and all unscheduled during the shoot. 2733 02:52:32,000 --> 02:52:37,000 Or stretched out over the course of several weeks on a shoestring budget 2734 02:52:37,000 --> 02:52:40,000 with you and your friends and Scotch tape and chewing gum. 2735 02:52:40,000 --> 02:52:43,000 I always prefer that second version. 2736 02:52:46,000 --> 02:52:49,000 Julie, for some reason I remember we did our initial life cast 2737 02:52:49,000 --> 02:52:51,000 and we had a problem with it. 2738 02:52:51,000 --> 02:52:52,000 I didn't like it at all. 2739 02:52:52,000 --> 02:52:55,000 And when I got home, I burst into tears, 2740 02:52:55,000 --> 02:52:58,000 just kind of let the steam out and the phone rang. 2741 02:52:58,000 --> 02:53:00,000 And it was Bart Mixen and Brian Wade. 2742 02:53:00,000 --> 02:53:02,000 And they said, I'm sorry to tell you this, 2743 02:53:02,000 --> 02:53:03,000 but there's a chip in the nose. 2744 02:53:03,000 --> 02:53:05,000 You have to come back tomorrow and do it again. 2745 02:53:05,000 --> 02:53:07,000 She wasn't thrilled about which I can understand. 2746 02:53:07,000 --> 02:53:10,000 I mean, that's not the most pleasant part of the experience. 2747 02:53:10,000 --> 02:53:14,000 So when they poured the plaster cast over my face, 2748 02:53:14,000 --> 02:53:16,000 they had two straws coming out of my nose. 2749 02:53:16,000 --> 02:53:18,402 And my hair was down to my waist and they 2750 02:53:18,414 --> 02:53:21,000 tied it to a sprinkler system on the ceiling. 2751 02:53:21,000 --> 02:53:25,000 And poured this plaster in the 80s, that stuff dried really slowly. 2752 02:53:25,000 --> 02:53:29,000 So I got a bit claustrophobic and a little panicked 2753 02:53:29,000 --> 02:53:31,000 because you feel like you're not, you can't breathe. 2754 02:53:31,000 --> 02:53:33,000 In terms of her super regime look, 2755 02:53:33,000 --> 02:53:35,000 which was like a three piece prosthetic, 2756 02:53:35,000 --> 02:53:38,000 it was like a wraparound chin jaw, nose and a forehead, 2757 02:53:38,000 --> 02:53:40,000 and a lace front and some brows. 2758 02:53:40,000 --> 02:53:42,000 I think we put her in that three times. 2759 02:53:42,000 --> 02:53:44,000 We did her for the dance in her apartment. 2760 02:53:44,000 --> 02:53:46,000 There's the visual effect where she's swinging the cross 2761 02:53:46,000 --> 02:53:48,000 and she changes back and forth. 2762 02:53:48,000 --> 02:53:49,000 That was done in fantasy too. 2763 02:53:49,000 --> 02:53:52,000 Every time the crucifix came towards my face, 2764 02:53:52,000 --> 02:53:55,000 my face would morph into more vampire features 2765 02:53:55,000 --> 02:53:58,000 and they wanted it to feel that it was from the inside out. 2766 02:53:58,000 --> 02:54:02,000 And then when the cross swung away like a pendulum, 2767 02:54:02,000 --> 02:54:04,000 my face would go back to normal. 2768 02:54:04,000 --> 02:54:05,000 They had to build the mass. 2769 02:54:05,000 --> 02:54:09,000 Like a motion control rig where they had her like seated in a piece 2770 02:54:09,000 --> 02:54:11,000 that held her head steady and all that. 2771 02:54:11,000 --> 02:54:13,000 They had to use this stuff that smelled like gasoline 2772 02:54:13,000 --> 02:54:15,000 to get the prosthetic make-up off. 2773 02:54:15,000 --> 02:54:18,000 And it was the end of the day everyone was tired 2774 02:54:18,000 --> 02:54:23,000 and I would give the make-up artist a hundred dollar bill 2775 02:54:23,000 --> 02:54:28,000 to go slowly because it felt like it was being ripped, ripped, ripped, ripped. 2776 02:54:28,000 --> 02:54:31,000 And he can't just rip it off. 2777 02:54:31,000 --> 02:54:34,000 I've worked with a lot of guys that it's not their favorite thing to do, 2778 02:54:34,000 --> 02:54:36,000 but at least they're like, that's what I'm here for. 2779 02:54:36,000 --> 02:54:37,000 So let's do it. 2780 02:54:37,000 --> 02:54:39,000 And with her again, it was only three times. 2781 02:54:39,000 --> 02:54:42,000 So, you know, it wasn't, I don't think it was that big of a deal. 2782 02:54:42,000 --> 02:54:45,000 Working with prosthetic make-up is a challenge 2783 02:54:45,000 --> 02:54:47,000 and I swore to never do it again. 2784 02:54:47,000 --> 02:54:49,000 That was the last film that I did it. 2785 02:54:49,000 --> 02:54:52,000 The only other make-up we did on her at the end of the show 2786 02:54:52,000 --> 02:54:55,000 when she gets hit with the sunlight, in pre-production, 2787 02:54:55,000 --> 02:54:57,000 we were told we didn't need any prosthetics for her. 2788 02:54:57,000 --> 02:54:59,000 We get there on set and they're like, 2789 02:54:59,000 --> 02:55:01,000 maybe we want some blistered flesh. 2790 02:55:01,000 --> 02:55:05,000 So, Jim McLaughlin and Aaron Sims were helping me on set at that point. 2791 02:55:05,000 --> 02:55:08,000 And so Jim and I did a little gelatin business, 2792 02:55:08,000 --> 02:55:11,000 just gel effects, build up on her hands and her face. 2793 02:55:11,000 --> 02:55:14,000 There's a senior at the end when he's trying to stake her gene 2794 02:55:14,000 --> 02:55:16,000 and she opens her eyes. 2795 02:55:16,000 --> 02:55:19,000 She kind of hypnotizes him and his eyes glow red. 2796 02:55:19,000 --> 02:55:21,000 I was just done with the animation. 2797 02:55:21,000 --> 02:55:23,000 It's the couple little red eye glows. 2798 02:55:23,000 --> 02:55:26,000 Ah! 2799 02:55:26,000 --> 02:55:29,000 Mmm! 2800 02:55:29,000 --> 02:55:33,000 Mmm! 2801 02:55:33,000 --> 02:55:36,000 Up to that point, it seems like all the holy water stuff was more, 2802 02:55:36,000 --> 02:55:37,000 like acid burns. 2803 02:55:37,000 --> 02:55:41,000 And I wanted more of like swollen blistery type stuff. 2804 02:55:41,000 --> 02:55:43,000 So at least I wanted it to be a little different. 2805 02:55:43,000 --> 02:55:46,000 The two-piece makeup is the one part of the face. 2806 02:55:46,000 --> 02:55:49,000 It's all screwed up and then the aftermath of the throat splitting. 2807 02:55:49,000 --> 02:55:52,000 I also built the dummy head that we used in Fantasy II 2808 02:55:52,000 --> 02:55:55,000 and insert post-production for the actual shots of the water. 2809 02:55:55,000 --> 02:55:56,000 Hitting him in the mouth. 2810 02:55:56,000 --> 02:55:59,000 We applied the makeup to the actor, did a life cast, 2811 02:55:59,000 --> 02:56:01,000 and then a dummy head from that. 2812 02:56:01,000 --> 02:56:04,000 That we pumped the trichlorothane into the foam. 2813 02:56:04,000 --> 02:56:07,000 So it's a chemical that attacks foam latex and causes it to swell. 2814 02:56:07,000 --> 02:56:10,000 So we had that pumping in the cheeks and the throat. 2815 02:56:10,000 --> 02:56:13,000 The throat of the puppet had like little barn doors that could open 2816 02:56:13,000 --> 02:56:15,000 for all the water to come out. 2817 02:56:15,000 --> 02:56:19,000 And I think we had blood tubes in there for where the splits were. 2818 02:56:19,000 --> 02:56:21,000 And it was like a pet and shoulders pumping. 2819 02:56:21,000 --> 02:56:23,000 There were six of us, you know, a couple of us puppeteering 2820 02:56:23,000 --> 02:56:25,000 and the guys pumping fluids. 2821 02:56:25,000 --> 02:56:28,000 The holy water starts burning and the smoke comes off his face. 2822 02:56:28,000 --> 02:56:30,000 So that was done similar to the fire. 2823 02:56:30,000 --> 02:56:35,000 It was, they shot just a smoke element against black and matted that. 2824 02:56:35,000 --> 02:56:37,000 I finally had to kind of step in with the camera angles, 2825 02:56:37,000 --> 02:56:38,000 like the first time they shot it. 2826 02:56:38,000 --> 02:56:40,000 Everything else in that sequence is shot like this. 2827 02:56:40,000 --> 02:56:43,000 And then when they shoot the puppet, they're like the camera for some reason 2828 02:56:43,000 --> 02:56:46,000 was like down on the level, like looking up at it. 2829 02:56:46,000 --> 02:56:48,000 And then they get the daily's back and they're like, 2830 02:56:48,000 --> 02:56:49,000 it doesn't look like the actor. 2831 02:56:49,000 --> 02:56:51,000 It's like looking up his nose. 2832 02:56:51,000 --> 02:56:53,000 He had kind of receding hairline. 2833 02:56:53,000 --> 02:56:55,000 And you know, from that angle, he looked like it was bald. 2834 02:56:55,000 --> 02:56:57,000 And I was like, why aren't we shooting it up? 2835 02:56:57,000 --> 02:57:02,000 You know, so once they moved up there, then it matched, you know, much better. 2836 02:57:02,000 --> 02:57:03,000 That's cool. 2837 02:57:03,000 --> 02:57:05,000 I don't like him either. 2838 02:57:05,000 --> 02:57:09,000 I don't know how to see the finish face. 2839 02:57:09,000 --> 02:57:12,000 And thinking, I don't know what this is. 2840 02:57:12,000 --> 02:57:13,000 I can't tell. 2841 02:57:13,000 --> 02:57:14,000 It's supposed to be a wolf. 2842 02:57:14,000 --> 02:57:16,891 I mean, I remember the character for me, you 2843 02:57:16,903 --> 02:57:20,000 know, was not what I thought it was going to be. 2844 02:57:20,000 --> 02:57:23,000 I remember thinking, this is an interesting concept. 2845 02:57:23,000 --> 02:57:27,000 I thought the guy was going to look more like like the big bad wolf. 2846 02:57:27,000 --> 02:57:32,000 Because I always thought the film was as much comedy as it was horror. 2847 02:57:32,000 --> 02:57:35,000 There was a transformation you never saw. 2848 02:57:35,000 --> 02:57:37,000 Because eventually that cut out of the picture. 2849 02:57:37,000 --> 02:57:43,000 I never thought really was great because it didn't have any punch. 2850 02:57:43,000 --> 02:57:49,000 But it was, the gag was already over when the werewolf climbs up the building, 2851 02:57:49,000 --> 02:57:51,891 he's peaking in and then she goes and closes 2852 02:57:51,903 --> 02:57:55,000 the window and chops off his nails and he falls. 2853 02:57:55,000 --> 02:57:57,000 And that's the gag. 2854 02:57:57,000 --> 02:58:00,108 There was a transformation of him transforming back 2855 02:58:00,120 --> 02:58:03,000 to the human form and eventually he got cut out. 2856 02:58:03,000 --> 02:58:06,000 Where the werewolf falls to his death in the fountain. 2857 02:58:06,000 --> 02:58:12,000 They had some coverage on the location with stuntman in the werewolf suit jumping off. 2858 02:58:12,000 --> 02:58:16,000 But they needed an overhead shot looking straight down at the fountain. 2859 02:58:16,000 --> 02:58:19,000 And so we did a blue screen with the werewolf. 2860 02:58:19,000 --> 02:58:24,000 It just happened that Gene Warren was a stuntman himself. 2861 02:58:24,000 --> 02:58:26,000 Then he was a championship diver. 2862 02:58:26,000 --> 02:58:29,000 He had to fall face down flat. 2863 02:58:29,000 --> 02:58:31,000 And do that. 2864 02:58:31,000 --> 02:58:33,000 You couldn't do this. 2865 02:58:33,000 --> 02:58:35,000 He insisted on doing that stunt himself. 2866 02:58:35,000 --> 02:58:40,000 So Greg Canem put him in the werewolf suit and they set up a big giant airbag. 2867 02:58:40,000 --> 02:58:43,000 It was probably about a 30 or 40 foot jump. 2868 02:58:43,000 --> 02:58:47,000 And everyone was scared to death but he was going to break his neck or something. 2869 02:58:47,000 --> 02:58:49,000 People he had, they could only do that. 2870 02:58:49,000 --> 02:58:51,000 And well you got to start doing that way up. 2871 02:58:51,000 --> 02:58:56,000 So you wouldn't get this long fall face down like that and then turn like that. 2872 02:58:56,000 --> 02:58:59,000 Took a diver or a tumbler to be able to do that. 2873 02:58:59,000 --> 02:59:00,000 Well I could do that. 2874 02:59:00,000 --> 02:59:02,000 So he let me do it. 2875 02:59:02,000 --> 02:59:04,000 And we set it up and we did it. 2876 02:59:04,000 --> 02:59:07,000 Since I wanted to be a stuntman originally it was like, not I was happy. 2877 02:59:07,000 --> 02:59:09,000 I'm happy now. 2878 02:59:09,000 --> 02:59:11,000 Nobody else really knew it. 2879 02:59:11,000 --> 02:59:12,000 But I did. 2880 02:59:12,000 --> 02:59:15,131 I just said, well you know I obviously if you're going 2881 02:59:15,143 --> 02:59:18,000 to get a vampire you got to get them in the heart. 2882 02:59:18,000 --> 02:59:22,000 So I just said, how about if I just say, oh my dude. 2883 02:59:22,000 --> 02:59:23,000 And he was like, that's it. 2884 02:59:23,000 --> 02:59:24,000 Just say it. 2885 02:59:24,000 --> 02:59:28,000 So I land in the water and look up and go, oh my. 2886 02:59:28,000 --> 02:59:36,000 To prepare for the bugs that come out, we had to load the chambers of the supply. 2887 02:59:40,000 --> 02:59:44,000 So it was a big fake belly that they had the slits in. 2888 02:59:44,000 --> 02:59:48,079 And luckily the smart maker of the appliance 2889 02:59:48,091 --> 02:59:52,000 laid a entire latex skin on top of my skin. 2890 02:59:54,000 --> 02:59:57,000 So the bugs didn't have to stay in there and scratch around. 2891 02:59:57,000 --> 02:59:59,807 If you put a maggot in a confined type 2892 02:59:59,819 --> 03:00:03,000 latex space they start going crazy in there. 2893 03:00:03,000 --> 03:00:05,000 So they do pack these things in there. 2894 03:00:05,000 --> 03:00:07,000 And I have to stay hunched over like this. 2895 03:00:07,000 --> 03:00:09,000 How many maggots were in that freaking appliance? 2896 03:00:09,000 --> 03:00:10,000 Dozens. 2897 03:00:10,000 --> 03:00:13,000 Probably wasn't 100 but it was dozens. 2898 03:00:13,000 --> 03:00:16,000 So I'm whole because that holds the gaps together. 2899 03:00:16,000 --> 03:00:18,000 When I did this they would open up. 2900 03:00:18,000 --> 03:00:20,000 And so I had to stay like this. 2901 03:00:20,000 --> 03:00:24,000 And I had dozens of maggots doing this in there. 2902 03:00:24,000 --> 03:00:28,029 And while we're waiting to roll the muscles, the 2903 03:00:28,041 --> 03:00:32,000 exterior muscles of my stomach started to spasm. 2904 03:00:34,000 --> 03:00:37,455 Not from having to hold the area but it was somehow 2905 03:00:37,467 --> 03:00:41,000 the maggots made them electrical charge or something. 2906 03:00:41,000 --> 03:00:47,000 But it was just the oddest, strangest muscle twitching that has ever gone on. 2907 03:00:47,000 --> 03:00:52,000 And I don't know if it was some mental thing from feeling them being in there. 2908 03:00:52,000 --> 03:00:54,000 There was some actual transfer. 2909 03:00:54,000 --> 03:00:57,000 But luckily we got it done with one take. 2910 03:00:57,000 --> 03:01:01,000 We had made some hands for Bell when he rips Bosworth's stomach open. 2911 03:01:01,000 --> 03:01:02,917 They were rigid plastic hands with razor 2912 03:01:02,929 --> 03:01:05,000 blades in the nails to cut the stomach open. 2913 03:01:05,000 --> 03:01:08,000 So I borrowed some hand casts from Rick Baker. 2914 03:01:08,000 --> 03:01:11,000 So those are Rick Baker's hands that we stab him in the stomach with. 2915 03:01:11,000 --> 03:01:15,000 There's a rule in Hollywood that you never act with children and animals. 2916 03:01:15,000 --> 03:01:18,000 And when you have animals you have to have animal wranglers. 2917 03:01:18,000 --> 03:01:22,000 I guess you have child wranglers here but they're called parents and teachers. 2918 03:01:22,000 --> 03:01:27,000 When you act with bugs, you have bug. 2919 03:01:27,000 --> 03:01:30,000 I think it was called bug wrangler on the call sheet. 2920 03:01:30,000 --> 03:01:37,000 He was a guy that probably had hygiene similar to the insects. 2921 03:01:37,000 --> 03:01:40,000 You know, not exactly knowing where the next shower was. 2922 03:01:40,000 --> 03:01:46,000 Facial hair indiscriminately growing in odd places. 2923 03:01:46,000 --> 03:01:48,000 We're going to try somebody on this bluerid. 2924 03:01:48,000 --> 03:01:52,021 But no, he was somebody that you looked at and knew that his 2925 03:01:52,033 --> 03:01:56,000 social skills were not going to get em voted most congenial. 2926 03:01:58,000 --> 03:02:03,000 One morning we arrived and the beetle, the one with a sharpie driven on it. 2927 03:02:03,000 --> 03:02:08,000 He obviously had spent the night on the film set from the night before. 2928 03:02:08,000 --> 03:02:11,000 He's asleep in this beetle. 2929 03:02:11,000 --> 03:02:12,000 He's back there. 2930 03:02:12,000 --> 03:02:16,000 And right here is a box full of cockroaches. 2931 03:02:16,000 --> 03:02:20,000 Right here is this little clear plastic tear full of maggots. 2932 03:02:20,000 --> 03:02:27,000 And he's just like sleeping away with all these insects around his head. 2933 03:02:27,000 --> 03:02:30,000 We did Bell's meltdown at the end and melt. 2934 03:02:30,000 --> 03:02:34,000 So that was like a wax skull with a gelatin skin that we cast up. 2935 03:02:34,000 --> 03:02:38,000 It was done in an oven, threw a piece of glass, turned the oven on. 2936 03:02:38,000 --> 03:02:40,488 It was like 15 second exposures and then the shutter 2937 03:02:40,500 --> 03:02:43,000 would be closed just for like a fraction of a second. 2938 03:02:43,000 --> 03:02:46,000 And then it would do another 15 second exposure. 2939 03:02:46,000 --> 03:02:49,000 So everything kind of flowed down. 2940 03:02:49,000 --> 03:02:52,000 And then we had to do something like that. 2941 03:02:52,000 --> 03:02:54,988 And that's why you get that jumpy kind of pixelated 2942 03:02:55,000 --> 03:02:58,000 look because half your action the shutter is closed. 2943 03:02:58,000 --> 03:03:02,000 But by gene keeping it open and just closing the shutter for such a short time, 2944 03:03:02,000 --> 03:03:04,314 then everything looked more organic and 2945 03:03:04,326 --> 03:03:07,000 almost looks like an oil painting or something 2946 03:03:07,000 --> 03:03:09,000 the way everything is just melting. 2947 03:03:09,000 --> 03:03:13,000 Very similar to what we did in the past, but it was like a real thing. 2948 03:03:13,000 --> 03:03:15,000 It was like a real thing. 2949 03:03:15,000 --> 03:03:17,000 It was like a real thing. 2950 03:03:17,000 --> 03:03:21,000 It almost looks like an oil painting or something, the way everything is melting. 2951 03:03:21,000 --> 03:03:26,000 Very similar to how the wilting flowers wilted and grapeseed were drakula, 2952 03:03:26,000 --> 03:03:28,000 which we ended up doing later. 2953 03:03:28,000 --> 03:03:31,000 So when Roman asked us, oh, we've done that. 2954 03:03:31,000 --> 03:03:35,000 We would come and turn into the bat. 2955 03:03:35,000 --> 03:03:39,000 We did have some conceptual artwork from the production on that, 2956 03:03:39,000 --> 03:03:41,000 which we took liberties with. 2957 03:03:41,000 --> 03:03:44,000 The main thing that we used from that, it had kind of a, 2958 03:03:44,000 --> 03:03:47,000 well, they described as a carapace on its back, which I was always like, 2959 03:03:47,000 --> 03:03:51,000 when it's turning into a bat, why's it got a shell on its back? 2960 03:03:51,000 --> 03:03:53,544 But to placate and we did that, but we had to 2961 03:03:53,556 --> 03:03:56,000 modify the front to look like our bat puppet 2962 03:03:56,000 --> 03:04:00,000 and build sturgeon to the initial sculpting on that and then Brian Wade 2963 03:04:00,000 --> 03:04:04,000 did the bulk of the finishing and then I jumped in a little bit on that as well. 2964 03:04:04,000 --> 03:04:07,000 And a lot of these over the head mask type characters like this, 2965 03:04:07,000 --> 03:04:09,655 they'd have like the teeth and stuff, but they'd always 2966 03:04:09,667 --> 03:04:12,000 have like a black cloth in the back of the mouth, 2967 03:04:12,000 --> 03:04:14,545 which if they open the mouth wrong, then you 2968 03:04:14,557 --> 03:04:17,000 just, there wasn't much depth in the mouth. 2969 03:04:17,000 --> 03:04:20,000 So the main thing I wanted was that was to open her mouth that you could see, 2970 03:04:20,000 --> 03:04:21,522 like down her throat, so we actually came up 2971 03:04:21,534 --> 03:04:23,000 with a way to have the teeth on the outside 2972 03:04:23,000 --> 03:04:27,000 and then attached to dentures that clipped over her teeth. 2973 03:04:27,000 --> 03:04:31,000 So when her mouth was open, you were seeing like literally down her throat, 2974 03:04:31,000 --> 03:04:34,072 her lower teeth were hidden by the tongue and the mask 2975 03:04:34,084 --> 03:04:37,000 that was also like on dentures that clipped on that. 2976 03:04:37,000 --> 03:04:40,000 We had done a film where Catherine Bigelow called in your dark. 2977 03:04:40,000 --> 03:04:44,000 And at the end of that film, the vampires burst in the flame. 2978 03:04:44,000 --> 03:04:47,000 They had filmed them with the costume smoking and stuff. 2979 03:04:47,000 --> 03:04:49,000 It wasn't usually exciting enough. 2980 03:04:49,000 --> 03:04:52,000 So Gene Warren came up with this idea. 2981 03:04:52,000 --> 03:04:55,000 They would take a dummy and they would match the position of the actor. 2982 03:04:55,000 --> 03:04:58,000 They would study how it moved and then they would puppeteer this dummy. 2983 03:04:58,000 --> 03:05:00,000 We would do a mock-up of her walking. 2984 03:05:00,000 --> 03:05:05,000 It would be maybe a torso and we'd do it on black and we would put the fire on black 2985 03:05:05,000 --> 03:05:08,000 and they'd recreate it as it's moving towards us to give the fire some motion. 2986 03:05:08,000 --> 03:05:12,000 And then the arm would move up and we would take a fake arm all in black, 2987 03:05:12,000 --> 03:05:15,000 let's strings and we'd raise it. 2988 03:05:15,000 --> 03:05:17,000 And then the fire would travel with her arm. 2989 03:05:17,000 --> 03:05:22,000 So we would recreate her body motions, but in sections for the fire, 2990 03:05:22,000 --> 03:05:27,000 so you can individually roto and optical for that piece to fit. 2991 03:05:27,000 --> 03:05:31,000 So nothing as a whole would go off beat. 2992 03:05:31,000 --> 03:05:36,000 We would recreate those setups, same lens, same distance away from the character. 2993 03:05:36,000 --> 03:05:38,935 And it worked so well on near dark that we did the same 2994 03:05:38,947 --> 03:05:42,000 thing on fright night with the corpse person in the flame. 2995 03:05:42,000 --> 03:05:46,000 The sad part with that makeup was that very little of it ended up in the film. 2996 03:05:46,000 --> 03:05:50,000 Like all the promotional stuff and it looks really cool and I was very pleased with it. 2997 03:05:50,000 --> 03:05:52,000 I actually sculpted the head for that. 2998 03:05:52,000 --> 03:05:55,000 Then it got a lot of optical flames put over it by Fantasy II, 2999 03:05:55,000 --> 03:05:57,000 which looked cool that was always the plan. 3000 03:05:57,000 --> 03:06:00,049 But I think just in the editing and the sequence, 3001 03:06:00,061 --> 03:06:03,000 maybe it wasn't as exciting as they were hoping. 3002 03:06:03,000 --> 03:06:08,000 So they kept adding more flame, thinking like that would make it, you know, 3003 03:06:08,000 --> 03:06:13,000 like a raging inferno and maybe make it a little more intense. 3004 03:06:13,000 --> 03:06:15,604 And unfortunately, just obscuring a lot more 3005 03:06:15,616 --> 03:06:18,000 of the makeup than I was hoping it would. 3006 03:06:18,000 --> 03:06:21,000 I thought it worked out fine, but just I remember there were some, 3007 03:06:21,000 --> 03:06:24,000 there was like a cool head and shoulder shot of her, 3008 03:06:24,000 --> 03:06:25,595 kind of writhing that they just put a little 3009 03:06:25,607 --> 03:06:27,000 bit of fire on that looked really nice. 3010 03:06:27,000 --> 03:06:30,000 And then that ended up being cut for whatever reason. 3011 03:06:30,000 --> 03:06:33,000 And I was like crap, you know, there was our one good hero shot. 3012 03:06:33,000 --> 03:06:36,000 But it was overall a great experience. 3013 03:06:36,000 --> 03:06:39,000 Very happy with the work that my team and I did. 3014 03:06:39,000 --> 03:06:42,000 The whole elevator sequence was all miniature. 3015 03:06:42,000 --> 03:06:47,000 And I think that was probably about quarter scale, I want to say, 3016 03:06:47,000 --> 03:06:50,048 because then they would have been shooting like 96 3017 03:06:50,060 --> 03:06:53,000 frames a second to maintain the illusion of size. 3018 03:06:53,000 --> 03:06:54,000 That was a fairly big miniature. 3019 03:06:54,000 --> 03:06:57,000 I think it was about 20 or 30 feet tall of this for the whole shaft. 3020 03:06:57,000 --> 03:07:00,000 I think they shot that out in the parking lot because they had this, 3021 03:07:00,000 --> 03:07:05,000 the Jovisco's will set off a fireball at the end that climbed up the shaft. 3022 03:07:05,000 --> 03:07:09,000 And I'm pretty sure they didn't do that stage because it catched the place on fire. 3023 03:07:09,000 --> 03:07:13,030 I remember having a Xenon, a 10k Xenon that hit 3024 03:07:13,042 --> 03:07:17,000 this mirror and let all the way down the shaft. 3025 03:07:17,000 --> 03:07:20,000 And I think that shaft was off to the extended. 3026 03:07:20,000 --> 03:07:21,000 That was a full body foam suit. 3027 03:07:21,000 --> 03:07:22,000 We actually hit the zippers. 3028 03:07:22,000 --> 03:07:25,000 I hit zippers up the back so we hit the zippers in the shoulders. 3029 03:07:25,000 --> 03:07:29,000 So when you unzipped it, it was the neck of it was big enough to get her in. 3030 03:07:29,000 --> 03:07:33,000 Then we'd zip it up, put the mask, blend it off and covered that. 3031 03:07:33,000 --> 03:07:35,000 She was in it for like 18 hours. 3032 03:07:35,000 --> 03:07:37,000 Unfortunately she had to go to the bathroom, 17 hours into it. 3033 03:07:37,000 --> 03:07:40,000 So there's probably a photo of me cutting a hole in the crotch somewhere. 3034 03:07:40,000 --> 03:07:47,000 They hired a woman who had a similar body type to mind, but about 80 pounds lighter. 3035 03:07:47,000 --> 03:07:51,000 And they hired a musician who is named Diana Cancer. 3036 03:07:51,000 --> 03:07:54,000 Dying of cancer, somehow that had an appeal. 3037 03:07:54,000 --> 03:07:59,000 Nonetheless, this skin and bones girl was now wearing this weird vampire outfit. 3038 03:07:59,000 --> 03:08:03,000 And what a name for being so thin. 3039 03:08:03,000 --> 03:08:07,000 And that was so that she could be in the suit at the end. 3040 03:08:07,000 --> 03:08:08,000 That was very skeletal. 3041 03:08:08,000 --> 03:08:13,000 She's a lead singer from 45 grave that did party time and returned to living dead. 3042 03:08:13,000 --> 03:08:17,000 And she was like 95 pounds or something very thin. 3043 03:08:17,000 --> 03:08:21,000 So she was perfect for doing a skeleton corpse on. 3044 03:08:21,000 --> 03:08:26,000 If music be the food of love, play on. 3045 03:08:26,000 --> 03:08:28,000 Give me excess. 3046 03:08:34,000 --> 03:08:41,000 No movie masterpiece would be fit to grace the big screen without a score to match. 3047 03:08:41,000 --> 03:08:49,000 And this was left in the capable hands of Fright Night veteran Brad Fidel. 3048 03:08:55,000 --> 03:08:58,000 Every fan out there knows how important music is. 3049 03:08:58,000 --> 03:09:03,000 All you have to do is watch a movie without it to know what. 3050 03:09:03,000 --> 03:09:08,000 What losers most of our pieces of work are without a great score. 3051 03:09:08,000 --> 03:09:11,894 Fright Night had a great score and so one would have to be a 3052 03:09:11,906 --> 03:09:16,000 fool not to pick up the phone and call Brad Fidel for the sequel. 3053 03:09:19,000 --> 03:09:22,000 And that is what we did. 3054 03:09:22,000 --> 03:09:26,308 And Brad picked up the phone and called Ross Levinson 3055 03:09:26,320 --> 03:09:30,000 for a rehash of that fabulous electric violin. 3056 03:09:31,000 --> 03:09:34,000 For Fright Night 2, we got to record it with lyrics. 3057 03:09:34,000 --> 03:09:35,966 Fright Night soundtrack I put it on with my 3058 03:09:35,978 --> 03:09:38,000 vocal because it didn't get to be in the film. 3059 03:09:38,000 --> 03:09:40,000 I figured at least it's on the CD. 3060 03:09:40,000 --> 03:09:44,000 Then we got a really good singer, Deborah Holland, to do the vocal on it. 3061 03:09:44,000 --> 03:09:45,000 And that was fun. 3062 03:09:45,000 --> 03:09:50,000 I loved hearing a woman sing in and because Fright Night 2, the vampire was a woman. 3063 03:09:50,000 --> 03:09:52,000 So it made total sense. 3064 03:09:52,000 --> 03:09:56,000 Deborah Holland, I want her name recognized because she did such a good job. 3065 03:09:56,000 --> 03:09:59,000 What great stuff it was. 3066 03:09:59,000 --> 03:10:03,098 I supported the movie brilliantly and I'll be forever grateful to Brad and 3067 03:10:03,110 --> 03:10:07,000 the entire team that went along with him for coming up with that stuff. 3068 03:10:10,000 --> 03:10:12,000 It just made all our jobs easier. 3069 03:10:12,000 --> 03:10:17,000 In those years, as far as technology, things were changing very fast. 3070 03:10:17,000 --> 03:10:22,000 So what was available to me in my studio, the tools that I had were different. 3071 03:10:22,000 --> 03:10:25,453 I think that inherently made the score different 3072 03:10:25,465 --> 03:10:29,000 just in terms of the actual quality of the sounds. 3073 03:10:29,000 --> 03:10:34,000 The frequency response, the textures of the sounds were more full range. 3074 03:10:34,000 --> 03:10:38,121 So with this score and its sequel and with Terminator and its 3075 03:10:38,133 --> 03:10:42,000 sequel, there was kind of an opening up of the soundscape. 3076 03:10:43,000 --> 03:10:45,988 There was a more kind of, I don't want to say warmth because 3077 03:10:46,000 --> 03:10:49,000 I think the original Fright Night had a lot of warmth in it. 3078 03:10:49,000 --> 03:10:52,045 But anyway, there was just, there were more tools. So 3079 03:10:52,057 --> 03:10:55,000 I think the scores got a little richer in the sense. 3080 03:10:55,000 --> 03:11:00,000 That is just a winner of a score, the unmistakable sound. 3081 03:11:00,000 --> 03:11:02,190 We added on to that since we were doing a particularly 3082 03:11:02,214 --> 03:11:03,988 artistic kind of backdrop with performance 3083 03:11:04,000 --> 03:11:06,009 pieces and dance numbers and kind of trying to add 3084 03:11:06,033 --> 03:11:08,000 something of our own in the way of originality. 3085 03:11:16,000 --> 03:11:19,962 I haven't listened to the score for the sequel in a long time. I don't have 3086 03:11:19,974 --> 03:11:24,000 a sense of that film and that score being quite as memorable as the original. 3087 03:11:30,000 --> 03:11:37,000 I felt like the second film was a little more scary, scary than the first. 3088 03:11:37,000 --> 03:11:38,982 And of course that affected how I approached 3089 03:11:39,006 --> 03:11:40,988 the score. And it just because the original 3090 03:11:41,000 --> 03:11:42,988 was my first time maybe and it's kind of an 3091 03:11:43,012 --> 03:11:45,000 interesting challenge to sustain on a sequel. 3092 03:11:50,000 --> 03:11:58,000 Finally released in 1988 and grew saying nearly $3 million. 3093 03:11:58,000 --> 03:12:02,317 Fright Night Parts 2 would initially receive 3094 03:12:02,329 --> 03:12:06,000 some not so positive and mixed reviews. 3095 03:12:08,000 --> 03:12:11,802 However, it was not the on-screen horror 3096 03:12:11,814 --> 03:12:16,000 that was to steal the limelight at this time. 3097 03:12:18,000 --> 03:12:19,994 It was murder and betrayal most foul that would 3098 03:12:20,018 --> 03:12:21,924 prove to be the legacy of the Fright Night 3099 03:12:21,936 --> 03:12:23,783 Worlds and would become the excuse the panel 3100 03:12:23,807 --> 03:12:26,000 final nail in the release of Fright Night Part 2. 3101 03:12:46,000 --> 03:12:49,988 Finally this movie was done thanks to Hercules and efforts by 3102 03:12:50,000 --> 03:12:54,000 a lot of people, not the least of Fumus, J-Casady, the editor. 3103 03:12:54,000 --> 03:12:58,018 And we were ready to roll and getting it all set for its big debut. 3104 03:12:58,030 --> 03:13:02,000 This was on film and so we were going to have a theatrical release. 3105 03:13:02,000 --> 03:13:06,440 Herb Jaffee had made a deal with Jose Menendez for distribution 3106 03:13:06,452 --> 03:13:10,000 and subsequent video distribution and all the rest. 3107 03:13:13,000 --> 03:13:17,603 Roddy and I had a meeting with Mr. Menendez. 3108 03:13:17,615 --> 03:13:21,000 Roddy was particularly skeptical. 3109 03:13:23,000 --> 03:13:25,460 He wanted to make sure this got distributed 3110 03:13:25,472 --> 03:13:28,000 right and not to lost in the shuffle somehow. 3111 03:13:28,000 --> 03:13:31,988 So he grilled Menendez over lunch with some good detailed questions 3112 03:13:32,000 --> 03:13:36,000 which was very bracing for me because it's a corner of the business. 3113 03:13:38,000 --> 03:13:39,938 I didn't have too much knowledge about it at the time. 3114 03:13:39,950 --> 03:13:42,006 Roddy was really putting him through the paces and making 3115 03:13:42,018 --> 03:13:44,015 sure that he was going to treat this movie right and put 3116 03:13:44,027 --> 03:13:46,000 it right out there up front and get the proper release. 3117 03:13:53,000 --> 03:13:56,857 And so I went home feeling pretty good about where we were 3118 03:13:56,869 --> 03:14:01,000 headed and lo and behold I awoke next morning to the headlines. 3119 03:14:04,000 --> 03:14:07,000 Number one in Southern California. 3120 03:14:07,000 --> 03:14:08,988 Peace and looking for Modep tonight and the murders 3121 03:14:09,000 --> 03:14:11,000 of a prominent show business executive and his wife. 3122 03:14:11,000 --> 03:14:15,186 They were found just before midnight last night shot 3123 03:14:15,198 --> 03:14:19,000 to death and their exclusive Beverly Hills home. 3124 03:14:19,000 --> 03:14:22,905 Jose Menendez and his wife murdered Shotgun to 3125 03:14:22,917 --> 03:14:27,000 death and their two sons were the prime suspects. 3126 03:14:28,000 --> 03:14:32,109 My phone rang. It was Roddy. Didn't even introduce 3127 03:14:32,121 --> 03:14:36,000 himself just said, well I didn't do it. Did you? 3128 03:14:36,000 --> 03:14:38,414 No one really knows what happened there. There's 3129 03:14:38,426 --> 03:14:41,000 certain, you know, there was a trial and everything. 3130 03:14:41,000 --> 03:14:44,228 But he was a Latino studio head and who knows whether 3131 03:14:44,240 --> 03:14:47,000 he was guilty of what his sons claimed he did. 3132 03:14:47,000 --> 03:14:49,033 It's not a pleasant story. But that fell through. 3133 03:14:49,045 --> 03:14:51,091 Unfortunately the release got screwed up. I don't 3134 03:14:51,103 --> 03:14:52,958 know all the particulars but the company that 3135 03:14:52,970 --> 03:14:55,000 was releasing the film had some kind of problems. 3136 03:14:57,000 --> 03:15:00,920 And I think it only played in two theaters nationally. So 3137 03:15:00,932 --> 03:15:05,000 that screwed up the distribution just, you know, completely. 3138 03:15:07,000 --> 03:15:11,131 Now I guess they were all in chaos. The Menendez brothers 3139 03:15:11,143 --> 03:15:15,000 killed Fright Night part two as well as their parents. 3140 03:15:16,000 --> 03:15:18,309 It didn't get a release. It was a very 3141 03:15:18,321 --> 03:15:21,000 frustrating process that happened after that. 3142 03:15:21,000 --> 03:15:25,240 It was a one man operation and that man was very suddenly, 3143 03:15:25,252 --> 03:15:29,000 very finally dead. Eric, Lyle, you fucking assholes. 3144 03:15:32,000 --> 03:15:36,000 That's what I think of you. He killed my movie. 3145 03:15:36,000 --> 03:15:38,597 And you must have projections for down the road 3146 03:15:38,609 --> 03:15:41,000 what you're expecting to make at some point. 3147 03:15:41,000 --> 03:15:44,000 Do we think 1989 will be a tremendous year? 3148 03:15:52,000 --> 03:15:55,869 Despite the tragic murder of Carol Co. Pictures, 3149 03:15:55,881 --> 03:16:00,000 Chairman Jose Menendez and the poor release figures, 3150 03:16:03,000 --> 03:16:06,915 Fright Night two like a fine wine matured into a cult 3151 03:16:06,927 --> 03:16:11,000 classic as much loved today as the original incarnation. 3152 03:16:14,000 --> 03:16:18,240 Over the years both films gained the credit they deserved. 3153 03:16:18,252 --> 03:16:22,000 And today are much sought after on DVD and Blue Bay. 3154 03:16:30,000 --> 03:16:34,051 I think it opened in LA in New York for like a week or something 3155 03:16:34,063 --> 03:16:38,000 just to satisfy, you know, whatever obligations they had there. 3156 03:16:38,000 --> 03:16:41,057 I mean, this is when summer blockbusters, you know, we're kind of, 3157 03:16:41,069 --> 03:16:44,000 that was the target and we just couldn't even compete with that. 3158 03:16:44,000 --> 03:16:46,853 They were going for a real subset of the movie going 3159 03:16:46,865 --> 03:16:50,000 populist as opposed to, you know, something big, big, big. 3160 03:16:50,000 --> 03:16:53,000 And I think it probably suffered because of that. 3161 03:16:53,000 --> 03:16:56,460 There hadn't been a lot of press about it. So I was a little 3162 03:16:56,472 --> 03:17:00,000 disappointed. I felt like it was going to kind of peed around. 3163 03:17:00,000 --> 03:17:03,373 But it made really strong per-screen average. It opened in 3164 03:17:03,385 --> 03:17:07,000 many theaters. And it was, in those days the numbers were good. 3165 03:17:07,000 --> 03:17:11,000 It was like over $6,000 per screen average if I remember correctly. 3166 03:17:11,000 --> 03:17:14,000 I was really pleased with how this film turned out. 3167 03:17:14,000 --> 03:17:19,000 That Christmas time, Tommy Leewell, it's I guess, sent mugs to everybody in mine. 3168 03:17:19,000 --> 03:17:22,434 He's got a many thanks Tommy Lee on the back. But it says, just 3169 03:17:22,446 --> 03:17:26,000 say no. I understand was from a line that I had in 21 Jump Street. 3170 03:17:26,000 --> 03:17:28,128 It's what I believe. I've never known because 3171 03:17:28,140 --> 03:17:30,000 I've never seen Tommy Lee Wallace again. 3172 03:17:30,000 --> 03:17:32,073 So I hope he sees this and reaches out to me and 3173 03:17:32,085 --> 03:17:34,000 lets me know that that's exactly what it was. 3174 03:17:34,000 --> 03:17:37,000 And if it wasn't, then I'd like to know what his mind was at. 3175 03:17:37,000 --> 03:17:42,000 Nonetheless, I still have this relic. This will soon be on eBay for $1,000. 3176 03:17:42,000 --> 03:17:45,000 I love Tommy Lee Wallace and I love the cast. 3177 03:17:45,000 --> 03:17:48,457 But they didn't have the same level of money. You know, 3178 03:17:48,469 --> 03:17:52,000 they didn't have the support from the studio at the time. 3179 03:17:52,000 --> 03:17:55,157 You know, and at that moment in time also back 3180 03:17:55,169 --> 03:17:58,000 in the, I guess it was late 80s, 87 or 88. 3181 03:17:58,000 --> 03:18:03,000 They thought of sequels as making as a way to cash in on the success of the first one. 3182 03:18:03,000 --> 03:18:08,000 You'd have an opening weekend and that was it. So really they starved the sequels. 3183 03:18:08,000 --> 03:18:13,000 There's a two-sided compliment to the term cult classic. 3184 03:18:13,000 --> 03:18:17,021 I think what that means is that it was somewhat neglected at 3185 03:18:17,033 --> 03:18:21,000 some point and fans themselves found a way to keep it alive. 3186 03:18:23,000 --> 03:18:28,000 With Fright Night Part 2, I think it probably is simply because it never got exposed. 3187 03:18:28,000 --> 03:18:32,066 It really didn't get exposed much at all. It didn't 3188 03:18:32,078 --> 03:18:36,000 get a proper relief and that's an opera in itself. 3189 03:18:36,000 --> 03:18:39,988 It's built that kind of reputation over the first. So I don't think 3190 03:18:40,000 --> 03:18:44,000 it was as good as the first one, but you know, most pictures aren't. 3191 03:18:45,000 --> 03:18:49,000 But I think it was a lot better than most people thought. 3192 03:18:49,000 --> 03:18:51,955 Everybody's asking why isn't there a release 3193 03:18:51,967 --> 03:18:55,000 on DVD of Fright Night Part 2. I wish there was. 3194 03:18:55,000 --> 03:18:57,572 It'd be nice if they released it anyway. It'd 3195 03:18:57,584 --> 03:19:00,000 be nice to walk through, you know, Tarsier. 3196 03:19:00,000 --> 03:19:04,000 See, Fright Night Part 2, I might even buy it. 3197 03:19:04,000 --> 03:19:07,000 My motto has always been, I don't write them, I just like them. 3198 03:19:07,000 --> 03:19:09,891 And what we lit and what I framed and what I 3199 03:19:09,903 --> 03:19:13,000 shot has never been seen other than in theaters. 3200 03:19:13,000 --> 03:19:15,049 It would be vital if this film and the legacy 3201 03:19:15,061 --> 03:19:16,943 of it is to ever continue and to become a 3202 03:19:16,955 --> 03:19:18,899 classic beyond just a narrow margin of cult 3203 03:19:18,911 --> 03:19:21,000 classic to have a legitimate blue ray release. 3204 03:19:27,000 --> 03:19:30,000 And it's an original aspect ratio. 3205 03:19:30,000 --> 03:19:34,178 Struck from a decent, you know, negative and hopefully with some cool behind 3206 03:19:34,190 --> 03:19:38,000 the scenes commentary from Tommy and, you know, Greg and I or whoever. 3207 03:19:39,000 --> 03:19:43,000 Call up people. Let's beat the bushes and see if we can get something going. 3208 03:19:43,000 --> 03:19:46,930 When the clamor for the next installment of the Peter Vincent story 3209 03:19:46,942 --> 03:19:51,000 became too loud to ignore, it seemed a new adventure was on the cards. 3210 03:19:55,000 --> 03:19:59,000 Roddy was setting up and we were going to do a Fright Night 3. 3211 03:19:59,000 --> 03:20:02,861 Carolco said in the rights, they went bankrupt. The rights were bought by a 3212 03:20:02,873 --> 03:20:07,000 company in Naples, Florida, that does nothing except by the rights to properties. 3213 03:20:07,000 --> 03:20:09,839 And then they resell, like it's number of years 3214 03:20:09,851 --> 03:20:13,000 later, it's a holding company for patents, basically. 3215 03:20:13,000 --> 03:20:16,000 And that's where DreamWorks got the right to remake Fright Night. 3216 03:20:16,000 --> 03:20:20,019 And I felt like that they didn't really know where to go with a 3217 03:20:20,031 --> 03:20:24,000 story that wouldn't just sort of be repeating the same formula. 3218 03:20:24,000 --> 03:20:27,605 I sort of toyed with writing a story for Fright Night 3 where 3219 03:20:27,617 --> 03:20:31,000 Charlie has grown up and he works at an insurance company. 3220 03:20:31,000 --> 03:20:35,000 He tries to do the best job he can, but he's pretty scarred from it. 3221 03:20:35,000 --> 03:20:37,882 And he's had marital problems and family 3222 03:20:37,894 --> 03:20:41,000 problems. And then he finds a familiar face. 3223 03:20:41,000 --> 03:20:45,084 He sees a vampire. Turns out that the vampire who is Chris, and 3224 03:20:45,096 --> 03:20:49,000 he has to join forces to fight another more malevolent group. 3225 03:20:49,000 --> 03:20:54,000 For the species of the vampire which I touched on before. 3226 03:20:54,000 --> 03:20:57,000 I thought it was kind of interesting, it was a fun treat. 3227 03:20:57,000 --> 03:21:05,000 Like every film of its generation, a remake of Fright Night would be inevitable. 3228 03:21:09,000 --> 03:21:13,545 How could anyone match the story, characters 3229 03:21:13,557 --> 03:21:17,000 and effects of the original movie? 3230 03:21:20,000 --> 03:21:24,158 Fright Night the remake would be released in 2011 3231 03:21:24,170 --> 03:21:28,000 to moderates critical and box office success. 3232 03:21:33,000 --> 03:21:36,887 I can't say I was surprised really. There are certain characters that need a 3233 03:21:36,899 --> 03:21:38,737 sense of flair and mystique so often 3234 03:21:38,749 --> 03:21:41,000 lacking in the younger generation of actors. 3235 03:21:51,000 --> 03:21:58,000 When I was in my peak, there were parts I played that just couldn't be. 3236 03:21:59,000 --> 03:22:05,000 I was like, I'm not a bad actor living. 3237 03:22:05,000 --> 03:22:08,937 Nobody ever called me from Dreamworks. Nobody ever contacted me. Nobody ever 3238 03:22:08,949 --> 03:22:11,216 called me. Nobody invited me to a screening. 3239 03:22:11,228 --> 03:22:13,000 Nobody invited me to the premiere. 3240 03:22:14,000 --> 03:22:17,562 I don't think that's unusual in Hollywood. John Carpenter says the same 3241 03:22:17,574 --> 03:22:21,000 thing. But all of his movies take the money and run and they'll live. 3242 03:22:21,000 --> 03:22:22,876 I think it's a great idea to have come full circle now to 3243 03:22:22,888 --> 03:22:24,972 where the new millennium, pretty much all are biggest successes 3244 03:22:24,984 --> 03:22:26,980 from that period are all being remade by other people without 3245 03:22:26,992 --> 03:22:29,000 our involvement or even being asked to be involved with them. 3246 03:22:36,000 --> 03:22:39,909 From one angle it's kind of sad and then at the same time it's flattering 3247 03:22:39,921 --> 03:22:44,000 that people have taken that stuff to run out of ideas. Let's remake that one. 3248 03:22:45,000 --> 03:22:49,058 I had floated through my manager or somebody that maybe a 3249 03:22:49,070 --> 03:22:53,000 cameo and it would be fun but it was never materialized. 3250 03:22:54,000 --> 03:22:57,904 The remake certainly helped get the name of the original out there. I 3251 03:22:57,916 --> 03:23:02,000 thought it was a terribly competent movie. Everybody on it was excellent. 3252 03:23:02,000 --> 03:23:05,463 The writing, the acting, the directing. But they could have named it 3253 03:23:05,475 --> 03:23:09,000 something else. And it would have just fine as in their vampire movie. 3254 03:23:09,000 --> 03:23:14,000 Because it certainly had nothing to do with Fright Night, the original. 3255 03:23:14,000 --> 03:23:15,899 The remake quote-unquote that came out fairly 3256 03:23:15,911 --> 03:23:17,905 recently in the last couple of years was by the 3257 03:23:17,917 --> 03:23:19,926 director and the producer thought very much as a 3258 03:23:19,938 --> 03:23:22,000 reimagining of the original rather than a remake. 3259 03:23:30,000 --> 03:23:32,488 And one of the reasons why they had asked if 3260 03:23:32,500 --> 03:23:35,000 I wanted to somehow be involved in the movie. 3261 03:23:35,000 --> 03:23:38,133 Someone enthusiastic, I wanted to read the script and they said, 3262 03:23:38,145 --> 03:23:41,000 look, just read the script and tell us what you want to do. 3263 03:23:41,000 --> 03:23:44,572 And one of the reasons why I was very enthusiastic about it was 3264 03:23:44,584 --> 03:23:48,000 first of all because they were all huge fans of the original. 3265 03:23:48,000 --> 03:23:52,284 My first day on the set, Colin Farrell came to my trailer 3266 03:23:52,296 --> 03:23:56,000 very nervous with a bottle of very extensive wine. 3267 03:24:00,000 --> 03:24:03,957 And a box set of the Carl Dreyer vampire that he just gave to me 3268 03:24:03,969 --> 03:24:08,000 and said, I can't tell you how thrilled I am that you're involved. 3269 03:24:10,000 --> 03:24:13,725 I watched that movie when I was a kid 50 times with my sister. 3270 03:24:13,737 --> 03:24:17,000 I'm nervous about playing Jerry because of your legacy. 3271 03:24:17,000 --> 03:24:20,286 But I hope that you're happy that we're doing it and I'm 3272 03:24:20,298 --> 03:24:24,000 thrilled that you're here. I mean, you couldn't have been nicer. 3273 03:24:24,000 --> 03:24:27,091 There was a more comedic element to the original than there 3274 03:24:27,103 --> 03:24:30,000 was in the other horror films that I had been weened on. 3275 03:24:30,000 --> 03:24:33,935 And I've probably seen it about 50 or 60 times since over the years 20 to 3276 03:24:33,947 --> 03:24:38,000 60. That's a big window but somewhere between 20 to 60 times over the years. 3277 03:24:39,000 --> 03:24:43,227 So I was kind of loath to respond favorably to this material, 3278 03:24:43,239 --> 03:24:47,000 to this script, to the idea of the reimagination of it. 3279 03:24:49,000 --> 03:24:51,597 And I liked it and I was very disappointed that 3280 03:24:51,609 --> 03:24:54,000 I liked it so much when I read this version. 3281 03:24:54,000 --> 03:24:57,988 What has made Fright night last is the heart and the humor and the charm. It isn't 3282 03:24:58,000 --> 03:25:02,000 the violence. I mean, the effects, yes, definitely because the effects are amazing. 3283 03:25:05,000 --> 03:25:09,036 But it isn't copious amounts of blood. It isn't meanness. There are scares in their 3284 03:25:09,048 --> 03:25:13,000 screens. It is more like a fun house ride than it is like torture porn. It is not. 3285 03:25:18,000 --> 03:25:19,939 It's a million miles away. And you know, and 3286 03:25:19,951 --> 03:25:21,901 I looked at the poor actors in the renec and 3287 03:25:21,913 --> 03:25:23,966 they're terrific. And I felt so sorry for Colin 3288 03:25:23,978 --> 03:25:26,000 Farrell because they give him nothing to play. 3289 03:25:30,000 --> 03:25:33,539 I mean, because somebody said and you just know that they did, let's 3290 03:25:33,551 --> 03:25:37,000 take the vampire from 30 days of night and put him in Fright Night. 3291 03:25:37,000 --> 03:25:39,087 Other than the names, you know, it was kind of its own story. I mean, 3292 03:25:39,099 --> 03:25:41,048 it touched on similarities, you know. And I actually, I read the 3293 03:25:41,060 --> 03:25:43,018 script and I actually liked the idea that was tied to the housing 3294 03:25:43,030 --> 03:25:45,000 bust, you know, because these old neighborhoods were going empty. 3295 03:25:52,000 --> 03:25:55,054 And, you know, people were just disappearing and you know, you assume 3296 03:25:55,066 --> 03:25:58,000 it's an economic reason, but it's actually more sinister than that. 3297 03:25:58,000 --> 03:26:01,000 I thought that was kind of nice, nice idea. 3298 03:26:01,000 --> 03:26:04,846 I don't think it had much relationship to the first film. You know, 3299 03:26:04,858 --> 03:26:09,000 Colin Farrell was dynamic. He's supposedly a big fan of Fright Night one. 3300 03:26:09,000 --> 03:26:11,581 The fact that Chris Randon made an appearance that just 3301 03:26:11,593 --> 03:26:14,000 made me laugh out loud when I saw it at the theater. 3302 03:26:14,000 --> 03:26:17,919 Haven't we been here before? You know, it was just going 3303 03:26:17,931 --> 03:26:22,000 through the same thing that happened once that really well. 3304 03:26:24,000 --> 03:26:27,910 And, you know, I'm sure it's a good little movie, 3305 03:26:27,922 --> 03:26:32,000 but you know, you can't improve on what's been done. 3306 03:26:36,000 --> 03:26:38,655 So I hate to use the word, but perfectly called 3307 03:26:38,667 --> 03:26:41,000 a Billy Rage. And I said, let's go see it. 3308 03:26:41,000 --> 03:26:44,960 So let's go have lunch and then go see it. So okay, so we met for lunch 3309 03:26:44,972 --> 03:26:49,000 and then we went to the theater and we were the only ones in the theater. 3310 03:26:49,000 --> 03:26:52,432 So I thought, well, I may not be going over too well, but we 3311 03:26:52,444 --> 03:26:56,000 watched it. And you know, there's some really good stuff in it. 3312 03:26:56,000 --> 03:26:58,894 Again, I think all of the actors in overtrigger, I love Colin 3313 03:26:58,906 --> 03:27:02,000 Farrell. I'm a huge Colin Farrell fan. I want to meet him someday. 3314 03:27:02,000 --> 03:27:05,954 It was fun to see Chris, you know, doing his little cameo 3315 03:27:05,966 --> 03:27:10,000 in it. It was very entertaining. We stood up and applauded. 3316 03:27:10,000 --> 03:27:13,957 I think there were three people in the audience, but that's two 3317 03:27:13,969 --> 03:27:18,000 thirds of an audience standing up and applauding. So that's good. 3318 03:27:18,000 --> 03:27:22,153 So I thought, wouldn't it be fun if I'm one of the people that 3319 03:27:22,165 --> 03:27:26,000 Jerry kills, rather than playing a character in the movie? 3320 03:27:27,000 --> 03:27:31,195 What if the present Jerry devours the past Jerry and thereby 3321 03:27:31,207 --> 03:27:35,000 exercises him from his, from everybody's consciousness? 3322 03:27:38,000 --> 03:27:40,063 And so I said, yeah, let me play the guy who 3323 03:27:40,075 --> 03:27:42,057 drives up to them on the highway and Jerry 3324 03:27:42,069 --> 03:27:46,000 ultimately kills his progenitor, you know, his grandfather or his father or whatever. 3325 03:27:48,000 --> 03:27:49,825 Billy and I buy ourselves in the theater 3326 03:27:49,837 --> 03:27:52,033 screaming at the top of our lungs, we saw Chris, 3327 03:27:52,045 --> 03:27:53,899 you know, just hooting and hollering, you 3328 03:27:53,911 --> 03:27:56,000 know, and that of course is a highlight to us. 3329 03:28:00,000 --> 03:28:04,087 After 30 years, Fright Night has spawned novelizations, video 3330 03:28:04,099 --> 03:28:08,000 games, models, a successful comic book series and a remake. 3331 03:28:24,000 --> 03:28:27,946 You're so cool, Brewster. And it still remains 3332 03:28:27,958 --> 03:28:32,000 as popular today as it did on its first release. 3333 03:28:34,000 --> 03:28:38,089 The story of Fright Night has touched the hearts of millions 3334 03:28:38,101 --> 03:28:42,000 of fans and it's legacy like the cold dark spawn of Satan. 3335 03:28:50,000 --> 03:28:56,000 Refuses to stay dead. 3336 03:28:56,000 --> 03:29:01,000 There's a major legacy it seems around Fright Night. It's fascinating. 3337 03:29:01,000 --> 03:29:07,000 It's bigger now than it was then, which is, you know, strange but really, really nice. 3338 03:29:07,000 --> 03:29:10,103 There's a kid, there's a young person in high school. 3339 03:29:10,115 --> 03:29:13,000 If you were in the horror, you were, you were odd. 3340 03:29:13,000 --> 03:29:17,088 And somehow that has really changed. And now you have the convention circuit. You 3341 03:29:17,100 --> 03:29:21,000 have collectibles, screen used props have suddenly become very, very valuable. 3342 03:29:28,000 --> 03:29:35,000 Fan art is just going nuts. Social media has helped explode it. 3343 03:29:35,000 --> 03:29:37,014 I think Fright Night is really endured because 3344 03:29:37,026 --> 03:29:38,966 there was something for everybody. You know, 3345 03:29:38,978 --> 03:29:40,934 it worked on a lot of different levels that a 3346 03:29:40,946 --> 03:29:43,000 lot of horror flicks just are kind of one note. 3347 03:29:45,000 --> 03:29:48,466 You know what's going to happen, but I think there was a lot of sparkle to the 3348 03:29:48,478 --> 03:29:52,000 film. I think it's the characters that live on it. That's what people relate to. 3349 03:29:52,000 --> 03:29:55,000 It's got a certain timeless quality that really holds up. 3350 03:29:55,000 --> 03:29:59,213 People look back to those years and you know, have a very warm and squishy 3351 03:29:59,225 --> 03:30:03,000 feeling about those oozy, goosey effects, all that stuff pulsating. 3352 03:30:04,000 --> 03:30:08,000 And it was a great time and visual effects, and especially in special effects make up. 3353 03:30:08,000 --> 03:30:09,917 I have, you know, young crew members come up 3354 03:30:09,929 --> 03:30:11,816 and say that, you know, I shot one of their 3355 03:30:11,828 --> 03:30:13,902 favorite films. It's really quite rewarding. And 3356 03:30:13,914 --> 03:30:16,000 amazing to me is that it transcends generations. 3357 03:30:18,000 --> 03:30:22,000 It's memorable because it has its own identity. 3358 03:30:22,000 --> 03:30:24,061 It is a phenomenon that there are people still discovering 3359 03:30:24,073 --> 03:30:25,935 the movie and that's very gratifying. It's kind of a 3360 03:30:25,947 --> 03:30:27,997 dubious honor, but better these movies get recognized late 3361 03:30:28,009 --> 03:30:30,000 than not be recognized at all. So I'm grateful for that. 3362 03:30:35,000 --> 03:30:38,961 It's nice to see that, you know, so many hundreds of thousands of people 3363 03:30:38,973 --> 03:30:43,000 over the world think the same thing by bringing it back a year after year. 3364 03:30:43,000 --> 03:30:44,982 To sit around today, 30 years later, and still 3365 03:30:44,994 --> 03:30:47,073 be getting hundreds of thousands of emails every 3366 03:30:47,085 --> 03:30:49,136 week. You know, I don't think I could be happier 3367 03:30:49,148 --> 03:30:51,000 with a film that we were with Fright Night. 3368 03:30:52,000 --> 03:30:54,488 I would be riding on the subway in New York, and 3369 03:30:54,500 --> 03:30:57,000 suddenly I get somebody to turn and go like this. 3370 03:30:57,000 --> 03:30:58,899 And I knew it was from Fright night. It was a 3371 03:30:58,911 --> 03:31:00,946 thing about your bad, you're the man, you're the 3372 03:31:00,958 --> 03:31:02,926 dude. And from women, the reaction was in a way 3373 03:31:02,938 --> 03:31:05,000 very much the opposite, which was kind of dreamy. 3374 03:31:19,000 --> 03:31:22,282 Oh God, you're the guy who did the dance in the 3375 03:31:22,294 --> 03:31:26,000 movie, and I got that dancing. It's my favorite scene. 3376 03:31:26,000 --> 03:31:27,963 I would purposefully not get on the train when kids 3377 03:31:27,975 --> 03:31:29,912 were getting out of school because I remember, you 3378 03:31:29,924 --> 03:31:31,874 know, they would get on and recognize me and they'd 3379 03:31:31,886 --> 03:31:34,000 say, oh my God, that's the guy from Fright Night is he. 3380 03:31:38,000 --> 03:31:42,000 And there was a do that laugh, do that laugh. And I'm like, holy shit. 3381 03:31:42,000 --> 03:31:46,019 I feel very fortunate. I've had a pretty lucky time in Hollywood 3382 03:31:46,031 --> 03:31:50,000 land, and a lot of it had to do with the making of Fright night. 3383 03:31:56,000 --> 03:31:58,533 You know, I keep thinking that, you know, one day people 3384 03:31:58,545 --> 03:32:01,000 forget about it, but it's the fact that's the opposite. 3385 03:32:01,000 --> 03:32:03,072 I, you know, make appearances and go to conventions 3386 03:32:03,084 --> 03:32:04,847 and things like that. And people, you know, 3387 03:32:04,859 --> 03:32:06,878 introduce me to their four-year-old, five-year-old 3388 03:32:06,890 --> 03:32:09,000 child who'd seen the movie, you know, a dozen times. 3389 03:32:13,000 --> 03:32:16,798 It's made a print in the cinema world, and long after we're 3390 03:32:16,810 --> 03:32:21,000 going, it'll still be here, and I'm very proud to be a part of it. 3391 03:32:24,000 --> 03:32:27,705 You know, this is a very rare and extraordinary 3392 03:32:27,729 --> 03:32:32,000 part of my life, that I will carry with me forever. 3393 03:32:33,000 --> 03:32:34,831 I'm very happy to have been a part of it. I wish 3394 03:32:34,843 --> 03:32:36,875 Roddy was here because he would love it, and I'm very 3395 03:32:36,887 --> 03:32:38,894 grateful to still be in touch with everybody from the 3396 03:32:38,906 --> 03:32:41,000 film and, you know, to still be friends 30 years later. 3397 03:32:44,000 --> 03:32:48,000 It's pretty cool. I mean, I feel like this is my second family. 3398 03:32:49,000 --> 03:32:52,963 The fans that come up to me are so sincere. They're so...they love something. 3399 03:32:52,975 --> 03:32:57,000 They actually love it, you know, and it means something to them in their lives. 3400 03:33:00,000 --> 03:33:04,000 I never thought that was going to happen. I don't think anyone's did. 3401 03:33:04,000 --> 03:33:08,048 Here I am, low these many years later, still reaping the rewards of 3402 03:33:08,060 --> 03:33:12,000 meeting new people and experiencing their experiences of the film. 3403 03:33:15,000 --> 03:33:21,000 That one moment in time has been preserved now for generations yet to come. 3404 03:33:22,000 --> 03:33:25,963 Fright Night is my gift to the world of horror fans, and I've under this direct 3405 03:33:25,975 --> 03:33:30,000 camera. I want to thank all of you so much. I mean, it's just been lovely to me. 3406 03:33:33,000 --> 03:33:37,059 And I really appreciate it, and everybody on Fright Night 3407 03:33:37,071 --> 03:33:41,000 thanks you, and God bless, and I wish you all the best. 3408 03:34:15,000 --> 03:34:22,000 So... 3409 03:34:22,000 --> 03:34:25,862 There it is. The story of Fright Night and the 3410 03:34:25,874 --> 03:34:30,000 cast and crew who made the magic happen on stage. 3411 03:34:36,000 --> 03:34:39,658 Remember, when you hear the screams of the night, 3412 03:34:39,670 --> 03:34:44,000 the...howls of the moonlight, the screeches of the vampire, 3413 03:34:58,000 --> 03:35:05,000 the great Peter Vincent will always be there to save the day. 3414 03:35:08,000 --> 03:35:11,918 So... sleep tight and fear not. But remember to keep an 3415 03:35:11,930 --> 03:35:16,000 eye on that new neighbour, and if he does come a knocking, 3416 03:35:23,000 --> 03:35:30,000 don't, whatever you do, invite him in. 3417 03:35:38,000 --> 03:35:41,000 Lovely. I'm... 3418 03:35:41,000 --> 03:35:47,000 I'll tell you what, I'm not going to tell you what I'm going to tell you. 3419 03:35:47,000 --> 03:35:50,000 Cut. 3420 03:36:18,000 --> 03:36:20,000 You're here. 3421 03:36:23,000 --> 03:36:28,000 Feel your skin. 3422 03:36:29,000 --> 03:36:35,000 So warm and so neat. 3423 03:36:36,000 --> 03:36:44,000 Let's see if you're home and I can't wait for you. 3424 03:36:47,000 --> 03:36:55,000 So warm and so sweet, I can't wait for you. 3425 03:37:02,000 --> 03:37:10,000 So warm and so sweet, I can't wait for you. 3426 03:37:11,000 --> 03:37:19,000 So sweet and so sweet, I can't wait for you. 3427 03:37:20,000 --> 03:37:28,000 So warm and so sweet, I can't wait for you. 3428 03:37:28,000 --> 03:37:36,000 So warm and so sweet, I can't wait for you. 3429 03:37:37,305 --> 03:38:37,155 Watch Online Movies and Series for FREE www.osdb.link/lm