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Downloaded from
YTS.MX
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Official YIFY movies site:
YTS.MX
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I'm Howie Deutch, the director
of Some Kind of Wonderful.
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Hi, I'm Lea Thompson.
I play Amanda Jones in the movie.
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I love this opening.
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- I think it's great.
- Thank you.
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I do.
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What is this music? It's so cool.
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This was a piece of music
that John Hughes found.
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At the beginning, we thought we were
just gonna use it for the temp track,
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but it played so well, we kept it.
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Just so cool.
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- Was this in the script like this?
- Yes.
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It was designed like this
in the script? I don't remember.
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- Yes. This is called Do Anything.
- The music? Do Anything.
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But I don't remember.
Was it written as a montage like this?
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Yes. This was written with Eric Stoltz
going down the tracks,
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playing chicken with the train,
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intercut with Mary Stuart
playing the drums.
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And Mary Stuart had to work
with those drums for a long time,
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couple of weeks. She wanted
to be able to really play them.
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Did Eric really do that
or was that a stuntman?
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- No, that was Eric.
- That makes sense.
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- We almost had a heart attack.
- That makes sense.
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These titles were designed
by a great title designer.
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I always loved his sense of balance.
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And the montage seemed
to really work at the opening.
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I hadn't really seen a montage
open a movie before,
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and that kind of gives you a nutshell
of what's happening pretty quick.
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I remember poor Eric had to wear
all that makeup and dye his hair
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so he didn't look like a redhead.
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He didn't like that much.
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And this is in San Pedro,
and this location was chosen
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so that at night we'd see the lights
from the oil refinery.
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Although we never
really saw much of that.
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This is the first scene I remember
where we got up to about 25 takes.
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Something went wrong.
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And also reminds me
that Eric's hair was shoulder-length
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when we first shot this scene.
We had to go back and reshoot it
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because Ned Tanen decided
after he saw it,
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rightfully, that he didn't
like his hair that long.
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And I hadn't told anybody
that his hair was that long
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because this was only my second movie
and I didn't really know
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everybody had to know
that his hair was that long.
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I mean, nobody had seen
Polaroids of him
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because I came back to the movie
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after another director
had been replaced by me.
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So, a lot of things that are normally
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checked and double-checked
weren't happening,
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and as a result, we had to
kind of reshoot about two days
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after we gave him his haircut,
and he wasn't happy about his haircut.
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You know, you got to remember
Eric Stoltz did a movie called Mask
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where his whole face was covered up,
and had a great time doing that.
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So, here I cut
his shoulder-length hair off,
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which was, you know, a little bit
like Samson, I think, to him,
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and he felt
a little naked, understandably.
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So we got off to a rocky start.
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Look how it doesn't even match
from those two shots.
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It's a completely different hairdo.
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She was a nice girl.
She's a good actress.
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This is Maddie Corman. I think we
found her in New York, originally.
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But she came in and it was
John Hughes loved her,
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and she just reminded me
of my sister and she nailed it.
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Just feels like she's not acting.
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The door, by the way,
I love that door,
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and that design was done
by Linda Spheeris
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who was the set decorator.
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So here we have
the first family scene...
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Which, by the way, Jan Kiesser,
I feel when I look at it now
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after all these years
and see the kind of lighting he did,
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but as you go...
As you look at Some Kind of Wonderful,
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you can see the kind of camera moves
and lighting
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that I think sets it apart
from the usual teen genre movie
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that someone like Jan Kiesser shot.
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But I think John Hughes,
in having this scene
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coming off the opening montage,
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it's a pretty interesting counterpoint
where you've seen him out in the world
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and seen a montage
of what he's dealing with
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and then you go back to this
kind of typical family conflict.
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It kind of is an interesting dichotomy
so early in the movie to me,
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having a look at it
now after all this time.
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Anyway, John Ashton, who we meet here,
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who, I think, managed to pull off
a great performance as Keith's dad,
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and the conflict and tension that
a lot of sons have with their fathers
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is set up right here.
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I'm always surprised I haven't seen
this movie too many times,
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but I've seen it recently.
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I showed our kids,
and it really holds up.
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The music holds up.
Even the outfits hold up,
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which is kind of weird
for a movie that's that old.
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Well, what holds up is this car,
which I always liked,
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because this MINI
is now a big car for BMW.
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But we had a lot of trouble
keeping this thing running.
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Now this shot, I remember,
30 takes before we could get it right.
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Marilyn Vance did a great job
on Mary Stuart's look
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with those red fringe gloves,
which John wrote.
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But, I mean, it all came together
when she executed that look.
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She put me in miniskirts and
cowboy boots, which is now back in.
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Look at the clothes.
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Now this shot, by the way,
if you watch, for that time,
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starting now is
a pretty elaborate dolly shot.
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At least, it was for this location.
We're not on a Steadicam.
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We just have track
going for about a half a mile.
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Did they even have
Steadicam back then?
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Yeah.
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Actually, it wasn't that shot.
I'm wrong. Sorry.
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That's Scott Coffey,
who was in love with Mary Stuart,
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and I thought was...
Made me laugh all the time.
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Here's Elias Koteas,
who actually plays Skinhead,
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and auditioned for John Hughes
for a different movie.
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And John called me
when we were casting.
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He said, "You got to see this guy."
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And the minute he walked in,
I knew. Oh, my God.
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John had, like,
found another unique kid.
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He was great in it, and I thought,
grounded in a comedic reality
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that was a very tough tightrope
to walk.
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Getting laughs and being real
at the same time is difficult.
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Plus, he was supposed
to kind of be the bad guy,
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and then he turns around,
which is another hard thing to do.
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And that's what a good actor can add.
"Sweetheart."
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Him doing that with Mary Stuart,
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that's all stuff
that Elias added to that.
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That's his own improv.
That's his own idea.
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And, you know, John and I
always encouraged actors
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to bring whatever they felt
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they wanted to try
to those kind of moments,
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and it gives it a life
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and the behavior becomes
something that,
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you know, is more like
what people really behave like,
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rather than just executing a scene.
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And here's Lea Thompson,
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who turned me down the first time
I tried to get her to do the movie,
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and I went back and begged.
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After Howard the Duck opened.
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And Eric seeing her,
sketching her because he's so...
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You know,
he's got such a terrible crush
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and he knows
he has no chance with her.
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So the conflict
is established right here
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with Craig Sheffer's character
and Eric.
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And I wouldn't have believed this guy
had a chance with her, either.
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And I related to Eric's character
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'cause I didn't think
I'd have a chance with her, either.
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So it helped me directorially
with Eric 'cause I felt like I was him
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because, in the end,
I ended up marrying Lea.
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But that was later.
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I thought it was funny
when we were shooting this school
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because Eric and I were about,
I don't know, 24,
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and the kids in the school,
all the extras back there,
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looked older than us.
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It was a weird sensation.
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It's interesting to me
how much people still like this movie
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and remember this movie
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when I'm wandering around
in the real world.
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Well, part of it is, I think,
it seemed like this is a genre
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which is about the classic conflict
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of what your parents want you
to do with your life
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and what you wanna do with your life
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and what would be
the right path to take.
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And this scene is really intended
to lay out the truth of that.
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And I don't think the stakes
can be any higher for a kid,
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because you gotta make
those kind of choices at that age.
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I mean, we're kind of going through it
with our own kid right now.
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And for John, that kind of moment
was fun for him coming...
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You know, doing a lot more drama
than he gets to do comedy.
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This was the kind of movie
he really enjoyed doing, John Ashton,
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and he's great at comedy.
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As he was in Beverly Hills Cop.
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And that is an actress
named Chynna Phillips, who...
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This was her first movie.
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She went on to become a pop star.
A very nice girl.
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Oh, my gosh. I look so young.
It's kind of scary.
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Craig was great.
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Craig Sheffer was really great
at playing this bad guy.
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He looks so evil.
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So, right here,
I think 99% of the world
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is rooting for her
to get away from this guy.
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But, I mean,
the idea that John introduces
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is that sometimes it's not so easy
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when you feel that you're being
helped and taken care of.
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And the unknown, Eric,
is a lot more scary,
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even though it's eventually, you know,
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something that works out for her
for the better.
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It was an amazing thing
the way John took
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teenagers' lives so seriously,
you know.
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It's an amazing thing.
And that's why these...
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I think his stories hold up
and endure over time
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because these characters are real
personal to him and they're real.
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They are not characters
he wrote for business,
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to make a script and make money.
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He did it because he needs
to write them. They live for him.
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When he writes them, I watched him.
He would laugh and cry as he wrote.
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This script went through
big changes, too.
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Yeah.
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From the first time
you offered it to me.
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I remember there were planes,
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and it was a completely
different movie. Remember?
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There was the planes
flying over the restaurant.
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I mean, the idea was kind of the same
about a perfect date.
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- And that love triangle, but...
- I always loved this line, by the way.
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"Don't go mistaking paradise
for a pair of long legs."
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Eric has an amazing face,
the way he was shot. Looks great.
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So this scene is important
because this lets us know
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that she really doesn't have
a home life, Mary Stuart,
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and she's alone, on her own,
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and that she can't accept
this Amanda Jones in his life,
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and she's about to do
whatever she has to do,
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sell him whatever bill of goods
she has to to make her go away.
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And class conflict also comes
into play right away in this scene,
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which is early in the movie,
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because she runs with the rich
and powerful, like Mary says.
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I remember scouting
for this gas station,
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and it took all the time
we had to scout to find it.
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Until finally I said,
"I can't find the right one.
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"I'm not gonna shoot
until we find something."
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And all of a sudden,
everybody found it,
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which was a lesson
I learned the hard way,
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that until you make it clear
to everyone as a director
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that something's not what you need
and you gotta...
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You can't go
until you find the right thing,
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they'll help you find it,
meaning, everyone you're working with.
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But you've got to let them know
what the stakes are,
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and not do it in a way,
I don't think, that antagonizes them,
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but makes it clear you can't just
accept something that's a compromise.
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You had that painting, that mural.
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Yeah, we painted
that mural on the back.
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And we had done something like that
in Pretty in Pink, too.
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But it never really
had the significance
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as the one in Pretty in Pink did,
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'cause it just served
as a background color here.
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I always thought
this was a hard scene for you, Lea,
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because you had to watch
her boyfriend be this obnoxious
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and not stop him,
and at the same time,
233
00:18:36,992 --> 00:18:40,454
let us know that you didn't agree
with what he was doing.
234
00:18:41,121 --> 00:18:42,456
It was a hard part,
'cause it was both...
235
00:18:42,706 --> 00:18:44,541
I had to do both things.
236
00:18:44,625 --> 00:18:47,920
Remain sympathetic
and yet be the bad guy
237
00:18:48,003 --> 00:18:51,840
because you're gonna be
rooting for Mary Stuart's character.
238
00:18:51,924 --> 00:18:55,052
Now, this moment was the first
big moment in the test screening,
239
00:18:55,135 --> 00:18:57,179
because when he
picked the dollar up...
240
00:18:57,471 --> 00:18:58,764
You'll see what he's gonna do.
241
00:19:00,891 --> 00:19:05,604
He reveals that he took the dipstick,
drops it in the can, and that's that.
242
00:19:05,687 --> 00:19:07,189
Well, I thought, "Okay."
243
00:19:07,314 --> 00:19:10,859
The audience cheered for,
like, 30 seconds,
244
00:19:10,943 --> 00:19:13,278
and I thought, "Oh, my God.
They're with this guy right away."
245
00:19:13,362 --> 00:19:16,990
They were already ready with this guy.
They liked him immediately.
246
00:19:17,115 --> 00:19:20,077
And that's the first clue,
you know, that you got a shot.
247
00:19:38,011 --> 00:19:40,013
And this is a great piece
of music right here.
248
00:19:40,389 --> 00:19:42,224
A cover of Amanda Jones.
249
00:19:44,977 --> 00:19:46,186
- You use it twice, right?
- Yeah.
250
00:19:46,270 --> 00:19:48,522
- You use the original Rolling Stones.
- We use the Rolling Stones.
251
00:19:48,605 --> 00:19:50,274
Yeah. They're in it later.
252
00:19:54,903 --> 00:19:58,115
I never really understood
why we did this shot this way.
253
00:19:58,574 --> 00:19:59,950
But it seemed to work.
254
00:20:02,119 --> 00:20:03,120
That does work.
255
00:20:52,920 --> 00:20:53,921
And just at this point,
256
00:20:54,004 --> 00:20:55,589
whenever there was
a changeover in the theater,
257
00:20:55,672 --> 00:20:59,468
'cause it was on film,
it would warp the music,
258
00:20:59,551 --> 00:21:01,970
and it used to drive me crazy
right here 'cause of the bass.
259
00:21:02,054 --> 00:21:03,680
Not important, but I'm remembering it.
260
00:21:19,571 --> 00:21:24,660
Catch My Fall is the name
of this dance mix.
261
00:21:31,750 --> 00:21:33,335
This is always tough for me, you know,
262
00:21:33,418 --> 00:21:37,089
this kind of scene where you get
these broad characters in detention.
263
00:21:37,172 --> 00:21:39,549
But you know what?
They were good, all these guys,
264
00:21:39,633 --> 00:21:43,512
and Elias Koteas was so much fun
to watch in this kind of a moment
265
00:21:43,595 --> 00:21:45,222
that it worked.
266
00:21:54,648 --> 00:21:56,316
This is a crazy scene.
267
00:21:56,608 --> 00:22:00,028
I always liked the way you grabbed
his tie and play with it here.
268
00:22:01,947 --> 00:22:03,240
You probably told me to.
269
00:22:03,323 --> 00:22:05,367
I think I did.
I think it's the first thing or time
270
00:22:05,450 --> 00:22:07,619
I had the courage to ask you,
to direct you.
271
00:22:27,305 --> 00:22:28,724
I wonder if that was in the script.
272
00:22:28,807 --> 00:22:30,851
- Yeah, that was in the script.
- Was he supposed to be bald?
273
00:22:30,934 --> 00:22:32,394
- You can remember, I can't.
- No.
274
00:22:32,477 --> 00:22:33,895
But as I was shooting, I went,
275
00:22:33,979 --> 00:22:36,606
"Oh, my God. I cast the wrong guy,
'cause he's bald."
276
00:22:36,690 --> 00:22:38,650
And then John said,
"It's funnier that way."
277
00:22:58,920 --> 00:23:00,380
Is that the refinery back there?
278
00:23:00,505 --> 00:23:01,923
Yeah, that's the refinery.
279
00:23:02,007 --> 00:23:05,510
And this set is the value of
someone like Jan Kiesser, the DP,
280
00:23:05,594 --> 00:23:07,262
because we didn't know
where to shoot it,
281
00:23:07,345 --> 00:23:12,059
and he just created and kind of
manufactured this setting.
282
00:23:12,768 --> 00:23:16,855
I remember he spotted the car there
and we dressed the back
283
00:23:17,022 --> 00:23:21,318
with the hubcaps and kind of
created it instantaneously that day
284
00:23:21,401 --> 00:23:22,819
because we were stuck. We had lost...
285
00:23:22,903 --> 00:23:25,781
We didn't lose the location,
but we changed the schedule,
286
00:23:25,864 --> 00:23:28,617
and we had to shoot this scene, and...
Anyway, not that important.
287
00:23:28,700 --> 00:23:31,369
But again, I'm remembering stuff
as I'm seeing it, and...
288
00:23:31,453 --> 00:23:32,579
The light's beautiful.
289
00:23:37,125 --> 00:23:38,835
I remember
this is an important moment.
290
00:24:00,065 --> 00:24:01,566
I mean, "Who have you
ever been in love with?"
291
00:24:01,650 --> 00:24:04,903
When he asks her,
completely evades the answer.
292
00:24:04,986 --> 00:24:07,489
But we're all... You know,
we know she's in love with him.
293
00:24:19,334 --> 00:24:20,752
I remember, when we were
doing this scene,
294
00:24:20,836 --> 00:24:24,131
I called John Hughes 'cause I was
so nervous without dialogue.
295
00:24:24,214 --> 00:24:26,091
And I thought,
"How is this thing gonna work?"
296
00:24:27,259 --> 00:24:30,053
And I was on a pay phone
and then he said to me...
297
00:24:30,137 --> 00:24:31,847
I remember this like it was yesterday.
298
00:24:31,930 --> 00:24:35,183
He said, "The sounds,
the sound of the knife,
299
00:24:35,267 --> 00:24:38,353
"the sound of the pencil sketching
by Eric, the contrast.
300
00:24:39,104 --> 00:24:40,564
"Try it." And he was right.
301
00:24:40,647 --> 00:24:43,066
And when we showed it,
the audience just loved it.
302
00:24:43,608 --> 00:24:44,609
It's great.
303
00:24:59,249 --> 00:25:03,211
I always liked this.
So did the editors like this.
304
00:25:04,171 --> 00:25:05,172
And...
305
00:25:05,255 --> 00:25:07,549
Everybody thinks this is, like,
the sexiest thing I've ever done.
306
00:25:07,632 --> 00:25:10,552
Yeah, people always posted this
on the walls
307
00:25:10,635 --> 00:25:13,221
and took frames of the picture
and blew them up.
308
00:25:13,305 --> 00:25:16,266
- I had a lot of clothes on.
- You look pretty good to me.
309
00:25:16,558 --> 00:25:21,730
So... But Mary Stuart's moment here,
of watching you...
310
00:25:22,480 --> 00:25:23,940
We spent a long time on this shot.
311
00:25:24,024 --> 00:25:26,651
I remember we did a lot of takes
up and down.
312
00:25:26,902 --> 00:25:27,903
Why?
313
00:25:29,654 --> 00:25:31,323
Maybe that's when everybody knew
you had a crush on me.
314
00:25:31,656 --> 00:25:33,325
I'm not gonna tell you that.
315
00:25:33,408 --> 00:25:38,038
Anyway, this moment for Mary
was always poignant to me.
316
00:25:45,378 --> 00:25:49,299
This is Laura Leigh Hughes,
who I think is an underrated actress.
317
00:25:49,382 --> 00:25:51,468
You see her in a lot of stuff now,
but at the time,
318
00:25:51,551 --> 00:25:52,844
she had not done that much.
319
00:26:11,071 --> 00:26:12,197
And then Mary...
320
00:26:12,614 --> 00:26:14,115
At one time,
we had her looking at herself
321
00:26:14,199 --> 00:26:15,533
even longer in the mirror, but...
322
00:26:19,621 --> 00:26:22,499
Well, she's really cute.
That was a hard thing to pull off.
323
00:26:22,582 --> 00:26:24,000
- Yeah.
- She was, you know...
324
00:26:24,417 --> 00:26:25,669
- Mary, you mean?
- Yeah.
325
00:26:25,752 --> 00:26:26,753
Yeah.
326
00:26:29,547 --> 00:26:31,341
I mean, it's a complicated...
327
00:26:31,424 --> 00:26:34,719
This is a piece of music called
I Go Crazy by Flesh for Lulu,
328
00:26:34,803 --> 00:26:38,431
which I still think should have been
a bigger success as a record,
329
00:26:38,515 --> 00:26:41,184
but we use it thematically
through the movie.
330
00:26:41,851 --> 00:26:43,812
And John found it.
It was an English group.
331
00:26:56,700 --> 00:26:58,118
I didn't like doing this scene.
332
00:27:18,638 --> 00:27:21,141
I thought Eric was kind
of delicious in this scene
333
00:27:21,224 --> 00:27:23,768
'cause he was so helpless.
334
00:27:25,020 --> 00:27:26,688
And you just didn't
want him to get hurt.
335
00:27:26,771 --> 00:27:29,274
And you wanted Amanda
to give him a break,
336
00:27:29,357 --> 00:27:30,525
even though she's upset.
337
00:27:56,634 --> 00:28:00,180
This is a big, pivotal
kind of moment, I think,
338
00:28:00,263 --> 00:28:01,973
because then your heart goes out,
339
00:28:02,307 --> 00:28:06,770
unless you're, like,
completely a thug to Mary Stuart here.
340
00:28:06,853 --> 00:28:08,980
And I thought, Lea,
you played it great.
341
00:28:16,696 --> 00:28:19,783
It's always weird to play
these kind of see-saw characters
342
00:28:19,866 --> 00:28:22,994
that you're supposed to like
but dislike at the same time.
343
00:28:23,078 --> 00:28:26,539
I remember being very jealous
of Mary Stuart 'cause that part was...
344
00:28:26,623 --> 00:28:27,916
- Right.
- So stacked.
345
00:28:28,083 --> 00:28:30,585
Right. Vulnerability is
built into her character,
346
00:28:30,668 --> 00:28:32,212
and you're a little bit
more of a heavy.
347
00:28:32,295 --> 00:28:35,673
But that's why you did
such a good job with that moment.
348
00:28:37,425 --> 00:28:39,594
This shot, I remember,
we had the camera
349
00:28:39,677 --> 00:28:41,679
built into the middle of the table,
which I had never done.
350
00:28:41,763 --> 00:28:45,308
It just went around to each face,
and I was doubtful it was gonna work.
351
00:28:45,392 --> 00:28:47,894
But now, looking at it,
I think it did.
352
00:29:07,831 --> 00:29:08,873
Eric's funny.
353
00:29:08,957 --> 00:29:13,294
As we were shooting this scene,
I got some faxed pages from John,
354
00:29:13,378 --> 00:29:16,172
who decided he wanted to
change some of the dialogue.
355
00:29:16,256 --> 00:29:19,634
So after shooting a couple hours,
we re-did the whole thing.
356
00:29:20,051 --> 00:29:21,970
And that's why it was always exciting
357
00:29:22,053 --> 00:29:24,848
and always really different
to work with John,
358
00:29:24,931 --> 00:29:27,100
because at any moment,
the scene could change.
359
00:29:27,183 --> 00:29:28,977
And if it did,
it was always for the better.
360
00:30:02,218 --> 00:30:04,888
And you can hear
Maddie Corman's dialogue.
361
00:30:05,722 --> 00:30:09,726
You know, which is... Nobody else
writes like that. "Human tater tot."
362
00:30:10,059 --> 00:30:13,438
"He's a man, for Christ's sake."
I mean, that's vintage John.
363
00:30:18,359 --> 00:30:21,654
Not amazingly easy
to pull off, either,
364
00:30:22,030 --> 00:30:23,281
these kind of lines.
365
00:30:23,573 --> 00:30:24,574
He did a great job.
366
00:30:24,657 --> 00:30:27,368
No, everybody made it seem like
that's how they speak.
367
00:30:42,425 --> 00:30:44,469
I always like pulling away
from a scene like this,
368
00:30:44,552 --> 00:30:46,554
like this craning away,
369
00:30:46,638 --> 00:30:49,098
which isn't easy in a living room
with a 10-foot ceiling.
370
00:30:51,893 --> 00:30:53,978
I love... This is my favorite line
in the whole movie.
371
00:30:54,604 --> 00:30:56,940
"This is what my girlfriend would
look like without skin." Yeah.
372
00:31:01,110 --> 00:31:02,695
"Double-breasted party machine."
373
00:31:12,747 --> 00:31:13,957
So they're getting friendly now.
374
00:31:14,040 --> 00:31:18,336
And you can see how a little bit of
foreshadowing of Ferris Bueller,
375
00:31:18,419 --> 00:31:21,381
a little even here,
as he starts to become a folk hero.
376
00:31:21,714 --> 00:31:25,760
Even among, you know,
the detention squad.
377
00:31:36,271 --> 00:31:37,522
This is Scott Coffey,
378
00:31:40,149 --> 00:31:42,235
who I wish I'd worked with more
'cause I...
379
00:31:42,986 --> 00:31:48,074
I think he's a director now.
But I think he's funny and unique.
380
00:31:54,247 --> 00:31:57,959
Yeah, he's a wonderful actor.
I worked with him a few times.
381
00:32:14,267 --> 00:32:15,602
That was great dialogue.
382
00:33:17,830 --> 00:33:19,791
I always liked this scene
because Scott asked him.
383
00:33:19,874 --> 00:33:21,334
He says to Mary Stuart,
384
00:33:21,417 --> 00:33:23,836
"You know, you could be
a girl like that if you wanted to."
385
00:33:24,671 --> 00:33:26,297
And, you know, it makes me look at her
386
00:33:26,381 --> 00:33:28,675
and think it was smart to
dye her hair.
387
00:33:28,758 --> 00:33:32,053
I thought the hair coloring
for her and this character
388
00:33:32,136 --> 00:33:36,015
was a smart decision,
because at that time it wasn't that...
389
00:33:36,224 --> 00:33:38,643
Didn't seem like you saw that
that often.
390
00:33:38,726 --> 00:33:41,145
It seemed pretty individual
to look at somebody like that.
391
00:33:53,282 --> 00:33:56,369
I guess what I'm saying is,
she seemed like she was the real deal.
392
00:33:56,452 --> 00:33:59,205
She was a street kid, had a punk look,
skater-punk look,
393
00:33:59,288 --> 00:34:02,333
and at the time,
that was pretty ahead of its time.
394
00:34:02,417 --> 00:34:05,503
I know, but people still dress
like that, which is what's crazy.
395
00:34:06,212 --> 00:34:08,089
Not like that,
with the bow in the hair, but...
396
00:34:31,279 --> 00:34:34,574
So this is a good peer pressure scene,
you know, which is vintage John,
397
00:34:34,657 --> 00:34:37,660
because now Lea's stuck
between a rock and a hard place.
398
00:34:46,085 --> 00:34:47,253
I mean, I directed the movie
399
00:34:47,336 --> 00:34:50,590
and I still listen to the scene and
go, "How does she get out of this?"
400
00:35:00,641 --> 00:35:02,685
What am I thinking? I don't know.
401
00:35:05,730 --> 00:35:07,857
No. The car doesn't work.
402
00:35:16,240 --> 00:35:19,076
Everybody I know
can relate to this car not starting.
403
00:35:24,081 --> 00:35:25,416
Or at least, I can relate to it.
404
00:35:25,583 --> 00:35:27,001
That's what John does so well,
405
00:35:27,168 --> 00:35:31,255
is, like, very simple things
in the way he constructs his stories.
406
00:35:32,507 --> 00:35:33,508
Right.
407
00:35:33,591 --> 00:35:35,218
They seem like
they're just simple things, but...
408
00:35:35,301 --> 00:35:37,553
- It's life and death, the stakes here.
- Yeah.
409
00:35:37,637 --> 00:35:40,807
Right now, if you're with this kid,
which people were in the audience,
410
00:35:40,890 --> 00:35:42,475
it's like they're dying for him.
411
00:36:06,666 --> 00:36:08,835
It's funny.
When you're doing it, it doesn't...
412
00:36:09,544 --> 00:36:10,962
You know, it doesn't feel as...
413
00:36:11,337 --> 00:36:13,756
I guess, 'cause we were adults,
you know, already.
414
00:36:13,965 --> 00:36:17,426
But when you watch it, it gets,
you know... I don't know.
415
00:36:17,510 --> 00:36:18,928
When you're doing it,
it doesn't feel like
416
00:36:19,011 --> 00:36:20,221
the stakes are as high as they are.
417
00:36:20,847 --> 00:36:22,139
That sounds really stupid.
418
00:36:22,223 --> 00:36:24,475
Well, that's how you know
the movie's working.
419
00:36:51,210 --> 00:36:54,797
I always had a personal
meltdown about that line.
420
00:36:54,881 --> 00:36:57,341
Why would he notice the earrings
in the back of the Jeep
421
00:36:57,425 --> 00:36:58,801
with everything he's going through?
422
00:36:58,885 --> 00:37:01,304
And I used to say to John,
"Why? What? How?"
423
00:37:01,387 --> 00:37:03,973
And John would say, "Would you relax?
It's gonna work. It's fine.
424
00:37:04,056 --> 00:37:05,725
"He noticed the earrings."
And he was right.
425
00:37:05,808 --> 00:37:08,728
But these are the kind of things
that would make me go crazy.
426
00:37:08,811 --> 00:37:12,440
I'd spend, you know, nights up about,
"Well, how can I justify that
427
00:37:12,523 --> 00:37:14,609
"he'd recognize the earrings
in this moment?"
428
00:37:14,692 --> 00:37:16,527
It's always like that. There are
always little, tiny things...
429
00:37:16,611 --> 00:37:18,613
Because the earrings became
a very big deal in the movie...
430
00:37:18,696 --> 00:37:20,364
- ...you obsess about.
- ...eventually.
431
00:37:30,833 --> 00:37:33,669
It's funny how those diamond earrings
are status symbols now.
432
00:37:33,753 --> 00:37:35,463
Still, it's a big deal.
433
00:37:35,546 --> 00:37:40,384
So there's the refinery
in the background for this location,
434
00:37:40,468 --> 00:37:44,096
which we see, like, just about that
one time or maybe another time,
435
00:37:44,180 --> 00:37:47,767
just to get a sense of, you know,
the difference in the neighborhood
436
00:37:47,850 --> 00:37:49,685
between where Eric lives
437
00:37:49,769 --> 00:37:52,480
and the different class of kids
that you hang out with.
438
00:37:56,817 --> 00:38:00,154
This is the first day I shot.
I remember I started crying.
439
00:38:00,738 --> 00:38:03,616
I was freaking out
'cause Howard the Duck just came out,
440
00:38:03,699 --> 00:38:05,368
and I was like, "I can't act."
441
00:38:05,910 --> 00:38:08,287
- You had to talk me off the ledge...
- I don't think this was the first.
442
00:38:08,371 --> 00:38:09,372
It was.
443
00:38:11,624 --> 00:38:15,336
Look at my hair.
It's not the way it's supposed to be.
444
00:38:17,505 --> 00:38:18,506
Well, I think it was.
445
00:38:18,589 --> 00:38:20,341
So I rescued you from Howard the Duck?
446
00:38:20,424 --> 00:38:22,385
Yes, from the opening
of Howard the Duck.
447
00:38:22,468 --> 00:38:24,095
You've never been grateful for that.
448
00:38:25,554 --> 00:38:28,975
I remember how Eric bicycled
all the way up Laurel Canyon
449
00:38:29,058 --> 00:38:30,685
to give me the script for this.
450
00:38:49,578 --> 00:38:52,164
I would kill my sister
if she did that.
451
00:38:55,209 --> 00:38:56,419
This is funny.
452
00:38:57,920 --> 00:38:59,755
You can see the colors...
Jan Kiesser...
453
00:38:59,839 --> 00:39:03,092
Just the way, how rich they are
in this... Of that car.
454
00:39:03,175 --> 00:39:05,094
I mean, the way he lit this
is amazing.
455
00:39:06,303 --> 00:39:09,015
- That's a great shot.
- Looks like a Fellini movie.
456
00:39:09,098 --> 00:39:10,349
That's a great shot.
457
00:39:11,142 --> 00:39:13,728
It's interesting you got away
with her smoking cigarettes.
458
00:39:14,145 --> 00:39:15,771
It's hard to get away
with that anymore.
459
00:39:38,627 --> 00:39:40,838
That whole painting thing
is always a pain.
460
00:39:49,180 --> 00:39:53,809
I think Keith, or Eric,
is appropriately suspicious here.
461
00:40:01,400 --> 00:40:06,072
But this is also one of
those moments that drove me crazy.
462
00:40:23,005 --> 00:40:24,757
- Why did it drive you crazy?
- Because I would think,
463
00:40:24,840 --> 00:40:26,675
"Why would he go to his house
and go to his party?
464
00:40:26,759 --> 00:40:28,469
- "The guy wants to kill him."
- But he didn't know yet.
465
00:40:58,707 --> 00:41:00,626
See, I think what saves this
is when John says,
466
00:41:00,709 --> 00:41:02,670
"That's why I'm so cautious
about your motives."
467
00:41:07,800 --> 00:41:10,970
- You mean when Eric says it?
- Yeah. I think that makes it okay.
468
00:41:14,390 --> 00:41:17,893
We worked on all of these scenes
really hard, I remember.
469
00:41:18,352 --> 00:41:20,604
Trying to work through
everybody's concerns.
470
00:41:56,098 --> 00:41:59,268
This is The Marching Violets.
The March Violets.
471
00:42:09,987 --> 00:42:14,742
And a great scene from Mary Stuart,
'cause in this we get to
472
00:42:14,992 --> 00:42:17,244
not only hear and witness,
473
00:42:17,369 --> 00:42:20,206
but we get to experience
just how crushed she is.
474
00:42:21,957 --> 00:42:24,210
Which again is, I think,
a tribute to John,
475
00:42:24,293 --> 00:42:27,379
because he understands
how to have an audience
476
00:42:27,671 --> 00:42:28,964
get vested in a character
477
00:42:29,048 --> 00:42:31,133
and then experience
their pain with them.
478
00:42:31,217 --> 00:42:35,554
Not just be told about it
through dialogue, but to live it.
479
00:42:36,597 --> 00:42:38,474
And this scene, to me,
480
00:42:38,557 --> 00:42:41,101
if I had to pick one scene
where I think an audience,
481
00:42:41,185 --> 00:42:43,646
and even I,
get completely vested in her,
482
00:42:43,729 --> 00:42:46,857
and start to be concerned
and worried for her, it's this.
483
00:42:53,697 --> 00:42:55,908
Because this is a scene where,
pretty much,
484
00:42:55,991 --> 00:42:59,036
the gauntlet is thrown down
and Mary has to...
485
00:43:00,579 --> 00:43:03,874
Or Watts confronts Eric
with a truth that...
486
00:43:03,958 --> 00:43:07,586
She asks him, "Do you miss me, Keith?
Do you miss being around me?"
487
00:43:07,711 --> 00:43:12,049
Which still breaks my heart
because I feel that her...
488
00:43:12,132 --> 00:43:13,133
She's broken.
489
00:43:13,217 --> 00:43:17,263
And to even have the courage
to say that to him is difficult.
490
00:43:29,900 --> 00:43:31,235
And we all relate to it.
491
00:43:31,318 --> 00:43:34,613
We all understand what it's like
to be in that position
492
00:43:34,697 --> 00:43:36,907
'cause we've all been in pain
at some point.
493
00:43:36,991 --> 00:43:40,286
So that's why I think
it's a pivotal moment in this movie.
494
00:43:46,375 --> 00:43:48,544
Most important thing to her
is her drumming,
495
00:43:48,752 --> 00:43:51,755
and she'd bet her hands
that Amanda doesn't love him.
496
00:44:08,188 --> 00:44:10,399
And so she's
confronting him and saying,
497
00:44:10,566 --> 00:44:12,234
"I won't let you do this to me."
498
00:44:18,157 --> 00:44:23,245
It's a hard scene for Eric 'cause he
has to not see that she likes him.
499
00:44:27,916 --> 00:44:30,294
So it's done.
500
00:44:30,377 --> 00:44:36,133
And in this scene,
Mary, I think, was terrific.
501
00:44:37,676 --> 00:44:40,846
I remember shooting a lot of takes
because she wanted to.
502
00:44:41,347 --> 00:44:43,640
And she didn't wanna overdo it,
503
00:44:44,516 --> 00:44:47,978
and she was very, very concerned
about that.
504
00:44:48,854 --> 00:44:51,565
And I think she managed
to get the truth of it,
505
00:44:51,648 --> 00:44:53,942
and in a way,
that was just heartbreaking.
506
00:45:14,880 --> 00:45:16,965
So you can see
how the weaving is happening.
507
00:45:17,049 --> 00:45:18,675
One of the things
John does here is weave.
508
00:45:18,759 --> 00:45:21,220
He's weaving this tapestry here,
and he's...
509
00:45:21,303 --> 00:45:25,933
You know, it's not like a triangular
love story that I've seen before,
510
00:45:26,016 --> 00:45:28,394
because he's threading the needle.
511
00:45:28,644 --> 00:45:30,396
He goes from Mary Stuart and Eric
512
00:45:30,479 --> 00:45:34,024
back to Lea
and Craig Sheffer's character,
513
00:45:34,108 --> 00:45:38,487
but in a way that's not structured
so that it's schematic.
514
00:45:38,570 --> 00:45:39,696
It's all weaving.
515
00:46:13,105 --> 00:46:16,233
So a guy in the girls' locker room
here was pretty shocking back then.
516
00:46:16,692 --> 00:46:18,944
When we screened the movie,
it had a big reaction.
517
00:46:19,027 --> 00:46:22,156
I don't think in this day and age
it would have that kind of reaction.
518
00:46:35,794 --> 00:46:37,963
Okay, so now he's got everybody apart.
519
00:46:38,297 --> 00:46:42,050
He's got Lea alone,
Mary alone, Eric alone.
520
00:46:44,470 --> 00:46:46,013
Craig Sheffer's character alone.
521
00:46:46,096 --> 00:46:47,806
And back then when I said schematic
522
00:46:47,890 --> 00:46:50,559
when John Hughes
is weaving a tapestry here,
523
00:46:50,642 --> 00:46:54,354
what I meant by it's not schematic,
I meant that it's not result-oriented.
524
00:46:54,438 --> 00:46:56,523
You get invested
in each of these characters,
525
00:46:56,607 --> 00:46:59,318
particularly Lea and Mary and Eric,
526
00:46:59,860 --> 00:47:03,947
and by experiencing it,
not being told how to feel.
527
00:47:49,368 --> 00:47:52,329
So here's another moment
that would keep me up at night.
528
00:47:52,996 --> 00:47:56,500
That they don't witness
Maddie behind them
529
00:47:56,583 --> 00:47:58,627
overhearing all this,
is awfully convenient.
530
00:47:58,710 --> 00:48:01,964
So that kind of drove me crazy, too.
Although they see her running away.
531
00:48:07,886 --> 00:48:11,348
But if I had to pick a scene that
I could redo, it would be that scene.
532
00:48:13,684 --> 00:48:17,020
I think it could be staged better
and be more interesting,
533
00:48:17,479 --> 00:48:18,480
but it worked.
534
00:49:25,172 --> 00:49:30,344
So now Mary Stuart and his own sister
warned him that this is not real.
535
00:49:38,018 --> 00:49:41,271
But that's what's interesting about
this character and what John wrote,
536
00:49:41,355 --> 00:49:45,859
because now it's the question of,
"Do I still believe in myself?
537
00:49:45,942 --> 00:49:49,738
"Do I still believe this is possible,
even though it's an impossible dream?"
538
00:49:49,946 --> 00:49:53,617
And those are the kind of questions
that he likes to explore, John,
539
00:49:54,451 --> 00:49:56,036
especially in a romance.
540
00:49:56,119 --> 00:49:57,829
And that's what makes it special,
541
00:49:57,913 --> 00:50:00,791
'cause romance is not logical
or predictable.
542
00:50:00,999 --> 00:50:03,919
And we all hope for our own lives
the same way.
543
00:50:04,002 --> 00:50:06,755
And that's why people
go with this story.
544
00:50:12,761 --> 00:50:14,429
But I think you underestimated
545
00:50:14,513 --> 00:50:16,682
how many times
you could actually see the refinery,
546
00:50:16,765 --> 00:50:18,058
now that I'm counting them.
547
00:50:18,141 --> 00:50:21,645
- Don't start with me.
- I see it a lot.
548
00:52:01,203 --> 00:52:02,871
Okay, so, "I'm not giving into them.
549
00:52:02,954 --> 00:52:05,415
"Not for another year.
Not for another minute."
550
00:52:05,499 --> 00:52:09,085
And now, for me, as a director,
551
00:52:09,169 --> 00:52:14,007
the movie becomes even more
complicated and compelling
552
00:52:14,090 --> 00:52:16,593
because I'm not sure who to root for.
553
00:52:16,843 --> 00:52:19,971
I don't want people to be sure
who to root for here,
554
00:52:20,096 --> 00:52:22,724
in terms of Lea and Mary Stuart.
555
00:52:23,183 --> 00:52:24,518
Because look how he...
556
00:52:24,810 --> 00:52:26,645
To her,
this is the moment of her life.
557
00:52:26,728 --> 00:52:30,148
He's lying down next to her on her bed
with her, needing her,
558
00:52:30,482 --> 00:52:31,900
confiding in her.
559
00:52:32,150 --> 00:52:36,613
She's completely overwhelmed by it
and plays it like that.
560
00:52:36,696 --> 00:52:40,450
And Lea, we feel, he may even
have a shot with her now,
561
00:52:40,534 --> 00:52:44,496
because she's apart and separate
and away from Hardy.
562
00:52:45,205 --> 00:52:48,667
So a triangular love story
is a true triangle now.
563
00:52:48,792 --> 00:52:51,962
You don't know
who is gonna wind up with Eric,
564
00:52:52,170 --> 00:52:54,339
because we don't know who
we want with him, I don't think.
565
00:52:54,422 --> 00:52:58,009
I think, yes, everybody's pulling
for the underdog, as Mary Stuart,
566
00:52:58,093 --> 00:53:00,846
in the sense that
you don't want to see her hurt.
567
00:53:00,929 --> 00:53:04,266
But Lea did such a great job
and is so vulnerable,
568
00:53:04,349 --> 00:53:06,726
especially now
when her friends reject her.
569
00:53:06,810 --> 00:53:09,896
So again, John's
now upped the stakes
570
00:53:10,021 --> 00:53:12,524
so that if you're invested
in all these characters,
571
00:53:12,607 --> 00:53:15,110
what are you feeling?
And that's what I wanted.
572
00:53:15,193 --> 00:53:19,823
I wanted complete sense of being torn
and conflicted as an audience
573
00:53:19,906 --> 00:53:21,324
of what's gonna happen.
574
00:54:05,994 --> 00:54:08,580
You even have
the bad girls feeling bad,
575
00:54:08,955 --> 00:54:13,084
a little bit, for being mean,
which is good.
576
00:54:13,376 --> 00:54:15,086
Which is why this movie holds up,
I think,
577
00:54:15,170 --> 00:54:18,173
'cause you made everything
not black and white.
578
00:54:29,601 --> 00:54:31,102
I always liked
the way you did that, Lea.
579
00:54:31,603 --> 00:54:33,396
You looked at him and ran like that.
580
00:54:36,524 --> 00:54:38,485
I know. There's the oil refinery.
581
00:54:39,152 --> 00:54:42,280
- I guess it worked.
- It was worth driving all that way.
582
00:55:03,385 --> 00:55:05,887
Well, what's important
to remember is that,
583
00:55:05,971 --> 00:55:08,223
you know, there's a saying
that, for guys, usually,
584
00:55:08,306 --> 00:55:09,808
"You fall in love in 30 seconds,
585
00:55:09,891 --> 00:55:11,768
"and you spend the rest of your life
in denial."
586
00:55:11,935 --> 00:55:13,979
I don't think that's so strange
587
00:55:14,062 --> 00:55:16,356
for some character
like Mary Stuart's for Watts.
588
00:55:16,773 --> 00:55:21,111
So, kind of the enjoyment I had
working with a character like that
589
00:55:21,194 --> 00:55:24,823
and watching it unfold
is to see somebody that sublimated
590
00:55:24,906 --> 00:55:28,827
and kinda repressed
about her feelings for Eric,
591
00:55:28,910 --> 00:55:31,538
seeing that emerge
and seeing that leak,
592
00:55:31,621 --> 00:55:34,124
and how to play that
and where to let it show
593
00:55:34,416 --> 00:55:36,126
and where to sit on it
and where to hide it
594
00:55:36,209 --> 00:55:37,961
and where you can hide it.
595
00:55:38,044 --> 00:55:40,255
And, you know,
that's the fun of that character.
596
00:55:57,480 --> 00:55:59,399
Actually, now that I remember,
597
00:55:59,482 --> 00:56:01,109
that's the scene
that we had to reshoot
598
00:56:01,234 --> 00:56:03,862
where Eric's hair was to
his shoulders and we had to cut it,
599
00:56:04,029 --> 00:56:05,071
and redo this.
600
00:56:05,280 --> 00:56:07,115
This was the first scene I shot.
601
00:56:12,120 --> 00:56:15,248
He was very insistent
on certain things.
602
00:56:19,753 --> 00:56:23,131
That, and being called
his character name, too.
603
00:56:23,465 --> 00:56:24,758
- Remember that?
- Yeah.
604
00:56:27,010 --> 00:56:29,888
It got confusing to me
'cause I was in three movies with him,
605
00:56:29,971 --> 00:56:33,600
so I wouldn't remember
which character name to call him.
606
00:56:41,066 --> 00:56:45,278
This was an additional shot we did.
I kind of remember we didn't...
607
00:56:45,361 --> 00:56:47,489
We wanted just
to emphasize and punctuate
608
00:56:47,655 --> 00:56:49,324
how important the earrings were.
609
00:56:50,784 --> 00:56:53,411
Oh, this is afterwards? Yeah,
'cause his hair changed.
610
00:56:53,661 --> 00:56:56,623
We did the party, too, remember?
We reshot part of the party.
611
00:56:56,706 --> 00:56:58,500
Yeah, but I mean,
this shot of the earrings
612
00:56:58,583 --> 00:57:01,544
was something we did later,
613
00:57:01,628 --> 00:57:04,631
when we realized we wanted
to emphasize that he picked them out.
614
00:57:04,714 --> 00:57:07,342
He went on a trip
and picked them out with Mary Stuart.
615
00:57:11,805 --> 00:57:13,765
Now, this is one of
my favorite pieces of music,
616
00:57:13,848 --> 00:57:15,183
and my favorite scene in the movie.
617
00:57:21,689 --> 00:57:24,234
"What if," you know,
"she wants you to kiss her?"
618
00:57:30,073 --> 00:57:32,325
And the idea of the scene,
619
00:57:32,408 --> 00:57:35,161
teaching him how to kiss the girl
that she would like to see
620
00:57:35,245 --> 00:57:37,539
not living on the planet Earth,
is pretty unique.
621
00:57:37,622 --> 00:57:39,290
And John wrote it, I remember...
622
00:57:39,374 --> 00:57:41,334
After the script was completed,
we were doing rewrites and he said,
623
00:57:41,417 --> 00:57:43,878
"You know what? We need another scene.
We need a scene."
624
00:57:43,962 --> 00:57:46,589
And he just started writing this,
and it was done in... I don't know.
625
00:57:46,673 --> 00:57:48,633
You know, five minutes, and...
626
00:57:48,716 --> 00:57:50,343
- It's a great idea.
- I read it and went,
627
00:57:50,426 --> 00:57:55,515
"Oh, my God. This is so much fun,
but also, underneath, so poignant."
628
00:58:24,127 --> 00:58:25,628
- Yeah.
- Neither.
629
00:58:27,005 --> 00:58:28,339
This is hard for Eric.
630
00:58:45,857 --> 00:58:50,653
And so a scene like this, when you're
rooting for all three characters,
631
00:58:50,737 --> 00:58:53,448
is also something
that feeds the conflict
632
00:58:53,531 --> 00:58:55,116
to the point where you're thinking...
633
00:58:55,200 --> 00:58:59,245
I think that an audience that's,
at least for me, is feeling like,
634
00:59:00,038 --> 00:59:01,956
"Where is this headed?"
Which is what you want.
635
00:59:02,040 --> 00:59:04,417
You want them,
to the very end, guessing.
636
00:59:20,975 --> 00:59:22,518
Great music cue.
637
00:59:27,649 --> 00:59:29,025
This is Stephen Duffy,
638
00:59:33,780 --> 00:59:35,615
who lived in England at the time,
and John knew him,
639
00:59:35,698 --> 00:59:38,409
and Stephen Hague,
who produced a lot of this music...
640
00:59:38,993 --> 00:59:40,703
Great record producer.
641
00:59:41,454 --> 00:59:43,831
Was at the dub and the mixing session.
642
00:59:51,047 --> 00:59:55,510
And, "Lesson's done. You're cool"
was always a great ending.
643
01:00:02,725 --> 01:00:05,144
It's a really hard scene for Eric.
He was great.
644
01:00:14,279 --> 01:00:18,449
Here we go with the Rolling Stones'
version of Amanda Jones,
645
01:00:18,533 --> 01:00:21,911
which was a great thing to be
able to get. It was in the script.
646
01:00:30,920 --> 01:00:35,133
This montage, remember, was
one of the first things Seth Flaum,
647
01:00:35,216 --> 01:00:38,219
who became an editor that I worked
with for the rest of my movies, cut.
648
01:00:38,594 --> 01:00:40,680
Bud Smith was the lead editor,
a famous editor,
649
01:00:40,763 --> 01:00:43,558
who did The Exorcist and a lot of
big movies with Billy Friedkin,
650
01:00:43,641 --> 01:00:45,184
was the lead editor on this movie,
651
01:00:45,268 --> 01:00:47,395
and, you know,
just an absolute genius,
652
01:00:47,478 --> 01:00:48,730
as far as I'm concerned.
653
01:00:48,813 --> 01:00:51,190
Seth was an apprentice
or an assistant,
654
01:00:51,691 --> 01:00:56,279
and he and I would squirrel away
working on things like this montage,
655
01:00:56,612 --> 01:00:58,281
and I thought he did such a good job,
656
01:00:58,364 --> 01:01:01,784
that I ended up doing the next five,
six movies with him after this.
657
01:01:20,762 --> 01:01:23,139
Montages are funny,
'cause when you get them cut together,
658
01:01:23,222 --> 01:01:24,932
lots of times, they save your butt.
659
01:01:25,016 --> 01:01:26,684
They look like
they're designed, but...
660
01:01:27,393 --> 01:01:30,104
At least, Seth, my editor,
in this case, saved my butt,
661
01:01:30,188 --> 01:01:32,065
because it wasn't designed
as well as it looks.
662
01:01:40,698 --> 01:01:42,241
This is the Hollywood Bowl.
663
01:01:57,090 --> 01:02:02,762
And so, just looking, you know,
at pacing and a sense of momentum,
664
01:02:02,929 --> 01:02:05,181
you can feel what John was after.
665
01:02:05,264 --> 01:02:08,684
You can feel how
this movie's now getting to the point
666
01:02:08,768 --> 01:02:12,105
where something's gonna blow,
and here it is.
667
01:02:49,267 --> 01:02:51,811
This is pretty much
my other favorite scene in the movie,
668
01:02:51,894 --> 01:02:55,773
because it's so combustible
and it's so relatable for me
669
01:02:55,857 --> 01:02:58,359
and most of the guys I know
with their fathers.
670
01:02:58,443 --> 01:03:01,028
In the sense
that at some point in their youth,
671
01:03:01,112 --> 01:03:04,449
in order to liberate yourself
and go on and be your own,
672
01:03:04,532 --> 01:03:09,120
you have a confrontation,
regardless of what it's about.
673
01:03:17,462 --> 01:03:18,880
We spent all day shooting this.
674
01:03:18,963 --> 01:03:21,257
I remember it was scheduled
for just a couple hours
675
01:03:21,340 --> 01:03:25,261
and we took the day, and I think
it was worth it, in spades.
676
01:03:25,344 --> 01:03:31,142
Ashton, I thought, was scary
and real and compelling.
677
01:03:42,945 --> 01:03:46,532
And I think Eric pulled it out
and did a great job as somebody
678
01:03:46,616 --> 01:03:49,619
finally telling his father
that he's his own man,
679
01:04:11,140 --> 01:04:14,018
which is thematically, to me,
what the movie is really about.
680
01:04:15,269 --> 01:04:16,687
"Then I'm 18, then I'm 19.
681
01:04:18,439 --> 01:04:20,316
"When does my life belong to me?"
682
01:04:21,859 --> 01:04:27,156
Vintage John and a question that
everybody has to ask themselves
683
01:04:27,240 --> 01:04:30,451
at some point in their life,
and if not then, later.
684
01:04:30,535 --> 01:04:32,662
Some... It always has to be answered,
685
01:04:32,745 --> 01:04:35,373
and for that, I think
people embrace the movie.
686
01:05:23,546 --> 01:05:27,466
It's such a strange thing,
this earring thing.
687
01:05:27,550 --> 01:05:30,136
I remember so many
conversations about it,
688
01:05:30,219 --> 01:05:31,721
but it ends up working.
689
01:06:02,752 --> 01:06:06,714
And then the scene becomes quiet,
because it is about trust.
690
01:06:13,554 --> 01:06:17,516
But they have, you know, kind of
forged a new level of a relationship,
691
01:06:17,600 --> 01:06:20,353
and that's moving to me,
and was in the script,
692
01:06:20,436 --> 01:06:23,606
and this is pretty much verbatim
what John wrote.
693
01:07:16,575 --> 01:07:17,910
You know, so, the humor...
694
01:07:17,993 --> 01:07:20,621
Like John always said to me,
"Take your comedy seriously."
695
01:07:20,705 --> 01:07:23,332
Yeah, there's a lot
of funny moments like that with Maddie
696
01:07:23,416 --> 01:07:25,376
where even she's on his side,
697
01:07:25,459 --> 01:07:29,088
but underneath, driving the movie
are themes and values,
698
01:07:29,171 --> 01:07:31,215
like, "When is my life my own?" Trust.
699
01:07:31,298 --> 01:07:35,553
Things that are universal and always
will be important to people,
700
01:07:35,636 --> 01:07:39,265
and that's why as scary
as this moment is to me
701
01:07:39,348 --> 01:07:41,392
where Mary Stuart's
chauffeuring them on their date,
702
01:07:41,475 --> 01:07:46,564
which is awfully broad and maybe
difficult thing to believe,
703
01:07:46,647 --> 01:07:47,898
the movie is believable,
704
01:07:47,982 --> 01:07:51,026
because it's really about
more core values.
705
01:08:51,587 --> 01:08:54,423
This reminds me a little bit also
of, like, an old '30s movie
706
01:08:54,507 --> 01:08:56,967
where they're going on this date
and they're in the back seat
707
01:08:57,051 --> 01:08:58,844
and Mary Stuart wants
to do anything she can
708
01:08:58,928 --> 01:09:00,638
to sabotage this date.
709
01:09:01,055 --> 01:09:04,099
So, there's a lot of, you know,
comedy gold to mine here,
710
01:09:04,183 --> 01:09:05,434
but it's a tight...
711
01:09:05,518 --> 01:09:08,896
It's kind of a fine line to walk,
because you gotta be pretty careful.
712
01:09:08,979 --> 01:09:12,149
Or I thought I had to be very careful,
because it could become jokey,
713
01:09:12,233 --> 01:09:14,735
as opposed
to a situation you believe
714
01:09:14,819 --> 01:09:16,403
and that has some humor to it.
715
01:09:26,080 --> 01:09:28,666
This is about when
my nervous breakdown started
716
01:09:28,749 --> 01:09:30,376
when I was making the movie,
'cause I thought,
717
01:09:30,459 --> 01:09:33,462
"Is this gonna work
with this chauffeured car?"
718
01:09:33,546 --> 01:09:35,464
And I just wasn't sure.
719
01:09:44,014 --> 01:09:48,102
It was always so strange to me,
this antagonistic thing
720
01:09:48,185 --> 01:09:50,521
that was supposed to happen
between the three of us.
721
01:09:50,604 --> 01:09:55,067
It always made it difficult to play
three of us not getting along at all.
722
01:10:35,608 --> 01:10:38,569
I kinda like this scene.
I think you still don't...
723
01:10:39,236 --> 01:10:41,071
You're still, like, uncomfortable
with the idea
724
01:10:41,155 --> 01:10:43,490
that you guys were
fighting in this scene.
725
01:10:48,954 --> 01:10:51,749
I mean, if you got along great,
there's no scene.
726
01:11:04,303 --> 01:11:05,679
Those guys were funny.
727
01:11:29,620 --> 01:11:31,246
The intercutting of that
with this scene
728
01:11:31,330 --> 01:11:33,332
was kind of an editing room decision.
729
01:11:33,415 --> 01:11:35,918
It wasn't written that way,
but this scene in the restaurant
730
01:11:36,001 --> 01:11:38,712
seemed like it was a little bit
too much of a chunk.
731
01:11:40,756 --> 01:11:43,384
It didn't play as well
as it did intercut with that,
732
01:11:43,467 --> 01:11:44,927
so we went that way.
733
01:11:47,972 --> 01:11:49,473
You needed a transition
to see how you guys
734
01:11:49,556 --> 01:11:51,809
would start getting along,
and scripted, I think it was...
735
01:11:51,892 --> 01:11:53,978
We would just cut
to Mary Stuart watching,
736
01:11:54,061 --> 01:11:55,688
but the crap game helped.
737
01:12:12,121 --> 01:12:15,082
This car, we looked forever,
and finally we were on the freeway
738
01:12:15,165 --> 01:12:17,292
and I saw it, and I remember
739
01:12:17,376 --> 01:12:19,670
we chased it down on the freeway
to find out who owned it.
740
01:12:22,881 --> 01:12:24,383
It didn't work too well, either.
741
01:12:24,675 --> 01:12:26,385
- I remember.
- No. It broke down a lot.
742
01:12:45,612 --> 01:12:46,947
Always got a big laugh.
743
01:12:50,868 --> 01:12:54,455
"It was this morning, moron.
Of course I remember."
744
01:12:54,788 --> 01:12:57,374
"So now that she's mad, I'm happier."
745
01:13:10,012 --> 01:13:13,724
This is that lipstick thing
where you go over a pothole and...
746
01:13:17,644 --> 01:13:19,688
- Who didn't want to do this?
- Somebody didn't want to do it.
747
01:13:19,772 --> 01:13:21,482
- I don't remember who it was.
- But I wanted to do it.
748
01:13:21,565 --> 01:13:24,401
- I never argued, did I?
- No, not much.
749
01:13:24,485 --> 01:13:26,403
I always did
what I was supposed to do.
750
01:13:27,696 --> 01:13:29,406
This is Flesh for Lulu again.
751
01:13:29,490 --> 01:13:31,116
It's like the second or third time
we've used it.
752
01:13:31,200 --> 01:13:33,535
Must have been Mary
that didn't want to do this.
753
01:13:40,542 --> 01:13:44,588
See now, to me, things are cooking
and firing on all cylinders.
754
01:13:44,671 --> 01:13:48,008
When you kicked her,
Eric doesn't know what's going on.
755
01:13:48,092 --> 01:13:51,386
There's conflict,
there's tension, it's fun,
756
01:13:51,470 --> 01:13:54,598
and you want to see
what's gonna happen next on this date.
757
01:13:54,681 --> 01:13:55,766
At least, I thought.
758
01:14:03,232 --> 01:14:04,483
- "You break his heart..."
- People love that.
759
01:14:04,566 --> 01:14:06,151
People quote that to me all the time.
760
01:14:06,235 --> 01:14:07,444
"You break his heart,
I break your face."
761
01:14:07,528 --> 01:14:08,529
- Yeah.
- Yeah.
762
01:14:09,279 --> 01:14:11,031
I still use, "It's a new world order."
763
01:14:11,115 --> 01:14:13,408
There's a lot of lines from this movie
that have endured.
764
01:14:21,750 --> 01:14:25,045
So, Howie was never happy with
the paintings of me.
765
01:14:25,129 --> 01:14:27,548
So he had, like,
12 of them painted different,
766
01:14:27,631 --> 01:14:29,341
different artists for this scene.
767
01:14:29,424 --> 01:14:32,386
Yeah, Paramount was not happy
about the budget for the paintings.
768
01:14:32,469 --> 01:14:33,971
No, I don't think so.
769
01:14:39,184 --> 01:14:43,313
They're all over all the prop houses
in L.A., portraits of me.
770
01:14:43,730 --> 01:14:45,941
I should have taken them all.
We only have one of them.
771
01:15:18,849 --> 01:15:22,603
Yeah, so, the idea of these guys
helping him on this date was,
772
01:15:22,686 --> 01:15:26,023
you know, part of the,
I thought, uniqueness of this date.
773
01:15:26,106 --> 01:15:29,276
You know, the...
I believe this piece of music
774
01:15:29,359 --> 01:15:33,655
was written by two guys
from Boston I found
775
01:15:33,739 --> 01:15:37,117
who were almost uncredited
in the movie.
776
01:15:37,701 --> 01:15:39,119
I'll have to go back
and find their names,
777
01:15:39,203 --> 01:15:41,413
but I thought they did a great job.
778
01:15:41,496 --> 01:15:43,081
Yeah, this is a beautiful cue.
779
01:16:11,568 --> 01:16:13,612
- Where is that painting?
- That's not the one we have.
780
01:16:13,695 --> 01:16:14,696
Who has that?
781
01:16:14,780 --> 01:16:16,531
It's in the prop house
somewhere at Paramount.
782
01:16:16,615 --> 01:16:18,242
Well, I want that. It's nice.
783
01:16:18,784 --> 01:16:21,578
- You picked it after 12 paintings.
- No, I'm saying...
784
01:16:21,662 --> 01:16:25,499
I forgot... Well, anyway, that's...
The reason I picked it is, it's great.
785
01:16:26,166 --> 01:16:28,543
But the idea of the scene that
he takes you to see a painting
786
01:16:28,627 --> 01:16:33,757
of yourself that he had done,
it's pretty romantic,
787
01:16:33,840 --> 01:16:36,468
and I'd never seen it before
in any movie.
788
01:17:02,369 --> 01:17:06,873
So, here, yeah, this push-in on
Mary Stuart was... Always got me.
789
01:17:14,965 --> 01:17:16,425
And I like this pan down.
I always thought,
790
01:17:16,508 --> 01:17:18,969
"No, did the film break?"
But it was so black
791
01:17:19,052 --> 01:17:20,637
when we panned down
from the sky, it worked.
792
01:17:20,721 --> 01:17:24,141
And I always liked it because
you didn't really know where you were.
793
01:17:24,224 --> 01:17:26,310
It revealed that whole Hollywood Bowl.
794
01:17:38,864 --> 01:17:40,782
"I'd rather be next to somebody
for the wrong reasons
795
01:17:40,866 --> 01:17:42,784
"than alone for the right ones" was...
796
01:17:42,868 --> 01:17:44,661
People quote that. I didn't realize
that it wasn't even on me.
797
01:17:44,745 --> 01:17:47,039
Well, because it's...
Right, because it's a pivotal line.
798
01:17:47,122 --> 01:17:49,708
Later, it comes back
and you repeat it in a different way.
799
01:17:50,250 --> 01:17:51,626
You should have read the script.
800
01:18:00,719 --> 01:18:02,637
Now, this scene was huge.
801
01:18:02,721 --> 01:18:05,640
Something like 10 pages,
and got the film back the next morning
802
01:18:05,724 --> 01:18:09,353
after shooting all night
or the next day, and it was scratched.
803
01:18:09,436 --> 01:18:11,605
So we had to reshoot this scene.
804
01:18:11,688 --> 01:18:13,774
- I thought it was just my close-up.
- Was it just your close-up?
805
01:18:13,857 --> 01:18:16,068
We reshot something,
but I didn't like the reshoot as much,
806
01:18:16,151 --> 01:18:20,489
and we ended up using the damaged film
and cutting around the scratches.
807
01:18:20,572 --> 01:18:22,449
I don't know why that
would be interesting to anybody,
808
01:18:22,532 --> 01:18:23,575
but that's what happened.
809
01:18:23,658 --> 01:18:26,078
I wasn't as good
the second day? Bummer.
810
01:19:22,717 --> 01:19:26,513
So a scene again, about
using each other, role playing.
811
01:19:26,847 --> 01:19:31,435
Who's exploiting who is
territory that John, you know, covers,
812
01:19:31,518 --> 01:19:33,562
but in different ways
each time he explores it.
813
01:19:33,645 --> 01:19:37,566
But in this one, I think it became
kind of central to their relationship.
814
01:19:57,669 --> 01:20:00,255
We waited to cut back
to that wide, wide shot.
815
01:20:00,338 --> 01:20:02,841
I remember Bud Smith thinking,
"Tight, tight, tight,
816
01:20:02,924 --> 01:20:06,261
"and then pop back to the widest
possible shot you've gotten."
817
01:20:06,344 --> 01:20:09,222
That pattern, that editing pattern,
something he always loved,
818
01:20:09,306 --> 01:20:11,933
to go from extreme tight
to very, very wide.
819
01:20:12,476 --> 01:20:14,019
And I learned a lot from Bud,
820
01:20:14,102 --> 01:20:17,731
especially in a heavy dialogue scene
like this, how to keep it interesting.
821
01:20:32,996 --> 01:20:34,372
Boy, you're good in this, Lea.
822
01:21:10,825 --> 01:21:14,704
So shame in not having
what her rich friends had.
823
01:21:17,290 --> 01:21:18,458
It is not that dissimilar from
824
01:21:18,542 --> 01:21:21,586
some of the themes from Pretty in Pink
and Molly's character.
825
01:21:28,635 --> 01:21:32,305
And for Amanda,
I thought this was the turning point,
826
01:21:32,389 --> 01:21:33,557
where she confessed.
827
01:21:33,640 --> 01:21:35,642
That confession, to me,
was always touching,
828
01:21:35,725 --> 01:21:38,520
and the way you did it, Lea,
was, I thought, moving.
829
01:21:54,536 --> 01:21:55,620
Pretty theme.
830
01:22:54,137 --> 01:22:56,806
Pretty much into the middle
of the third act here.
831
01:22:56,890 --> 01:23:00,810
And I'm feeling like Mary Stuart's
not getting her guy,
832
01:23:00,894 --> 01:23:03,813
which is why, again,
I think the movie worked.
833
01:23:04,230 --> 01:23:07,651
You just don't know what's gonna
happen till the very last moment.
834
01:23:36,137 --> 01:23:38,139
Why did we reshoot this?
Do you remember?
835
01:23:38,223 --> 01:23:39,224
No, that wasn't a reshoot.
836
01:23:39,432 --> 01:23:41,559
They just... I was shooting...
I had over...
837
01:23:42,143 --> 01:23:45,605
We had a certain amount of time
to shoot this and I had gone over.
838
01:23:45,689 --> 01:23:48,983
I remember we shot something...
Because look at Eric's hair.
839
01:23:49,067 --> 01:23:51,611
It changes completely
right when I slap Craig.
840
01:23:51,695 --> 01:23:53,113
I think it was a reshoot.
841
01:24:07,460 --> 01:24:09,546
Well, it was a long time ago.
842
01:24:10,422 --> 01:24:12,173
I think you're thinking of
Back to the Future.
843
01:24:12,340 --> 01:24:15,719
Watch. No.
I'm not thinking of... Watch Eric.
844
01:24:58,887 --> 01:25:02,098
This music's Beat's So Lonely
by Keith Forsey. And...
845
01:25:02,557 --> 01:25:04,851
Keith Forsey produced it, I mean,
who John worked with a lot.
846
01:25:04,934 --> 01:25:07,228
See? Look at his hair.
It was a reshoot.
847
01:25:07,312 --> 01:25:10,565
Okay, Lea's right as usual.
But here's the important part.
848
01:25:10,648 --> 01:25:14,527
It was Charlie Sexton. I had
a lot of trouble scoring this scene.
849
01:25:14,611 --> 01:25:16,988
Anyway, clearly, that's not
the important thing about the scene.
850
01:25:17,071 --> 01:25:18,531
That's when the reshoot happened.
851
01:25:59,614 --> 01:26:01,115
I think the music's great here.
852
01:26:04,911 --> 01:26:07,080
- Craig's pretty despicable.
- Yeah, he's pretty great.
853
01:26:07,163 --> 01:26:08,915
And this was the moment that was...
854
01:26:12,752 --> 01:26:15,380
A big deal in the test screening.
I remember people loved that.
855
01:26:15,463 --> 01:26:16,756
But this wasn't a reshoot.
856
01:26:17,423 --> 01:26:20,426
Eric's hair just looks different
to you, but we didn't reshoot this.
857
01:26:20,510 --> 01:26:21,928
Bet you a million bucks.
858
01:26:22,053 --> 01:26:23,596
- How much?
- A million.
859
01:26:26,724 --> 01:26:29,477
- But I don't remember why.
- We didn't. This was just...
860
01:26:29,561 --> 01:26:32,272
My hair looks different.
His makeup's different.
861
01:26:32,355 --> 01:26:33,356
Plus, I remember.
862
01:26:42,073 --> 01:26:44,617
Did we reshoot it because they needed
these guys to come in?
863
01:26:44,701 --> 01:26:46,870
- No. This is not a reshoot.
- All right.
864
01:26:56,588 --> 01:26:58,172
I'm gonna dig up the old script.
865
01:27:00,300 --> 01:27:02,385
We didn't have enough time
or money to reshoot.
866
01:27:02,468 --> 01:27:04,554
See? Look. His hair
is completely different now.
867
01:27:04,637 --> 01:27:07,891
You're obsessed with something
that isn't that way.
868
01:27:07,974 --> 01:27:09,392
I should have been a hairdresser.
869
01:27:30,663 --> 01:27:33,583
Two slaps was a big deal.
I remember everybody loved that.
870
01:27:33,666 --> 01:27:35,376
And that look with Eric.
871
01:27:49,974 --> 01:27:52,268
I love that line. He's so great.
872
01:28:27,595 --> 01:28:29,430
This is where I think, Lea...
873
01:28:29,681 --> 01:28:31,933
Not to embarrass you,
but I think this is where you...
874
01:28:32,308 --> 01:28:34,727
This flashback, by the way, was...
875
01:28:34,894 --> 01:28:37,981
I still don't know if we did the
right thing with it, but we did it.
876
01:28:46,864 --> 01:28:49,075
And this is the moment where, Lea,
you made this movie.
877
01:28:49,158 --> 01:28:51,828
I thought you made this ending work,
'cause a lot was...
878
01:28:51,911 --> 01:28:54,414
I think a lot of it
had to do with your acting.
879
01:29:54,015 --> 01:29:59,228
So the decision to be alone
and have the courage to face that,
880
01:29:59,312 --> 01:30:00,938
and the way you did that, to me,
881
01:30:01,022 --> 01:30:03,775
is one of the most
moving things in this movie.
882
01:30:03,858 --> 01:30:06,319
And then drummer girl gets Eric.
883
01:30:06,402 --> 01:30:08,654
This is a great music cue, too.
884
01:30:34,013 --> 01:30:35,598
She's great in this scene.
885
01:31:35,533 --> 01:31:39,120
And then the decision to go out on
Can't Help Falling in Love,
886
01:31:39,203 --> 01:31:43,457
as opposed to Some Kind of Wonderful
or some other song was John's.
887
01:31:43,541 --> 01:31:46,294
He asked me and then when
we listened and looked at it together,
888
01:31:46,377 --> 01:31:47,378
it was just...
889
01:31:47,461 --> 01:31:50,339
Seemed like they couldn't have
a more perfect feeling
890
01:31:50,423 --> 01:31:51,716
for the end of a movie.
891
01:31:52,049 --> 01:31:53,551
And that's a love story.
892
01:31:53,634 --> 01:31:57,597
It also had that cool drummer thing
going on that reminded us of her.
893
01:32:13,613 --> 01:32:15,156
Good job, honey.
894
01:32:15,531 --> 01:32:18,075
That's a good movie.
I'm very proud of you.
895
01:32:18,826 --> 01:32:21,412
Thank you. And you, too.
896
01:32:24,207 --> 01:32:26,959
This is Howie Deutch saying goodbye.
897
01:32:27,168 --> 01:32:29,921
This is Lea Thompson.
Thanks for watching.