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00:00:00Musik
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00:00:18Rad is the story
00:00:20of a small town boy
00:00:22Crew Jones who is getting
00:00:24ready to take his SATs
00:00:26and there is a big
00:00:28BMX event coming to town called
00:00:30Hell Track through a series
00:00:32of unlikely events
00:00:34Crew Jones qualifies
00:00:36for Hell Track and
00:00:38eventually races and wins
00:00:40Hell Track. I was that guy
00:00:42If you have a sport and you
00:00:44have a movie about your sport
00:00:46that's it. For BMX it's Rad
00:00:48Rad the movie
00:00:50you couldn't have named it
00:00:52anything else except Rad
00:00:54Music
00:00:56I understand the
00:00:58development of Rad came through
00:01:00the writer Sam Bernard who just
00:01:02happened to see some BMX writers
00:01:04on the street one day. Sam came
00:01:06to me with the idea
00:01:08you know to make a
00:01:10Rocky-esque type story about
00:01:12this new fast growing sport
00:01:14called BMX and I thought it was a good idea
00:01:16and I went to Hal Needham who directed Smoking the Bandit
00:01:18and written it with him. Robert Levy
00:01:20and I had worked together
00:01:22on Smoking the Bandit
00:01:24and he and Sam
00:01:26were good friends. I didn't know Sam
00:01:28and told me what they
00:01:30thought it would do and their
00:01:32plans and everything and what I cared
00:01:34to get involved. Never dreaming
00:01:36it was going to be what it is
00:01:38never even give it a
00:01:40fuck. The Karate Kid I think was
00:01:42a little bit before us and I think you know
00:01:44that that was very much you know
00:01:46on our minds it was successful
00:01:48it was about something that was just becoming
00:01:50into the media consciousness
00:01:52you know so I think you know we had a lot
00:01:54of we have a we have a lot of help
00:01:56but I think it was natural. My
00:01:58reputation as a director was
00:02:00Smokey and the Bandit, Hooper,
00:02:02Cannonball Run and all those kind of things
00:02:04this was a little different
00:02:06and I wanted to give it a whirl. And when we
00:02:08met the wonderful man Jack Schwartzman
00:02:10and his wife Talia Shire
00:02:12and they had a company that was finding movies
00:02:14and they had a number of
00:02:16of young children and it was kind of
00:02:18a you know perfect marriage because they
00:02:20wanted to make something for the kids. This was a kids movie.
00:02:22Listen we called it Rocky on Bikes
00:02:24as a pitch. I said oh I
00:02:26think this I think this is something
00:02:28I could be different with.
00:02:30The script as
00:02:32I read it the first time was pretty much
00:02:34how we shot it. I think the title
00:02:36Rad was a working title
00:02:38a lot of people weren't
00:02:40really understood what that word
00:02:42meant. I mean it wasn't that much
00:02:44in the lexicon quite yet. And Hal
00:02:46was the go to guy
00:02:48for stunt movies
00:02:50at the time. Hal
00:02:52you know was a legend in every way
00:02:54and um yeah
00:02:56he was such an icon. I mean
00:02:58he shot fast, he
00:03:00energized the crew
00:03:02he knew exactly what he wanted
00:03:04so if he had it he moved on.
00:03:06He'd done every car stunt there ever was.
00:03:08You know basically so that was like trying to
00:03:10bring his talent to a different kind of...
00:03:12I was real familiar with motorcycle
00:03:14because I raced the desert, I raced TT
00:03:16and so on and so forth and
00:03:18there's a great similarity you know
00:03:20and when they gave me the script
00:03:22for uh
00:03:24Rad
00:03:26I compared the one
00:03:28to the other and
00:03:30I got a hold of some of the
00:03:32pros and found out what they could do
00:03:34what they couldn't and everything
00:03:36and I just thought it would be a step forward
00:03:38for BMX and so
00:03:40for that reason I took him shotting.
00:03:42And he didn't believe any of this at first.
00:03:44We really had to talk him into it.
00:03:46We really had to talk him into it.
00:03:48He just was like...
00:03:50We were at the time we were casting for
00:03:52uh Rad
00:03:54and I was watching Hill Street Blues
00:03:56or was it? I don't know anyway
00:03:58I think it was a cop and robber thing
00:04:00but I watched him and I thought
00:04:02that kid's got the look
00:04:04he's got the age and everything
00:04:06so I went in to Jack Swartzman the producer
00:04:08I went in and told him I said
00:04:10I got a kid I want you to look at
00:04:12because I think he's really got what we're looking for
00:04:14and he said you like him? I said yeah
00:04:16he said we'll cast him and that's the way he got the part.
00:04:18Well I was something of an anomaly
00:04:20because I wasn't a Hollywood actor
00:04:22had no acting experience
00:04:24and I wasn't a BMX rider
00:04:26but shortly after the 1984 Olympics
00:04:30I had a fairly high amount of visibility
00:04:34and I had an agent in New York
00:04:36and I was doing appearances and promotional things
00:04:38and I got a call one day
00:04:40and they said there's a director in LA
00:04:42named Hal Needham
00:04:44you might remember him from Smokey and the Bandit
00:04:46and Cannonball Run
00:04:48he wants to talk to you about a movie they're doing
00:04:50about BMX
00:04:52and this is completely out of the blue
00:04:54so I'm like wow
00:04:56I mean I don't ride
00:04:58any athlete is excited about an opportunity that comes along
00:05:02especially from Hollywood
00:05:03I mean of course
00:05:04and so he said I'm going to stop in Oklahoma
00:05:07I'd like to have a cup of coffee with you
00:05:09and they sent me some lines and stuff
00:05:10so I was practicing the lines
00:05:12I've never auditioned for anything
00:05:14and kind of nervous to meet him
00:05:15and he shows up at the airport
00:05:17and I went up to pick him up
00:05:18and I'm a car guy as well
00:05:20and I pick him up in a turbo Porsche
00:05:22and we drove around town
00:05:24and we talked about cars for about an hour
00:05:26and I said do you want to you know sit down somewhere
00:05:29and run some of these lines
00:05:31and he goes oh no you're in my movie
00:05:32just take me back to the airport we're good
00:05:34and so that was my audition
00:05:36we just talked cars for an hour
00:05:38Hal is your typical southern gentleman
00:05:40and you would not know that just by meeting the guy right off the bat
00:05:43all I knew was here's a guy who directed Smokey the Bandit
00:05:47but being a guy from the south
00:05:49and being used to being around good old boys
00:05:52we got along great
00:05:54I can tell you that the night before filming
00:05:57he asked that I show up on time
00:06:00and he just related to me a story of directing Cannonball Run 2
00:06:06with Frank Sinatra and Shirley MacLaine
00:06:09right after she won the Oscar
00:06:11and Dino and Sammy Davis Jr.
00:06:14Farrah Fawcett
00:06:15he said he had 25 star trailers out in the desert
00:06:18and nobody would show up on to the set
00:06:20until everybody else was on the set
00:06:22and he said so just please be on time
00:06:25I'm like it's not going to be a problem
00:06:27it only took about two seconds to figure out that Hal Needham was the boss
00:06:30and I suffered two chew outs
00:06:33but on the same hand I suffered a couple of attaboys from Hal Needham too
00:06:37but he was the big cheese and a great guy
00:06:40Lori Loughlin was my co-star in the movie
00:06:43and the reason you hire a Lori Loughlin or Lori Loughlin in particular
00:06:48is so that you can fall in love with her from frame one
00:06:53there doesn't have to be explanation
00:06:55there doesn't have to be a whole back story
00:06:57she's the kind of person you fall in love with just by seeing her
00:07:01she was so nice and so sweet to all of us
00:07:03that you know no wonder we all had a crush on her
00:07:05did I have a crush on her?
00:07:06well yes of course
00:07:08of course Jack Weston watching Jack Weston in Twilight Zone episodes
00:07:14and a million movies
00:07:17Ray Walston who played Mr. Timmer in it
00:07:20he was in the original production of South Pacific
00:07:22HB obviously was fun
00:07:24HB was our first choice but you know I mean
00:07:26he was so perfect for you know for it
00:07:28and he was great you know he's been a wrestler
00:07:31but we wanted a wrestler we wanted that kind of guy
00:07:34we wanted bigger than life we wanted you know
00:07:37very Americana you know apple pie
00:07:39Ray Walston and those guys Alfie Wise
00:07:41I mean that was so cool because these are all Hal's buddies
00:07:44you know he just bought all of his pals up there to be in that film
00:07:48and so for us that was a thrill
00:07:50because we're just a bunch of kids in our first movie
00:07:52and all of a sudden we're in scenes with these you know Hollywood icons
00:07:55that was so sweet
00:07:57I was surprisingly cast in I think what they call a principal role
00:08:01a co-star in the movie as Luke who turns out to be best friend to crew
00:08:08boyfriend to Becky and just all around great BMX rider
00:08:14well not me personally but the great fellows who did this dumb work
00:08:18I got along with Laura Jacoby was her name really well
00:08:22you want to be careful about working with kids or animals
00:08:25because man they can steal a scene just like that
00:08:27and she was one of those scene stealers
00:08:29Talia Shire was my boss on this shoot
00:08:33not only was she my boss
00:08:35but I had seen her in all the Rocky films
00:08:37I had seen her in the Godfather films
00:08:40a very huge thing for a young actor to be around somebody
00:08:43who was such a luminary in the business
00:08:45and the best thing is she's like everybody's mom on the set
00:08:48Talia she's the most wonderful warm hearty person
00:08:50Rad is such a stunt heavy movie that
00:08:53I pretty much had to fit into the mold that they had for me
00:08:58not vice versa
00:08:59Eddie Fiola who did most of my stunt writings
00:09:02very dark skin dark hair
00:09:03so I ended up dying my hair black to match the stunt guy
00:09:07that never happens
00:09:08you know I'm just so happened to be
00:09:11crew stunt double most of the time
00:09:14and or you could say that crew is my acting double
00:09:17it just shows you how much the stunts meant to this movie
00:09:21and how important it was for me to look like a stunt writer
00:09:25what's good is that Martin and I
00:09:27we do a lot of different tricks
00:09:29so I'm like he doesn't do a lot of tricks I do
00:09:31I don't do a lot of tricks he does
00:09:32so in the movie it really made a lot of sense to keep us both in it
00:09:36to where he could do the things that I couldn't do
00:09:38and it worked out really well
00:09:40even after knowing what they can do
00:09:43I was in awe
00:09:45Hal's innovation as a director however
00:09:47is that he sets up maybe a half a dozen cameras in these action scenes
00:09:52and lets the writers do what they do
00:09:55crash as they do
00:09:56and weave that into the storyline
00:09:58so that I would say is how things changed
00:10:01is take events that actually took place on the set
00:10:04and weave that into the storyline
00:10:06I used to consider myself pretty good gymnast and athlete
00:10:09you know
00:10:10but they were doing things I'm going
00:10:12how the hell they do that
00:10:13I mean a guy was doing a handstand
00:10:15feet up in the air
00:10:17riding on the front wheel and everything
00:10:18and I'm going
00:10:19wow what balance
00:10:20what strength it takes to do that
00:10:22they were wonderful
00:10:23Hal has a reputation for being rough on stuntman
00:10:26because he was the highest paid stuntman of his time
00:10:30no special effects back then you know
00:10:32everything was real
00:10:33if we crashed and got hurt
00:10:35you have to wait a couple hours till we got better
00:10:37luckily I was an actor under Hal
00:10:40not a stuntman
00:10:41because these guys earned their pay
00:10:45aww shit
00:10:49aww shit
00:10:53aww shit
00:11:07the interesting thing about this shoot
00:11:09was it was probably the only stunt heavy film that Hal was ever on
00:11:14I don't think he was ever on any other kind of movie
00:11:16that he didn't know the stunts better than stuntman
00:11:19he was not a BMX writer
00:11:21so he had to trust these kids
00:11:23being a stuntman
00:11:25I didn't want to take advantage of those kids
00:11:27so when they did something accidental or on purpose
00:11:32we compensate them for it
00:11:33you know
00:11:34so
00:11:35but I got quite a few freebies
00:11:37if you want to call them that
00:11:39things that weren't planned
00:11:41there's free stunts
00:11:42now free stunts are when guys just eat it
00:11:45great on camera
00:11:46unplanned
00:11:47but that's a free stunt
00:11:49and there were a couple memorable free stunts
00:11:52Eddie Fiola as Crew Jones wiping out
00:11:56all I remember is getting up from off the ground
00:11:59and saying
00:12:00where am I at
00:12:01what am I doing
00:12:02we regrouped
00:12:03and
00:12:04Hal just said
00:12:05ok now we're going to take it from here
00:12:07as if you already fell
00:12:08you'll get out of the bushes
00:12:10and then take off again
00:12:11so that's what we did
00:12:12that was not planned
00:12:13and he suffered a concussion
00:12:15if you watch that thing again
00:12:17now that you know
00:12:18that that wasn't planned
00:12:19he got racked
00:12:20and he was a trooper
00:12:22that rung his bell really good
00:12:24so we're talking about
00:12:25very dangerous stunts
00:12:27and that's what Hal need him
00:12:29that was his stock in trade
00:12:31and I thought he just did a brilliant job
00:12:33at capturing that
00:12:34you know
00:12:35people out there riding the bikes for real
00:12:36but I remember that head shot that Eddie took
00:12:38was quite scary
00:12:39but that dude to his credits
00:12:40you know
00:12:41stayed in his character
00:12:42and got up and took off
00:12:43and I think asked for more money
00:12:45I would have paid him
00:12:51and we knew that the backflip
00:12:53was going to be the biggest stunt
00:12:54and I found out it was also the highest paid stunt
00:12:57so I had the operator
00:12:58I had this brainstorm
00:12:59oh wow
00:13:00so I saddled myself up next to Hal Needham
00:13:03and I said Hal
00:13:04you don't have a really spectacular crash yet
00:13:06do you think maybe
00:13:08when we go around this turn here
00:13:10this berm
00:13:11what if I fly out over the top
00:13:12and wreck
00:13:13and he said yeah
00:13:15that'd be great
00:13:16I said okay
00:13:17and you know
00:13:19I'll do that for $300
00:13:21and he just kind of looked at me
00:13:23and he goes okay Hollywood
00:13:24go ahead
00:13:25so we shot the movie
00:13:26and you know what I'm doing
00:13:27and I fly over the berm
00:13:28and I pull my bike over
00:13:29and it looks spectacular
00:13:31and you know
00:13:32and it was great
00:13:33a few days later
00:13:34we're shooting the part
00:13:35where we're going up
00:13:36jumping the canyon of death
00:13:38or whatever it was
00:13:39making it up to the top of the ramp
00:13:41we're shooting that
00:13:42and just as I found out
00:13:43we were shooting that
00:13:44I saddled myself over to Hal Needham
00:13:46and I got up next to him
00:13:47and I said
00:13:48hey Hal
00:13:49you know wouldn't it be kind of cool
00:13:50if somebody went up there
00:13:51and they didn't quite make it
00:13:52and they fell all the way to the bottom
00:13:54and he just looked at me
00:13:56and he laughed
00:13:57and he goes
00:13:58how much is that going to cost me Hollywood
00:14:00barely making it
00:14:01and Mike Miranda is out
00:14:04being a stunt man
00:14:05I did the same thing
00:14:07I'd look for a spot
00:14:08to go talk to the director
00:14:10and say hey
00:14:11what if while you're doing that scene
00:14:12what if the guy did a fall over here
00:14:14or something you know
00:14:15so I picked up a lot of stunts like that
00:14:16and so that's what he was doing
00:14:17he said
00:14:18hey listen
00:14:19what if I come over here
00:14:20and I slid off
00:14:21and I went in the water
00:14:22and I said do it
00:14:24you know what I mean
00:14:25if he wanted to make a few bucks
00:14:26I'm willing to go for that
00:14:28Now
00:14:29not being a Hollywood stuntman
00:14:30but knowing that Hal Needham
00:14:31came from these big stunt movies
00:14:33I thought oh this is going to be great
00:14:34there will probably be helicopters
00:14:36filming overhead
00:14:37and these giant airbags
00:14:39and no
00:14:40we were on a budget
00:14:41I fell into three cardboard boxes
00:14:43that's it
00:14:44into cardboard boxes
00:14:45and you know
00:14:46the funny thing was
00:14:47you know I'm no stuntman
00:14:48like I said
00:14:49so all I tried to do
00:14:50was fall and
00:14:51you know try to dive off
00:14:52and make sure I landed
00:14:53flat on my back
00:14:54and nobody told me
00:14:55hey don't hold your breath
00:14:56when I hit those boxes
00:14:58all my wind came out man
00:15:01and I was like oh
00:15:02and I scrambled out of the boxes
00:15:03and people were clapping
00:15:04and Hal Needham was right there
00:15:05when I stepped out of the box
00:15:06and I looked at him like
00:15:07how about another take
00:15:13First of all we came to Canada
00:15:15because at that time
00:15:16the American dollar was stronger
00:15:18and so we could get more for less here
00:15:21and but
00:15:22so I decided
00:15:23I had shot in a movie up here
00:15:25in Canada
00:15:26in Calgary
00:15:27in fact
00:15:28called Little Big Man
00:15:29so I kind of knew the area
00:15:31so I called the film commissioner
00:15:33and told them what I was looking for
00:15:34and I knew what I wanted
00:15:36and they understood real quick
00:15:37so it worked out
00:15:39Calgary was um
00:15:40Calgary basically
00:15:43we went to Calgary
00:15:44because Calgary
00:15:45was one of the first places
00:15:46to actually embrace
00:15:48and help finance movies
00:15:50right
00:15:51you know and incentives
00:15:52and that
00:15:53and
00:15:54and
00:15:55and
00:15:56the commission
00:15:57basically opened the doors
00:15:58you know
00:15:59for Cochran and for Calgary
00:16:00to us
00:16:01and gave us access to everything
00:16:03so you know that park
00:16:04everything around
00:16:05and also we could fly non-stop
00:16:06from Los Angeles
00:16:07and it was
00:16:08that was a great hotel deal
00:16:09you know made it really fun
00:16:11and easy for us
00:16:12to make the movie
00:16:13you know
00:16:14this is my backyard
00:16:15and being here
00:16:16in Calgary
00:16:17and in Cochran
00:16:18shooting this movie
00:16:19so I was living this double life
00:16:20for a while
00:16:21I had a trailer
00:16:22I had a little chair
00:16:23with my name on it
00:16:24yet I knew all along
00:16:25that
00:16:26you know
00:16:27the jackass that I really was
00:16:28yet here I was sort of
00:16:29placed in this sort of special spot
00:16:31so I was kind of living this
00:16:32double life
00:16:33as some sort of
00:16:34a fancy guy on the set
00:16:35yet
00:16:36you know there's my friends
00:16:37in the audience
00:16:38or you know people hanging around
00:16:39that I knew
00:16:40so it was a weird sort of
00:16:41double existence for me
00:16:42but I don't think I ever
00:16:43well maybe I did
00:16:44but I don't think I ever
00:16:45lost touch with this
00:16:46or the reality of it
00:16:47but it was very surreal
00:16:48to be here
00:16:49to be in this place
00:16:50my home
00:16:51a place I'd been in
00:16:52and yet now
00:16:53it had been descended upon
00:16:54by this filmmaking crew
00:16:56and to this day
00:16:57people ask me
00:16:58well are you enjoying
00:16:59your visit from LA
00:17:00and I'm like
00:17:01yeah no no
00:17:02I live here all the time
00:17:03I live here all the time
00:17:04no I really don't remember
00:17:06Cochrane much
00:17:07it was a small town
00:17:08and I had never heard of it
00:17:11but you know
00:17:12I'm like most Americans
00:17:13I couldn't tell you
00:17:14who the king of Canada is
00:17:16on a movie set
00:17:18there's often clicks
00:17:20and certainly the writers
00:17:22were a click
00:17:23the cast was another click
00:17:25the crew is another click
00:17:27generally at the daily screenings
00:17:29that was an opportunity
00:17:31for most of us to mix
00:17:32since I was heavily involved
00:17:34in the stunts
00:17:35I did spend a lot of time
00:17:36with the stunt writers
00:17:38that's to me really
00:17:39what a masterful director will do
00:17:41he takes all these factions
00:17:43he had old Hollywood
00:17:45with people like Jack Weston
00:17:46he had young Hollywood
00:17:47with people like Laurie
00:17:49he had the BMX people
00:17:50he had me the token Olympic guy
00:17:52you know
00:17:53and yet he made us all feel like
00:17:55we had an important part
00:17:56in the film
00:17:57he makes the dailies a party
00:17:59for the cast and crew
00:18:00it's an opportunity for them
00:18:02to celebrate what they did
00:18:04blow some steam off
00:18:05have some drinks
00:18:06and to watch these great action sequences
00:18:09in an atmosphere
00:18:10with all the writers
00:18:11and it demystified the process
00:18:14it was unforgettable
00:18:16even though we were from
00:18:17completely diverse backgrounds
00:18:19he made us all feel like
00:18:21we were part of something special
00:18:22and he did it in his own way
00:18:23I mean he's old Hollywood
00:18:25rough tough hard drinking
00:18:27kind of tough guy
00:18:28and yet he made us all feel like
00:18:31we were family
00:18:32it was beautiful
00:18:33working with Hal Needham
00:18:35was definitely an experience
00:18:37when he wanted something done
00:18:39you did it
00:18:40I mean it was like
00:18:41either you do it
00:18:42I'll get your sister to do it
00:18:43you know
00:18:44and it's like okay
00:18:46so you did it
00:18:47and it was just the way
00:18:48he put things in perspective
00:18:50and this full stuntman mentality
00:18:53got it done
00:18:54well
00:18:55with the bigger films
00:18:56you got big stars
00:18:57you got bigger budget
00:18:59a little more time
00:19:00and you can do more spectacular things
00:19:03and all that
00:19:04and Rad
00:19:05I mean we were up against it
00:19:07with budget
00:19:08with time
00:19:09with everything
00:19:10so you had to be pretty creative
00:19:12and take advantage of everything you could
00:19:14to make it work
00:19:15as an actor
00:19:16obviously my favorite parts
00:19:17were getting to act
00:19:18with Tally Shire
00:19:19and Laurie
00:19:20and Jack
00:19:22and these wonderful people
00:19:24I think Hal, Bill, Laurie
00:19:26the whole crew
00:19:28Marta
00:19:29who played my girlfriend
00:19:30they were all very generous
00:19:32and kind to me
00:19:33knowing that I was so out of my element
00:19:35and basically so incapable
00:19:37so I think the best memory that I have
00:19:40are just those friendship scenes
00:19:42that we shot throughout the whole movie
00:19:44hanging out
00:19:45getting their guidance
00:19:46you know just relax
00:19:47helping me out
00:19:48that's sort of the best memories that I have
00:19:50Hal
00:19:51tends to undershoot
00:19:52he doesn't shoot a lot of close-ups
00:19:53it's a lot of masters
00:19:55and then on to the next thing
00:19:56he's an action director
00:19:57he wants to cut to the chase
00:19:59literally and figuratively
00:20:01so the dialogue scenes were smooth
00:20:06and I was surrounded by professionals
00:20:09so it went very quickly
00:20:11the action sequence days were
00:20:13days were more difficult
00:20:16we're talking injuries
00:20:18we're talking teenage kids
00:20:2015, 16 year old kids
00:20:22out there doing stunts on a major movie
00:20:24for the first time in their lives
00:20:26so there was a lot going on
00:20:27there was a lot of moving parts
00:20:28it required a lot of cuts
00:20:30a lot of angles
00:20:32a lot of really output by the bikers
00:20:36I mean those kids really worked their butts off in there
00:20:39and you know
00:20:41you know
00:20:42in order to get that much footage
00:20:45of something
00:20:46you got to have angles and cameras
00:20:48and do it over and over and over
00:20:50and they never gave up
00:20:51and they never said I'm tired
00:20:53nothing
00:20:54they were ready all the time
00:20:55well you know it's exciting
00:20:57and it's boring
00:20:58you're there
00:20:59you're shooting a scene
00:21:00you're riding
00:21:01you're energetic
00:21:02and then it comes cut
00:21:03and then you sit around
00:21:04for two and a half hours
00:21:06and that was time for shenanigans
00:21:07you know
00:21:08it was a
00:21:09we played a lot of practical jokes
00:21:10during those times
00:21:11you know
00:21:12and I got away with murder
00:21:13it was the second time
00:21:15I'd been a lead in a motion picture
00:21:17that's very exciting
00:21:18to be around all these amazing athletes
00:21:21and these wonderful actors
00:21:23I can tell you it's very daunting
00:21:25to quote carry a film
00:21:28seems silly
00:21:29but it's not
00:21:30when it's your first time
00:21:32out of the gate really
00:21:33as a big national release
00:21:36and all you want to do
00:21:38is do the best you can
00:21:40you look around the set
00:21:41and you're seeing people
00:21:42who are the best at what they do
00:21:44and you look in the mirror
00:21:46and you go well who am I
00:21:47when that camera turns on
00:21:49you got to turn it on
00:21:51so I was supported by the best
00:21:54players
00:21:55had an amazing director
00:21:57an amazing cast around me
00:21:59so there was no reason
00:22:00why I should do a horrible job
00:22:02I was a trained actor
00:22:03by that time
00:22:04I had a couple of chops
00:22:06in my bag of tricks
00:22:07but it is a nerve-wracking process
00:22:11I got to tell you
00:22:12I had nothing to do with the music
00:22:14nothing
00:22:15but they brought in
00:22:16whoever it was
00:22:18I'm telling you
00:22:19the first time I heard it
00:22:20I said
00:22:21gosh damn
00:22:22that's good
00:22:23I mean that stuff's going to work
00:22:25and I listen
00:22:26as I watch it
00:22:27with audiences
00:22:28I listen to them
00:22:29and they really like that music
00:22:31Paper Rouse originally
00:22:32to jump
00:22:33to jump by Van Halen
00:22:34well it's an expensive needle drop
00:22:35but yeah
00:22:36very expensive song
00:22:37especially when there's
00:22:38there were giant hits
00:22:39the biggest hits of that time
00:22:40but break the ice was the one
00:22:41that I think got a lot of MTV
00:22:42play at the time
00:22:43I mean it's classic 80s rock
00:22:45and you know it's the music is incredible
00:22:50and you know how lucky we are that we had that you know outstanding soundtrack
00:22:54and that music so captures that time period
00:22:58when you hear that music you hear those soundtracks you think of the movie Rad
00:23:02what is the best scene of Rad?
00:23:12well
00:23:13the very beginning
00:23:14the very end
00:23:15yeah they talk about the very beginning the end and the dance scene
00:23:18the dance scene is the most talked about scene
00:23:20but when you get the hardcore bikers and they come in to see the movie the beginning and the end
00:23:25there you go it's the roots it's the blend and it was accepted by everybody because what you were seeing in the freestyle opening credits were probably the best riders Ron Wilkerson, RL Osborne, Martin, Eddie, Mike Dominguez
00:23:39those are the pioneers and their legends and they're still riding today
00:23:42it sure sets the tone for what these guys can do and what you're about to see
00:23:48first time we saw them in the movie theater it's the first time you know most of us saw that scene because we were the BMX racers so we didn't see the freestyle
00:23:54the first thing I noticed was hey I know where that's at that's down at Torrance Beach
00:23:59the locals call it burnout
00:24:00everybody showed up at Wizard Publications and it was an overcast day what we were all just supposed to sit there and wait to find out where we were going to film this
00:24:10but it just because of the overcast and the fogginess of the street they decided to film right then and there right there on the street
00:24:18every once to is have fun that's getting out having a good time
00:24:21we looked at that and we go oh I mean come on I mean it's got to be it's got to be the first thing you see in the movie
00:24:26yeah
00:24:27okay dudes let's walk this sucker
00:24:29alright
00:24:31the whole paper rot thing was great the holding the paper rot and the dog grabbing it and you know a race against the clock
00:24:38Pat Romano is the girl and starts taking off on a wheelie I'm crew at that time
00:24:42oh you can tell if you're a BMX pro you can tell when it's Eddie and when it's Bill Allen pedaling just a different style
00:24:49the most intricate part of the scene I believe is Eddie going into the swimming pool and then doing the 180
00:24:56he could do that in his sleep
00:24:58I think the paper route is really a great great opening opening for this movie in that it just gives a great representative of what bicycles mean
00:25:07but it all sets his character that you know he's polite and nice but he will push the rules
00:25:12and people look forward to him
00:25:13when I think about you know Ray Walston getting getting the coffee cups knocked out of his hand
00:25:19oops
00:25:20the world would be a lot better off without kids
00:25:24and who's the guy who says the porch the porch I said the porch
00:25:28the porch I told you a million times the porch
00:25:31I mean it's just so great because these you know typical irreverent teenagers you know that
00:25:37that I think really identified with lots of teenage boys at that time because they were you know
00:25:43they were a little bit rebels and they were a little bit like punks and
00:25:47and they're always trying to get away with something and that to me was you know I think it set the mood for the film
00:25:55right off the top
00:25:56no he may not be the perfect kid
00:25:58he's you know he has fun and he'll push the rules doesn't break the rules
00:26:01right
00:26:06the first day that I was on the film was when we were shooting at the lumber mill and the little hangout area
00:26:13and that to me was a great way to begin because it didn't actually require any acting
00:26:18which is pretty good for me if I don't have to do that
00:26:21but what it enabled me was to be able to ride the bike
00:26:24and I think Hal and the team were subtly happy that you know at least you don't look like a total moron on the bike
00:26:31so it was a great way for me to start because I could do something I felt comfortable
00:26:34I could ride the bike I could laugh and goof and roll over you know the garbage can and all the rest of it
00:26:39I think Luke historically and I'd have to check with the creative geniuses behind the whole script
00:26:44but I think Luke has always had desires to be crew in a lot of different ways
00:26:50and had circumstances been different you know I think that he would have preferred the chase
00:26:56and probably would have been successful as well
00:26:58but you know I understood my place in this movie my friend
00:27:01and that was a second fiddle to Mr. Jones and I was happy to be there
00:27:05police chasing the lumber yard was fun for me because I'm actually up on lumber
00:27:11and looking about 40-50 feet down and you had the motorcycle going through the scenes
00:27:17it's a kid's dream so we had a lot of fun shooting that and there was a lot of leeway
00:27:22in how we shot it and how it came together in the editing room
00:27:26whenever you don't see Bill's face it's pretty much me from the legs down
00:27:32my knees, my shins, my ankles
00:27:34the dirty little secret is that I was not allowed to ride a bike as a child
00:27:39my mother watched my brother nearly get smeared all over the pavement
00:27:44when I was probably eight years old maybe a little younger
00:27:47so I was never allowed to ride a bike
00:27:50I knew how to ride a bike but that was not part of my upbringing
00:27:55music was
00:27:57so there's a couple of scenes where you can pick this out
00:28:02when I'm coming through the fence and the hell track sign pops up
00:28:08man I'm barely able to hang on to that bike
00:28:11so if you compare that rider to the guy in the qualifying races
00:28:15you're going to see a little bit of difference
00:28:18but anyway it was the best I could do at the time
00:28:21and I was so impressed that Bill Allen actually learned how to ride a bike
00:28:26during the movie Rad and he got better and better as time progressed
00:28:30if you watch the film today on a big screen yeah you can pick out times where the stuntmen are
00:28:36taking on our roles but still the stunt work is so spectacular it doesn't seem to matter
00:28:42and that's why we're talking about it today
00:28:44you can see through the lumber yard or the lumber and you can see plywood up on there
00:28:49and I had to make it look like I was doing you know logs
00:28:53riding on logs yeah
00:28:55there was a scene in the lumber yard where he was trying to get away from the police
00:28:58it was going to be through a factory and for somebody in the factory he wasn't happy with it
00:29:03the director and so he went up on his own and found this lumber yard and said we're going to shoot in this lumber yard
00:29:07yeah it's actually the factory they used in shoot to kill
00:29:10shoot to kill
00:29:11that's that factory you later used in that
00:29:13I think the thing I loved about the police chase was just seeing H.B. Haggerty
00:29:19the actor and you know he's a former professional wrestler
00:29:22just to have that guy knowing that he's going to catch you
00:29:25and that bike that motorcycle you know again you knew that there was some behind the scenes stuff going on there
00:29:31you know obviously he wasn't riding that bike over those logs there had to be it was still cool
00:29:36that was a realistic scene when we were kids we did that exact same thing
00:29:39Knott's Prairie Farm would have the donkey trails
00:29:41and in the daytime they had the donkeys going through the trails but at night time they'd close it
00:29:45we'd hook our bikes over the top get on top of the platform shoot up
00:29:4820 of us would be bolting through the donkey trails all wet and just mud all over us
00:29:53but that's the kind of thing you do when you're a kid you did that type of stuff and I thought it was authentic
00:29:56oh yeah now I remember you know going down the street on a late night
00:30:00and putting my bike on some church roof and starting riding the roof trails
00:30:04so yeah it's as real as it gets
00:30:07I think the cool thing about the parade scene was that it involved the whole community
00:30:11and that was typical of Hal Needham you know he figured out a way
00:30:14let's get the whole community involved in this and let them feel a part of this picture
00:30:18so all of those folks lining the streets they're all locals and you know they were felt like they mattered
00:30:24and their part in the film was essential
00:30:27one thing people might not know about my participation in the parade scene
00:30:31about a month before the film was shot up in Canada
00:30:34I was doing a gymnastics tour and I was performing in an exhibition
00:30:38and I landed on a dismount and I completely dislocated my knee
00:30:42because my leg was in an immobilizer
00:30:44I couldn't straighten my leg
00:30:46so I had to get out of the car and walk back and talk to Lori in her car
00:30:50and I had to keep both knees bent as I walked along and they shot me from the waist up
00:30:56so it didn't look like I was limping
00:30:58so you know for me when I think of that scene
00:31:01it looks like okay I'm going back to flirt with Lori
00:31:03but all I can remember is I was walking along like this
00:31:07and they were shooting me from the waist up
00:31:09but yeah it was fun
00:31:11the bicycle boogie scene is probably the most celebrated part of the movie
00:31:19it's been recreated at weddings I understand
00:31:23man the music is what made it because even to this day you hear
00:31:26send me an angel and your brain just goes boom
00:31:29send me an angel
00:31:32send me an angel
00:31:35right now
00:31:39right now
00:31:42what can I tell you it speaks for itself
00:31:45I remember thinking I don't know how he's going to edit it together
00:31:48I don't know how it's going to work
00:31:49but it worked beautifully
00:31:50the whole idea was Saturday Night Fever, Flashdance
00:31:53you know these movies for this audience
00:31:55you know you need a dance sequence
00:31:57okay so they could have danced romantically
00:32:00you know gone there on a bike
00:32:01dance romantically like you know
00:32:03a normal kind of scene
00:32:04or we could do a dance
00:32:05we need to dance in a movie
00:32:06so
00:32:07it has to be on bikes
00:32:08so let's do it on bikes then
00:32:09and everyone looked at us like we were from Mars obviously
00:32:11yeah but
00:32:12and we worked
00:32:13everybody worked really hard on it
00:32:14and helped put her in a sequence
00:32:16you know which I think worked so well
00:32:18I mean it was the 80s
00:32:19and flashing everywhere
00:32:20and that's what it was
00:32:22it was trying to be
00:32:23have a great dance sequence for the audience
00:32:25but do it on bikes
00:32:26because everything on the movie is done on bikes
00:32:28yeah you know
00:32:29a lot of the BMX guys
00:32:31we don't dance
00:32:32you know
00:32:33so I don't know where they came up with that
00:32:35they you know Hollywood
00:32:36I guess
00:32:37I remember Hal Needham saying
00:32:38how the hell are we going to pull this off
00:32:41first of all
00:32:42I think that would be impossible to do
00:32:45a couple of things that we did in there
00:32:47for real
00:32:48so I built a platform on wheels
00:32:51that would hold the bikes up like this
00:32:54so they could set on them
00:32:55and pedal
00:32:56and do all that kind of stuff
00:32:57and spin the wheels
00:32:58and turn around everything
00:33:00I think my stunt career
00:33:02my creativity in stunts
00:33:04and coming up with new equipment
00:33:06and things like that
00:33:07I think it all came together right there
00:33:09on that thing to make it work
00:33:10they had me on dollies a lot of time
00:33:13with the bike in fixed position
00:33:15if you see the one where I'm on the bike
00:33:18and kind of doing the bunny hop
00:33:20it's silly
00:33:21I was the guy on the balance beam
00:33:22the balance beam was actually
00:33:23you know normal balance beam was like this
00:33:24it was double the width
00:33:26but it was still normal height
00:33:27so I had the bunny hop on that
00:33:28then it was both myself and Pat Romano
00:33:30that very first scene
00:33:31when we went over the cameras
00:33:32I was the first guy
00:33:33Pat was the second guy
00:33:34we almost hit the camera
00:33:35then we went in there
00:33:36and started doing all our tricks
00:33:37and that stuff
00:33:38and not only that
00:33:39but the lighting
00:33:40was such that
00:33:42when I was using doubles
00:33:44you couldn't see who it was
00:33:46but yet you could see the outline
00:33:48and you knew
00:33:49that it was supposed to be them
00:33:51in your mind
00:33:52it's them
00:33:53when you're looking at it on the screen
00:33:54so you were in the white pants
00:33:56with the high heels?
00:33:57at one point
00:33:58just at one point
00:33:59I knew that was coming
00:34:01and obviously the song
00:34:02the song helped a lot
00:34:04and that was
00:34:05you know
00:34:06we were fortunate to find that song
00:34:07I don't remember any other movie
00:34:08having that song in it
00:34:09I mean like
00:34:10when you hear that song
00:34:11it's like
00:34:12there's rad
00:34:13on the TV
00:34:14I can hear it
00:34:15bike dancing
00:34:16who does bike dancing?
00:34:17it's like great
00:34:18whatever we remember
00:34:19the bicycle boogie is
00:34:20and we haven't called it
00:34:21a bicycle boogie
00:34:22but I've heard that many times
00:34:23and when you brought it up
00:34:24that's really the moniker
00:34:25it's now
00:34:26that has become a bicycle boogie
00:34:27but there was a Time Magazine
00:34:28or Newsweek Magazine
00:34:29article back then
00:34:30and there was a little blurb
00:34:31about the bicycle dance
00:34:32in rad
00:34:33and it worked out pretty well actually
00:34:35I remember
00:34:36when we were doing
00:34:37the bicycle boogie dance scene
00:34:40when we were filming it
00:34:41they were actually playing
00:34:42White Wedding
00:34:43Billy Idol
00:34:44so we could dance to it
00:34:45obviously they didn't use that
00:34:46for the movie
00:34:47but that's the time period
00:34:49that we're talking about
00:34:50the fact that it's kind of cheesy
00:34:52makes it so cool
00:34:53and the twins in those sort of
00:34:55space outfits
00:34:56doing those funky push-ups
00:34:58and stuff
00:34:59it was just like
00:35:00I mean it was pure 80's gold
00:35:03right?
00:35:04and they wanted me to dress
00:35:07kind of like a Miami Vice
00:35:09kind of guy
00:35:10that's why I had the sport coat
00:35:11pulled up
00:35:12and all this stuff
00:35:13so
00:35:14you know
00:35:15when you sign on
00:35:16to do a movie
00:35:17you go along with
00:35:18whatever the director
00:35:19wants you to do
00:35:20so I said okay I'm in
00:35:21come on dude
00:35:22I mean that was
00:35:23that was out of time
00:35:24at the time
00:35:25you know
00:35:26that was like so 70's
00:35:27but it added to the
00:35:29kitschiness
00:35:30and the flavor of it
00:35:31so it was great
00:35:32hey dude we're going ass sliding
00:35:33you wanna come?
00:35:34no
00:35:35ass sliding with you guys
00:35:36I wouldn't wait for my
00:35:37ass sliding with somebody special
00:35:38you know
00:35:39oh like who Katie?
00:35:41well maybe
00:35:42ass sliding
00:35:43just an unfortunate term
00:35:46I don't know how he came up with that
00:35:48I don't know why
00:35:49but that's what we were left with
00:35:51and that was a plot point in the movie
00:35:53that Laurie and I go ass sliding
00:35:55as far as the innovator of the ass sliding
00:35:58I gotta put that on Sam Bernard
00:36:00and I really need to talk to him more about that
00:36:03because it's disturbing to me
00:36:04it was maybe called something else
00:36:06and uh
00:36:07I mean Hal loved it
00:36:08and Hal really thought it was great
00:36:11and I think it was almost
00:36:13kind of a throw away
00:36:15of like what are these two kids gonna do
00:36:18and what would Crew do
00:36:19with the hottest babies ever like seen in person
00:36:22you know
00:36:23he's just saying hey let's go ass sliding
00:36:26and it was just all just
00:36:27in all the reviews and stuff
00:36:28people like
00:36:29especially with the personal reviews
00:36:30I wanna go ass sliding
00:36:32in my mind
00:36:33it suited what I had envisioned
00:36:36alright
00:36:37and it looked like a slide
00:36:38it looked like something
00:36:39maybe they might have built
00:36:41just for that you know
00:36:42the unfortunate thing about that is
00:36:44we're shooting in Canada
00:36:45there is no warm water in Canada
00:36:47so
00:36:48us going into that mountain stream
00:36:50it was probably about 40 degree water
00:36:53and we had a wetsuit on
00:36:55which does no good
00:36:56if you're jumping in and out of the water
00:36:57so
00:36:58it was fun and refreshing
00:37:00and so cold parts of a man disappear
00:37:03but
00:37:04we'll talk about that some other time
00:37:05and I didn't
00:37:06you know
00:37:07even in the dailies
00:37:08the little vignettes we saw everyday
00:37:09of what they shot the day before
00:37:11we never saw that
00:37:12so the first time I saw that
00:37:14was at the premiere
00:37:15and the ass sliding
00:37:17the reason it's my favorite
00:37:18is because
00:37:19we knew how cold that water had to be
00:37:21so when we saw them hit the water
00:37:23it was like
00:37:24oh my gosh that had to hurt
00:37:25that had to hurt
00:37:26that had to be a one take wonder right
00:37:28that water was ice cold
00:37:31I mean it was a killer
00:37:33and
00:37:34even though you see it twice in the movie
00:37:36they only did it one time
00:37:38because they were freezing to death
00:37:40so what I did was
00:37:41I had felt the water
00:37:43and I knew there was going to be
00:37:45rebellious about doing another one
00:37:47so
00:37:48I put two cameras at the end of the slide
00:37:50I had one on the side
00:37:52and one looking right up the slide
00:37:54and
00:37:55so
00:37:56the first time they did it
00:37:57I used this angle
00:37:58for them going into the water
00:38:00and the last one I used the one out here
00:38:01because when they hit the water
00:38:03the water just blocked them out
00:38:04to the camera lens
00:38:05so
00:38:06they only did it one time
00:38:07but
00:38:08I tell you what
00:38:09I knew they were good
00:38:10I knew I needed blankets and heaters
00:38:12and things when they came out there
00:38:14you over rotated
00:38:22no shit
00:38:23one of the other great scenes was the backflip
00:38:25this was like you know
00:38:27the coming out story of BMX
00:38:29you know all the riders
00:38:30all the bike companies
00:38:31everybody wanted to be involved
00:38:32you know Seltramp is sponsored by 7-eleven
00:38:34you know
00:38:35and it was in every 7-eleven in America
00:38:37so everyone knew what we were doing
00:38:38so we were contacted about
00:38:40well there's this guy who can do a backflip
00:38:42backflip
00:38:43backflip
00:38:44okay we'll put that in
00:38:45what does that look like
00:38:46I couldn't imagine really what it was going to look like
00:38:48he went home to do like a home video or something
00:38:50a movie
00:38:51sent it up to us
00:38:52we looked at it
00:38:53we can do this
00:38:54we'll put this in
00:38:55I don't even know how the subject came up
00:38:57but we were trying to think of all kinds of things
00:38:59that we could put in
00:39:00that had never been done before
00:39:02never been seen on film especially
00:39:04and we heard about this kid and brought him up there
00:39:07and
00:39:08he did
00:39:09I said you know
00:39:10let me see what it looks like
00:39:11and he built a little ramp
00:39:13and he went up there and come backwards
00:39:14and I said
00:39:15go no further
00:39:16that's good enough
00:39:17you know
00:39:18well we all knew it was Jose Yanez
00:39:19that was the only guy that could do backflips back then
00:39:22he was fantastic
00:39:23we were teammates on the same bicycle team at the time
00:39:26even BMX pros
00:39:28we were just amazed at what that guy could do
00:39:30to see him do a backflip on a bike was insane
00:39:33you know he had toe clips and he would ride
00:39:35funny thing
00:39:36you know Jose was not a talented rider
00:39:38he couldn't have rode a lap around a BMX track without crashing
00:39:41but the guy could do these backflips
00:39:43and oh man it was amazing
00:39:45and he can't ride
00:39:46he couldn't ride a bike
00:39:47he can't ride from here to there
00:39:48he could just do a backflip
00:39:49he could do a backflip
00:39:50the only one in the world
00:39:51so Jose when he came out doing this flip
00:39:54I mean like nobody ever thought of doing flips
00:39:56you know and making it
00:39:57so afterwards I asked him I said
00:39:59how'd you learn to do that
00:40:00he said he lived on a lake
00:40:02and they had a boat ramp out there
00:40:04and what he'd do
00:40:05he built a ramp on the end of the boat ramp
00:40:08and he'd come down there and he'd do it into the water
00:40:10Jose actually he was one of the first guys to perfect a backflip
00:40:14at that time with that style
00:40:15he had toe clips on his bike
00:40:17and he would practice into a lake
00:40:19go off onto a lake over and over again
00:40:21so he had a really really weird style of doing backflips
00:40:24compared to the X Games type of styling of backflipping now
00:40:27that kid did that thing
00:40:28I don't know half a dozen times maybe more
00:40:31before he did the real backflip
00:40:33but landing on those boards and those mattresses
00:40:36that wasn't a piece of cake you know
00:40:43and see if you let your head lead your body will just follow naturally
00:40:46really?
00:40:47mhm
00:40:48and those lines about you know like on the backflip
00:40:50you know you lead with your head because your body follows your head
00:40:54I mean that all came from Hal
00:40:56and he knows that
00:40:57because Hal knew exactly what he was talking about
00:40:59in terms of air awareness and how to flip
00:41:01I remember Jose being there
00:41:03and he didn't get the backflip immediately
00:41:05no
00:41:06I think he probably did it eight times
00:41:08a lot of times
00:41:09yeah
00:41:10he would come out and he'd practice his flip
00:41:12and sometimes he'd make it
00:41:13sometimes he wouldn't
00:41:14but he got paid per single flip
00:41:16to do that thing
00:41:17and this was a big deal
00:41:18this was like Neil Armstrong landing on the moon
00:41:21now we've got guys doing double and triple backflips
00:41:25well Jose was the pioneer of this
00:41:27and he was the only guy in the world who could do it
00:41:29that he could come out and he could do a backflip on a bike
00:41:32excuse me
00:41:33so in preparing to do this stunt
00:41:36there would be complete silence on the set
00:41:39Jose I guess he was a religious guy
00:41:42he got religion at that time
00:41:43because he would get down on his knees
00:41:45and he would pray that this stunt would go well
00:41:47and it blew everyone's mind
00:41:50oh my heart a backflip
00:41:52Hulk Hogan eat your heart out
00:41:54you think now that you know the guys in the X Games
00:41:56I mean they're doing backflips on snowmobiles
00:41:58a backflip is no big deal
00:41:59and you know I'm a fat old man now
00:42:01and I can do them on a beach cruiser
00:42:03it's just not a big deal now
00:42:04but then it was incredible
00:42:06and to have a lineup of professional BMX racers
00:42:11stop what they're doing
00:42:12and just in awe of what talent
00:42:17really what guts that took to do the first one
00:42:21and it still is impressive that he did it so far before anyone else did it
00:42:26yeah I was on the scene
00:42:28on the set when Jose was doing his famous backflip onto the mattress
00:42:32and I had to do some insert shots where I fell into the frame
00:42:37but Jose had to do the actual shots where he got the wind knocked out of him
00:42:41and it wasn't supposed to work out
00:42:43so he was supposed to screw that up
00:42:45he did a great job
00:42:46dude he's a crazy nut
00:42:47Jose is just a crazy nut
00:42:49I think the qualifying scenes for me are the best part of the movie
00:42:53it shows these guys unadorned going through parks as fast as they can
00:42:59and if you can watch Eddie Fiola
00:43:01and how fast he is going on one of those one speed BMX bikes
00:43:05you can't believe it
00:43:07How is it?
00:43:09It's so easy, it's a joke
00:43:19even though we're supposed to be acting
00:43:21you're on your bike
00:43:22you want to make it look dramatic
00:43:23and all this type of stuff
00:43:24once we got going
00:43:25it was a real race
00:43:26you're taking a chance
00:43:28risking it all
00:43:30for the thrill of the moment
00:43:34that is still another marvel to me
00:43:36how they put that all together
00:43:37because all we knew was
00:43:38we would ride for 30 yards
00:43:40cut
00:43:41and that was it
00:43:42you know and then two hours later
00:43:44you go okay
00:43:45we're going to ride down this trail
00:43:46and you ride for 30 yards
00:43:47and cut
00:43:48and cut
00:43:49you know and this took
00:43:50it took a couple of days of shooting
00:43:52the kids didn't understand
00:43:53they think if you're going to do a scene
00:43:54you're going to do a race
00:43:55you just do the whole race
00:43:56you know they don't know
00:43:57you have to do it in little bits and pieces
00:43:58so like when it's coming down
00:44:00that real rocky hill
00:44:01with the water and everything
00:44:02that was treacherous
00:44:03you know
00:44:04and so I said
00:44:05well let's do it three or four times
00:44:07and they went what what
00:44:08why why why
00:44:09and I said well I got to
00:44:10you know I'm doing a qualifying race
00:44:11I got to do it three or four times
00:44:13so on and so
00:44:14but I had to teach them
00:44:15that you know
00:44:16you do it one piece at a time
00:44:17they filmed the end five times
00:44:20and they filmed the corner five times
00:44:22they filmed a bunch of that
00:44:23and then they you know
00:44:24they placed the guys
00:44:25in the right numerical order
00:44:28where they're supposed to be
00:44:29inside the race
00:44:30we couldn't understand the sequence
00:44:31because you know
00:44:32Hal had his own system
00:44:33and all we were knowing
00:44:34we were running down
00:44:35we were racing through the park
00:44:37coming back
00:44:38racing through the park
00:44:39going back and forth
00:44:40and we never knew how this thing
00:44:41was going to work out
00:44:42once we saw the dailies
00:44:43it was incredible how they really
00:44:44put that thing together
00:44:45there's a lot of challenging parts
00:44:46like jumping over the hay bale
00:44:48over the bridge
00:44:49the hay bale was there
00:44:50we saw it
00:44:51and since we're freestyling
00:44:52we just decided to jump over the hay bale
00:44:53and they kept that in there
00:44:54that was pretty cool
00:44:55I had one speaking line
00:44:57that got cut
00:44:58edited out
00:44:59I was crushed
00:45:00my big
00:45:01can I do it for you now
00:45:02because I really think
00:45:03you deserve you know
00:45:04this is an academy award winning
00:45:06go for it
00:45:08did you get that?
00:45:09that's all it was
00:45:10you know
00:45:11I don't remember who I said it to
00:45:12but I was supposed to turn to them
00:45:13and this was during the qualifier
00:45:15I turned to the guy next to me
00:45:16and said
00:45:17go for it
00:45:18that's it
00:45:20the best stuff left on the editing room floor
00:45:24well in the trials
00:45:25the prelims
00:45:26my character
00:45:27was savagely taken out of the race
00:45:29I believe
00:45:30because he was targeted
00:45:31as a potential threat
00:45:32to all the racers
00:45:33that would eventually make it to hell track
00:45:34oh man
00:45:36that's a tough brake look
00:45:37I'm sorry
00:45:38gotta do it for all of us dude
00:45:40so I was taken out
00:45:41which was unfortunate
00:45:42I ended up tacoing my front wheel
00:45:45I think that that wheel
00:45:46they actually put on a curb
00:45:47and stomped out
00:45:48from what I remember
00:45:49to get it to take its shape
00:45:50it was a very painful stunt
00:45:51performed not by myself
00:45:52but I did watch it
00:45:53and cheer on those who did it
00:45:55Hell track
00:46:02was the
00:46:03as they say
00:46:04set piece
00:46:05of the movie
00:46:06it was the
00:46:07climactic scene
00:46:08centered around
00:46:09a fictional track
00:46:11and it has elements
00:46:13from almost every discipline
00:46:15the 20-foot drop-off at the beginning
00:46:18the little whoop-dee-doos
00:46:20the cereal bowl
00:46:21these are things you will not find
00:46:23in conventional BMX racing
00:46:25but it was done
00:46:27in such a way
00:46:29that it was exciting
00:46:31essentially I wrote a 90 page script
00:46:33and then I just had a page that said hell track
00:46:35and then the three of us sat down
00:46:37night after night
00:46:38Hal Needham and Robert Levy and I
00:46:40were talking and talking
00:46:41and Hal going on
00:46:42probably took almost the same amount of time
00:46:44to write down hell track
00:46:45in about 15 pages
00:46:46than it took to write the previous 90 pages
00:46:48that's the truth
00:46:50to me that's one of the real important
00:46:52legacies that Hal Needham left
00:46:54is that you know had the race track
00:46:56been just an average track
00:46:58I think it would have still been cool
00:47:01but being a Hollywood stuntman
00:47:04it had to be the most outrageous thing
00:47:06that anybody had seen
00:47:07well hell track was created to be
00:47:09the gnarliest hardest
00:47:11raddest track ever created in history
00:47:15hell track was an experience
00:47:16I mean really if you look at it
00:47:18it would have been what
00:47:20a prelude to the new supercross tracks
00:47:22BMX back in the 80s
00:47:23most of the courses were fairly flat
00:47:25they didn't have a lot of banks to the turns
00:47:27it was a flat out drag race
00:47:28it was who was the fastest from A to B
00:47:30whoever got to the first corner first usually won
00:47:32that track was
00:47:33it was completely different
00:47:34it was amped up the next level
00:47:36we get to the side
00:47:37and you're like
00:47:38are you kidding me?
00:47:39this is not a BMX track
00:47:41and you see the one scene where Rick Moliterno is in the cast
00:47:44signed my cast?
00:47:45that was not set up
00:47:46that was a real deal
00:47:47the first second time on the track
00:47:49to the moguls
00:47:50he ended up breaking his ankle
00:47:51hey don't be intimidated by those guys out there
00:47:52just go for it
00:47:53thanks man
00:47:54yeah Rick actually
00:47:55you know with that broken leg
00:47:56and he having crew sign it
00:47:58he had actually broken his leg
00:48:00during rehearsals and practice
00:48:01in the moguls
00:48:02but I got to participate in the building
00:48:04of the cereal bowl thing
00:48:05so we had a little path in the middle of the cereal bowl
00:48:07and you had to go up the ramp
00:48:08on the cereal bowl platform and then off it
00:48:10and so I would test it
00:48:12and I'd go off it
00:48:13and I knew it had a little spring on it
00:48:14so I'd pull a little wheelie manual
00:48:15and jump off
00:48:16well Chris Phoenix comes on that thing
00:48:18and he's riding
00:48:19and he pulled his front wheel
00:48:21a little bit premature
00:48:22and his front wheel goes over
00:48:24and then under
00:48:25just augers right over
00:48:26with his hands stuck on the handlebars
00:48:28no letting go and doing this
00:48:30or bailing the bike
00:48:31and he went
00:48:32and that was a real
00:48:33on film
00:48:34that was like one of the big smashes
00:48:36that whole day
00:48:37he really got nicked good
00:48:38from the rest of history
00:48:40Chris Phoenix is our hero
00:48:41because of that scene
00:48:42it is so classic
00:48:43until this point
00:48:44we start filming
00:48:45it starts to ring
00:48:46now we've created this
00:48:47mud
00:48:48what do you want to call it
00:48:49there's dirt everywhere
00:48:50and now all of a sudden
00:48:51there's mud everywhere
00:48:52how mud?
00:48:53everything was mushy
00:48:54everything was soft
00:48:55it was difficult to ride
00:48:57some of the jump sequences
00:48:58you can't tell
00:48:59but we laid plywood up the face of the jumps
00:49:01just so we could get air
00:49:02because it was so soft
00:49:04I don't even have stock car teams
00:49:06I've been honestly racist with them
00:49:07and in stock car world
00:49:08they use a helicopter
00:49:09to dry the track
00:49:10that track was a mud hoe
00:49:12and I went
00:49:13oh my god
00:49:14because I didn't have a big budget
00:49:15on that film
00:49:16you know
00:49:17I was uptight for a time
00:49:18and so I called production
00:49:21said give me some helicopters
00:49:23and an hour later
00:49:25there's two helicopters
00:49:26in the middle of this park
00:49:27which I've now closed down
00:49:28they spent two days
00:49:29hovering over this track
00:49:30with the helicopter blades
00:49:31to dry this place out
00:49:32in my college
00:49:34what's going on?
00:49:35classic Hal Needham
00:49:37we'll fix it
00:49:38what do we need to do?
00:49:39get us a helicopter
00:49:40get us a helicopter
00:49:41quick
00:49:42and we had one
00:49:44when the first time they went by
00:49:46there was water and mud
00:49:47going everywhere
00:49:48and as they kept on
00:49:49it kept getting less and less
00:49:50and finally
00:49:51the bikers
00:49:52the riders said
00:49:53it's good
00:49:54it was the most extreme track
00:49:55any of us had ever seen
00:49:56at the time
00:49:57a good example is
00:49:58the hill track hill
00:50:00you had 25 of us
00:50:01that looked at that hill
00:50:02initially and went
00:50:03no way
00:50:04we thought it was a backdrop
00:50:05for the movie
00:50:06we didn't know we were
00:50:07actually going to have to
00:50:08ride down it
00:50:09you know showing up
00:50:10and seeing this
00:50:11this three-story downhill
00:50:12was just unbelievable
00:50:13there was a lot of the
00:50:14pro athlete BMXers
00:50:15that were there
00:50:16once they looked down the hill
00:50:17they had the same thought
00:50:18as like
00:50:19there's no way anybody's
00:50:20going to survive this
00:50:21that wall cost a hundred
00:50:22thousand dollars
00:50:23so I said
00:50:24if I build this thing
00:50:26we got to use it
00:50:27you know
00:50:28nobody wanted to ride down it
00:50:29nobody wanted to
00:50:31we got there
00:50:32and the guys got together
00:50:33with the director
00:50:34and said
00:50:35we cannot ride down that
00:50:36it's a wall
00:50:37nobody wanted to go down the track
00:50:38the first time
00:50:39nobody wanted to take the wall
00:50:40the first time
00:50:41it really was scary
00:50:42when they started
00:50:43you know
00:50:44I remember probably smiling
00:50:45to myself going
00:50:46wow they're kind of scared
00:50:47to go down this thing
00:50:48that's pretty cool
00:50:49you know
00:50:50just to stand on top
00:50:51of that wall
00:50:52was just terrifying
00:50:53I mean
00:50:54that's what one of the things
00:50:55that's so cool
00:50:56is that
00:50:57you have the best riders
00:50:58in the world
00:50:59and hell
00:51:00puts up this hell track
00:51:02and all these guys
00:51:03get out there
00:51:04and go
00:51:05we're not doing it
00:51:06no way are we going down
00:51:07that face
00:51:08and I didn't blame them
00:51:09because you know
00:51:10I did high falls
00:51:11and things as a stuntman
00:51:13and I got up there
00:51:14looked at it
00:51:15and I said
00:51:16I wouldn't go off of here
00:51:17of course I'm not a bike rider
00:51:18you know
00:51:19Jose was the first one
00:51:20to actually
00:51:21you know
00:51:22just nut up
00:51:23stand up there
00:51:24roll straight in
00:51:25he got down to the bottom
00:51:26he looped out backwards
00:51:27oh yeah
00:51:28so he goes
00:51:29well that didn't work
00:51:30goes back to the top
00:51:31leans a little forward
00:51:32just a little bit forward
00:51:33and goes over
00:51:34the handlebars
00:51:35at the very bottom
00:51:36I don't know if Jose was quite all there
00:51:37again he was the only guy
00:51:38that could do the backflip
00:51:39at the time
00:51:40because none of the rest of us
00:51:41would try it
00:51:42I think they hauled him off
00:51:43because he was unconscious
00:51:44so we're all standing there
00:51:45watching this
00:51:46going
00:51:47well I'm not sure if I quite
00:51:48wanted to be next yet
00:51:49but I think Jose was the first one
00:51:50to go right from the top
00:51:51Jose
00:51:52he was kind of like
00:51:53our guinea pig
00:51:54we saw how he did it
00:51:55we said don't do it that way
00:51:56yeah
00:51:57Beatle Rosecrans
00:51:58was you know
00:51:59a freestyle ramp rider back then
00:52:00so they built a ladder
00:52:02and he started going up
00:52:03step by step
00:52:04and he was actually the first guy
00:52:05to go down it
00:52:06Beatle was the first one to go down
00:52:08I mean like on a foot plant
00:52:09and then dropping in
00:52:10he had a ladder
00:52:11he put a ladder up against the wall
00:52:13took his
00:52:14carried his bike up there
00:52:15and from the ladder
00:52:17he got on his bike
00:52:18and rode down about 20 feet
00:52:20so what we did is
00:52:21we went up a couple steps
00:52:22did like a foot plant
00:52:23off to the side
00:52:24and then kind of rolled in
00:52:25went up a little higher
00:52:26a little higher
00:52:27a little higher
00:52:28as we got to the top
00:52:29Beatle was the first one on top
00:52:31and he was actually the first one
00:52:33to roll in
00:52:34to actually from very top
00:52:35to very bottom
00:52:36being that BMX wasn't my background
00:52:39skateboarding was
00:52:40it made it a lot easier
00:52:42drop in because
00:52:43that was skateboarding you know
00:52:46dropping and what not
00:52:47so when he worked to the bottom
00:52:49gosh I wanted to go 5 feet up
00:52:5010 feet up
00:52:5115 feet
00:52:52and next thing you know
00:52:53I was already to the top
00:52:54the trip was going to be cut short
00:52:56if you know
00:52:57didn't happen
00:52:58to do it that day
00:52:59my dad at the time was saying
00:53:01you know
00:53:02either go home or make this movie
00:53:03and finally did it
00:53:05after about an hour and a half
00:53:06well after he did it
00:53:08being the youngest guy out there
00:53:10the rest of the guys had to go for it
00:53:12you know
00:53:13and from there on it was no problem
00:53:14a cult classic is a movie that can be viewed
00:53:26and is viewed by a particular segment of the population
00:53:30again and again and again
00:53:32I think it's like that years after its initial viewing
00:53:36still inspires people still remember and still moves people
00:53:39inspires people
00:53:40and they remember it fondly when they rediscover it
00:53:42they didn't have to be popular movies
00:53:44just movies that found their audience
00:53:46then they're like saying
00:53:47well that's a cult classic
00:53:48or they remember lines
00:53:49like asslining
00:53:50or they remember that song
00:53:51words that you still remember
00:53:53what makes rad a cult classic
00:53:55is the fact that a lot of kids
00:54:00took that VHS tape
00:54:02and watched it over and over and over and over and over again
00:54:07I know that no matter where I go
00:54:09I'm associated with a movie
00:54:10people want to ask me about it
00:54:11so it's got to be a cult classic
00:54:13people watch it religiously
00:54:15over and over and over again
00:54:17they learn the words
00:54:18they learn the songs
00:54:19at that time they didn't have DVDs
00:54:21you had to buy a videotape
00:54:23bicycle shops all over the United States
00:54:27and I don't know maybe Canada
00:54:28and the world and everything else
00:54:30were selling tapes in their bicycle shops
00:54:33that's the interesting thing about rad
00:54:34and I think that's one of the things
00:54:35that's turned it into a bit of a cult classic
00:54:38is that the kids loved it
00:54:40and they wanted it
00:54:42and they figured out a way to get it
00:54:44through blockbuster video
00:54:45and rentals and stuff
00:54:47I think that's where the studio
00:54:49probably made most of their money
00:54:51and then it started to catch on
00:54:54and then the tapes and things
00:54:56started really going out the door
00:54:58and it built that reputation
00:55:00and from there on it just kept growing
00:55:03I can't believe it's a cult classic
00:55:04I mean I think we're just proud
00:55:06that people still remember
00:55:08and still are inspired
00:55:09to remember the movie
00:55:10I'm always honored
00:55:11and I'm always humbled
00:55:12by the interest in this
00:55:13I think it's great it's a cult classic
00:55:15I have no problem accepting it
00:55:17People keep asking me this question
00:55:19To be a cult classic means you have to be old
00:55:21to begin with
00:55:22Well you are
00:55:23So I'm not going to give in to that question
00:55:25I'm not ready to hang it up
00:55:26Well you always say you're old
00:55:27People think it's that
00:55:29and it's inspired people
00:55:30and they remember it
00:55:31and they want to think it's a classic
00:55:32and that makes me feel great
00:55:34We're making a movie about a bunch of guys
00:55:35on bikes who just spins and dance on bikes
00:55:37People thought we were up for Mars
00:55:39Forget about it
00:55:40I remember it was a very sort of
00:55:41classic
00:55:42What are you talking about?
00:55:43It was like
00:55:44People think it's a cult classic
00:55:46and I agree with it
00:55:47because look what it's done to BMX
00:55:50and to the fans
00:55:52You find a rad fan, they're a fan
00:55:55I had a guy come in the other day
00:55:57in my office from DHL
00:55:58He was delivering a package
00:56:00and he saw a poster of Rad
00:56:02and he almost fell over
00:56:04He's like 45 years old
00:56:05DHL delivery guy
00:56:07and he said I can sing every word
00:56:09in every song
00:56:10I know every line in that movie
00:56:11I can't believe I'm meeting you
00:56:13and I don't think he knew
00:56:14I was ever a gymnast
00:56:15He just connected with me with Rad
00:56:17I think it's become a classic
00:56:19and I think I've done two movies
00:56:21that have become a classic
00:56:22I think Smokey and the Bandit
00:56:24has become a classic
00:56:25so of the ten I've done
00:56:27I've had two classics out of it
00:56:28that ain't all bad
00:56:29Well I think the thing that makes Rad
00:56:32watchable over and over again
00:56:34is the kind of G-rated nature of it
00:56:37the kind of Frankie and Annette
00:56:39innocence that it portrays
00:56:41and then it's interspersed
00:56:43with all this amazing action
00:56:45Parents liked it
00:56:46It was kind of clean cut
00:56:47It had a little edgy at the time
00:56:49because you had the word hell
00:56:50on hell track
00:56:51or you had the little girl
00:56:52say what she said
00:56:53Shit!
00:56:54Yeah
00:56:55Oh shit!
00:56:56Well you little shit!
00:56:58Oh shit!
00:57:00That is bullshit
00:57:02No shit
00:57:04Bullshit!
00:57:05Young kids liked it
00:57:06the older kids liked it
00:57:07the hardcore BMXers
00:57:09may or may not have liked it
00:57:10but they're thankful
00:57:11that it represented BMX
00:57:12Every kid looks back
00:57:14on that point in their life
00:57:15that time in their life
00:57:16when we were just enjoying life
00:57:18to the fullest
00:57:19just out on our BMX bike
00:57:21riding the trails
00:57:22or hitting the jumps
00:57:23that's the part of life
00:57:24we look back
00:57:25and we cherish
00:57:26It could be for anybody
00:57:27you know
00:57:28everyone has
00:57:29through in them
00:57:30The fans wouldn't let this movie go
00:57:32To me that's what made it magical
00:57:35is the kids wanted it
00:57:37Now it may not have made a lot of sense
00:57:39you know in the big dollar
00:57:40Hollywood box office accounting
00:57:44but it connected with kids
00:57:47these were just kids
00:57:48with bikes hopping curbs
00:57:49and all of a sudden
00:57:50there was a movie for them
00:57:51and to me
00:57:53it was the fans
00:57:54that make it a cult classic
00:57:55It's a great story
00:57:56It's not dissimilar
00:57:57to what most of us
00:57:58probably did in our own way
00:58:00There's a lot of great
00:58:01action footage out there
00:58:02but as every director knows
00:58:04if you don't have an emotional connection
00:58:05to the characters
00:58:06it's not going to mean that much
00:58:08so they were able to create
00:58:10these characters
00:58:11that people related to
00:58:13that were able to do
00:58:14these extraordinary things
00:58:15and it's what the film
00:58:17is asking you to do
00:58:18whether your passion is BMX
00:58:20or piloting
00:58:21or writing for a living
00:58:23it's find that passion
00:58:25and then stick with it
00:58:26no matter what
00:58:27and I'm telling you
00:58:28this message rings
00:58:30through the ages
00:58:31and I get email
00:58:32on a daily basis
00:58:34saying what that movie
00:58:36has meant to people
00:58:38for that reason
00:58:39how often does it come into my day
00:58:41well you know every day
00:58:42I try to start my morning
00:58:44I watch a few minutes
00:58:45you know
00:58:46I always go to the introduction part
00:58:47you know with me
00:58:48but it'll come up in conversation
00:58:50that about BMX
00:58:51or as soon as they hear the name Hollywood
00:58:54they know Hollywood
00:58:55Mike Miranda from the movie Rad
00:58:56happens all the time
00:58:57publicly
00:58:58I get messages on Facebook
00:59:01and Twitter sometimes
00:59:02not a week goes by
00:59:03where somebody doesn't run up to me
00:59:05and say something about Rad
00:59:07you know I'm a musician
00:59:09I do other acting jobs
00:59:10but this thing is something
00:59:12that has really taken a hold
00:59:14and I don't think
00:59:16I would be doing myself
00:59:17or the sport a service
00:59:19if I didn't pay attention to that
00:59:22because the story is classic
00:59:23you know
00:59:24and that's why paper route is so great
00:59:26because all the kids
00:59:27running paper routes
00:59:28or want to go out and have freedom
00:59:29you want your bike
00:59:30and you want to jump over that fence
00:59:31and you want to do these things
00:59:32to show your freedom
00:59:33and show your guts
00:59:34there's a simplicity to it
00:59:36that just doesn't
00:59:37and that doesn't change
00:59:38because you know
00:59:39that's the roots it has
00:59:41it's a very well loved movie
00:59:43we went and saw it when it was released
00:59:44it was only in the theaters
00:59:45for a week maybe two weeks
00:59:47officially it was somewhat of a flub
00:59:49it didn't make it well in the theaters originally
00:59:52but the fan base has just grown exponentially
00:59:54through the internet
00:59:55it's got legs
00:59:57and I'm not sure I ever anticipated that
00:59:59you know the movie lasted about a minute and a half
01:00:01in the theaters
01:00:03and yet here we are now over 30 years later
01:00:05still talking about rads
01:00:07kind of crazy
01:00:08well a lot of these kids now that are being
01:00:10introduced to the movie
01:00:11are second or third generation BMXers
01:00:14so their dads are saying
01:00:16as dads will do
01:00:17this is the movie you need to see
01:00:19because it was important to me
01:00:20so I think we're getting a lot of fans that way
01:00:23they're learning about it from their fathers
01:00:25exactly
01:00:26and so they're educating these kids
01:00:28of where the history of BMX really came from
01:00:31yeah
01:00:32the movie Rad is important
01:00:33because it captures that part of our lives
01:00:35when we were young and innocent
01:00:37and our greatest joy in life was riding our bike
01:00:40I think that the reason they love the movie the way they do
01:00:43the way they've latched onto it
01:00:45is because they love BMX
01:00:47and if you love BMX Rad is your movie
01:00:50I can't really explain why it still matters
01:00:54but it does
01:00:56and to me that's really powerful
01:00:58because it connected with these young men
01:01:00and these young women
01:01:01at a very impressionable age
01:01:03and it's part of their youth
01:01:06and they want to stay connected to that
01:01:08get them on a bike
01:01:09it'll keep them from having a gun in their hand
01:01:11robbing stores smoking dope
01:01:13I mean it's kind of the only BMX movie
01:01:15that's ever really been out there
01:01:17there's the BMX Bandits
01:01:18but that wasn't really BMX
01:01:20this was actually about racing
01:01:21and you know a local kid coming out of nowhere
01:01:25to race the big guys
01:01:26the big factory riders
01:01:27you know all the kids that saw it think
01:01:29okay maybe I can do that
01:01:30it showed that sometimes it was going to be hard
01:01:33but you could do it
01:01:34you could get past whatever those struggles were
01:01:36just to get out and ride your bike
01:01:37and if it was racing like it was for me
01:01:39you know I had to overcome obstacles myself
01:01:42to be able to race
01:01:43and I think if it connects to me that way
01:01:47I'm sure it connects to a lot of kids too
01:01:49I've talked to Tony Hawk and guys like that
01:01:51who are icons in the extreme sports world
01:01:54and a lot of them point to Rad
01:01:56as being sort of this seminal moment
01:01:58for you know extreme sports
01:02:01and I think it deserves the credit
01:02:05because and I think that goes back to once again
01:02:08to Hal Needham
01:02:09you know he didn't want an average track
01:02:11he wanted something so outrageous that your jaw would drop
01:02:14it was unrealistic to think that somebody could ride this track
01:02:18he set it up and the pro stepped up and did it
01:02:21it took Eddie Fiola and Martin and Pat Romano
01:02:25and it's like they were standing around in their lab coats
01:02:29you know figuring out these tricks
01:02:31and how to perfectly execute them
01:02:34before Rad we had one drywaller in Arizona
01:02:37who could hit a backflip
01:02:39and now we got a guy doing triple backflips
01:02:42you know I think extreme sports is not going to go away
01:02:45it's going to get you know better and better
01:02:47and I think as long as people remember
01:02:49and you know always you know be looking back
01:02:52and finding the roots of these things
01:02:53then Rad will be around
01:02:55is gonna come back up
01:02:58and yeah
01:03:02it's a 얘기
01:03:04if I can all my knowledge
01:03:05can see that
01:03:19Bis zum nächsten Mal.
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