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00:00:00Untertitelung des ZDF für funk, 2017
00:00:30Untertitelung des ZDF für funk, 2017
00:01:00Untertitelung des ZDF für funk, 2017
00:01:30Untertitelung des ZDF für funk, 2017
00:01:59So it was very easy for him to communicate to them
00:02:04Because it was as if he was there
00:02:08He had a real tap into what young people would enjoy about this film
00:02:14But also he was an adult of course
00:02:16So he sort of had, he crossed that bridge into the adulthood
00:02:18And that's part of the reason why I think the film is still so successful today
00:02:22My dad was a big film buff
00:02:25And he would take me to the drive-in
00:02:27You know, I'd get in my pajamas
00:02:29And be in a sleeping bag in the back of the station wagon
00:02:32At the drive-in watching, you know, movies that are now favorites of mine
00:02:35The Sand Pebbles and Planet of the Apes
00:02:37Stuff from the late 60s when I was a little kid
00:02:40And I was always attracted to genre movies
00:02:44I was a bit of a nerd as a kid
00:02:46You know, I wasn't real athletic
00:02:47So I gravitated towards movies about the fantastic
00:02:52And misfits and things that were sort of larger than life
00:02:55I applied to USC Film School
00:02:59Which was then and now considered one of the best film schools in the country
00:03:03And I also applied to UCLA
00:03:04And both film schools rejected me
00:03:07So I decided, well, but both schools accepted me in their curriculum
00:03:13So I just couldn't necessarily be in the film department
00:03:16So I thought the girls were cuter at UCLA
00:03:19And I liked the campus better
00:03:20So I went to UCLA as an English major
00:03:22But continued to make movies
00:03:24And UCLA at that time was brimming with a lot of actors and writers and directors
00:03:30And it was a really fertile time
00:03:32So the fact that I was an English major
00:03:34Was just kind of a nuisance to what I really wanted to do
00:03:37Was hang with my friends and make movies
00:03:39Well, I desperately wanted to direct
00:03:49And I thought, well, what's simple?
00:03:51What's cheap?
00:03:52What do I have access to?
00:03:54Which is what we always think about for a low-budget movie
00:03:56And my parents owned a Victorian house up in Marin County
00:04:00I said, okay, well, I can shoot at the house
00:04:02How about I get a...
00:04:04How about the movie's about a guy in a house
00:04:06And at the beginning of the movie, he goes into the house
00:04:09And at the end of the movie, he comes out of the house
00:04:12And in between is, you know, 85 minutes of the scariest shit I can possibly concoct
00:04:17And I thought, and the movie will be called House
00:04:19And a friend of mine, Ethan Wiley, wrote the screenplay
00:04:22It was a little more goofy and comedic than the version that I had envisioned
00:04:28This sort of black and white, edgy kind of scary movie
00:04:31But his movie was a lot of fun
00:04:32And I was hired by Steve Miner to write a movie and a script
00:04:37And that was my first professional job
00:04:39And Steve read this thing that we'd come up with, House
00:04:41And he loved it
00:04:42And he made the movie
00:04:44Sean Cunningham produced it
00:04:45And William Catt starred in it
00:04:46And that was my first, that was my first screen credit
00:04:59One night, I just thought, you know
00:05:02What kind of movie could I make that has sort of all the stuff that I love from B-movies
00:05:07You know, it's got to have cute girls in it
00:05:09It's got to have, you know, some aliens from space
00:05:12It's got to have, you know, two-fisted, tough guy
00:05:16You know, wisecracking and smoking cigarettes
00:05:19And I sort of just took all of these disparate elements from B-movies
00:05:23And just sort of dropped them in a blender
00:05:25And, you know, hit puree
00:05:27And that was the script for Creeps, which I wrote in about two weeks
00:05:33The picture did not get a wide release
00:05:35And it was a little bit of a disappointment
00:05:38However, you're never hotter than before your movie is released
00:05:43So, the Monster Squad was actually conceived
00:05:46And the screenplay was written before Night of the Creeps was released
00:05:51In fact, if you watch Night of the Creeps
00:05:53There is a scene in which a key character meets his demise in a restroom
00:05:59If you look very carefully on the wall of the restroom
00:06:01You can see it says, Go Monster Squad
00:06:03I had always loved the classic Universal Monster pictures as a kid
00:06:26And had stayed up late night on creature features to watch them
00:06:29And at the same time, I was a big fan of all of the classic comedians of the 30s and 40s
00:06:34I loved The Little Rascals, obviously
00:06:36And Ab and Costello were kind of my favorites at that time
00:06:41And so, when I discovered Ab and Costello, I mean Frankenstein
00:06:44That was like the Holy Grail as a kid to me
00:06:47And so, it just occurred to me, you know, what if we did a Little Rascals movie
00:06:51In which they meet the Universal Monsters
00:06:54And one of my best friends at the time was a college chum named Shane Black
00:07:00And he knew Ab and Costello meet Frankenstein
00:07:02And I said, Shane, let's do The Little Rascals meet the Universal Monsters
00:07:05And he goes, cool, let's do it
00:07:06And the other thing that was kind of amusing about Shane writing his first screenplay
00:07:12Was his imagination is immense
00:07:15And there's always tremendous scope to the stuff he comes up with
00:07:19So, the first draft of The Monster Squad
00:07:22Whereas in the final movie, it's one vampire bride and Van Helsing and three or four assistants
00:07:28You know, he had Van Helsing coming in on a Zeppelin with machine guns
00:07:31And, you know, 40 vampire brides riding horses
00:07:34And I said, man, we can't make this
00:07:36This is the first five minutes of the movie
00:07:39And we already spent, you know, a hundred million dollars
00:07:41He goes, oh, but it's gonna work, it's gonna be great
00:07:42So, obviously this was gonna be a step up in terms of scope
00:07:46And in terms of price and all that
00:07:49But I didn't think about that so much
00:07:51As I said, there was a certain momentum to my career
00:07:54And the script was what it was
00:07:55And the key was to find somebody who loved it
00:07:57And I had been a huge fan of Peter Hyams, the writer-director
00:08:01I loved his films Capricorn One and Hanover Street and Busting and Our Time
00:08:06All of his early films I was crazy about
00:08:08And I had met him and we had developed a relationship through his partner Jonathan Zimbert
00:08:14Fred gave us the script, we loved it
00:08:18And we had a relationship with an executive at Taft Parish by the name of Eileen Maisel
00:08:25And we gave it to Eileen, she loved it, she showed it to Rob Cohen
00:08:31Rob Cohen, who's now a director, was sort of the vice president
00:08:36And he really liked the script a lot
00:08:37And he also apparently responded to Night of the Creeps and found it stylish
00:08:41And he was sort of the first one to say, you know, let's take a shot with this
00:08:46And it was one of those serendipitous things where the people that could say yes
00:08:51Did say yes quickly, and we got it
00:08:53And we were moving towards production within days
00:08:57Baat named Tyler
00:09:00Baat named Fraud
00:09:04Baat named Frlei
00:09:05A
00:09:20Untertitelung des ZDF für funk, 2017
00:09:50Untertitelung des ZDF für funk, 2017
00:10:20Untertitelung des ZDF für funk, 2017
00:10:50John Rosengrant stayed faithful to Stan's design
00:10:54and really made it look like Stan as the Wolfman
00:10:58There hadn't been that many werewolf movies going on at the time
00:11:09There was of course The Howling and American Werewolf in London
00:11:13but this was more of the Wolfman
00:11:16and so when we were doing that character
00:11:19we wanted it to be a good dynamic Wolfman
00:11:25you know it wasn't those Howling kind of werewolves and all which are cool
00:11:29but this was more of kind of an update on more the human Wolfman
00:11:35that was the idea for that one
00:11:38There was two actors that actually played the Wolfman character
00:11:43Jonathan Grise
00:11:45who was the actor that you saw who was the Wolfman
00:11:48and also goes through the transformation inside of the phone booth
00:11:53There was also another physical actor named Carl Tebowlt
00:11:57who actually played the Wolfman when he was completely in his suit and his costume
00:12:02and it was a mask with radio control jaw and eyes and face
00:12:06because part of Stan's design of that werewolf
00:12:11was to even though we were trying to make it look like a Wolfman
00:12:14he also wanted to take it a little bit further
00:12:18so the eyes were kind of spaced out a little further apart
00:12:21like a real wolf
00:12:22and canted up at more of that wolfish angle
00:12:25and a little bit more of a muzzle built out
00:12:29so you could get some of the wolf-like teeth in there
00:12:33more than what you would do on just a man
00:12:36I had never done any suit performance
00:12:51and any creature work before
00:12:53and had always wanted to
00:12:55but was kind of a little reluctant to jump in and say
00:12:58I want to do this
00:12:59and on Monster Squad I remember going to Stan and asking
00:13:04nobody's cast a creature yet
00:13:06is there any chance that I could play this thing?
00:13:08and he thought about it
00:13:09and he said I'll get back to you
00:13:11and he came back and said yeah we'll try it
00:13:14we'll see if we can make it work
00:13:15and he was behind it
00:13:17and got Fred Decker behind it
00:13:19because I had no experience doing this kind of stuff
00:13:21and they both were willing to take a chance on it
00:13:23so from there on out
00:13:25it just worked out great
00:13:26because I was absolutely thrilled to play this role
00:13:30The original creature from the Black Lagoon was my favorite monster of all time
00:13:34and I got a call from Matt saying hey why don't you come in and stand and see your portfolio
00:13:37talking about giving us the Gill Man
00:13:39and so I was really excited
00:13:41and then we were like on cloud nine
00:13:43we're going to build the Gill Man
00:13:45so then we just kind of took it upon ourselves to try to figure out how to build a suit
00:13:50Well for the Gill Man the thing that we did that I thought was very novel at the time
00:13:55because I had not heard of anybody doing it
00:13:57was to take my body cast and shave it down
00:14:00and then do the sculpture and the molding and casting the rubber
00:14:03so the final rubber suit to go back onto my body
00:14:06would have to be stretched really tight
00:14:08and that would eliminate a lot of the wrinkling and sagging of suits around the joints
00:14:13around elbows and armpits and all that sort of thing
00:14:15Well of course Tom's like 6'4, he's slender
00:14:18so we had to take Stan's basic design and adjust it
00:14:22and I remember at one point being a big fan of the original Gill Man
00:14:25and I'm a huge fan of Hua Chang and Chris Miller Jr.
00:14:29and how the architectural style of sculpture
00:14:31when we were actually doing the suit
00:14:33I remember Matt was sculpting the head
00:14:35I would suggest little things like hey when we flare these gills
00:14:37let's do it more sort of architecturally
00:14:39and do you know more like has a slight 50's flare to it
00:14:42so we add those little touches to it
00:14:44and then the scale patterns too
00:14:46we sort of fleshed that out a little bit more
00:14:49and then the head was totally an animatronic mask that I would wear
00:14:54and the only vision I had was just right in the corner
00:14:58the tear duct area of the Gill Man's larger eyes
00:15:01but again the eyes because they were articulated eyes
00:15:04were probably sitting out you know
00:15:06maybe a three quarters to an inch away from my face
00:15:09so now you have a phenomenon of like trying to look through
00:15:11a keyhole that's pushed away from your eyes
00:15:14so my honestly my vision was very very limited
00:15:17May we see a common marker
00:15:20Physically the most challenging scene was the fight between the Gill Man
00:15:27and the Rangers when he comes out of the manhole on the street
00:15:32because we had set it up with the stunt coordinator
00:15:34who completely understood
00:15:36wasn't happy that I didn't have any vision
00:15:38but completely understood
00:15:39and worked it out
00:15:40he said then you know what we'll do
00:15:41I'm going to give you moves and we're going to count it out
00:15:43so you know on the count of one your hands up here
00:15:46and the count of two your other hands down here
00:15:48we worked out these moves
00:15:49and what the other stuntmen would do is basically
00:15:52they knew what my count was
00:15:54so on the count of one
00:15:55somebody had to have a rubber billy club up there
00:15:57and the count of two another billy club under there
00:15:59there was some stuntmen that we worked with before
00:16:01on Invaders from Mars
00:16:02at least one in particular I remember
00:16:04where they were very enthusiastic
00:16:05that fight with all the deputies
00:16:07and they had these billy clubs
00:16:10they were made out of polyfoam
00:16:11but they had metal in them still
00:16:13like soft metal
00:16:14and they were wailing on Tom
00:16:16really hitting them
00:16:18there were stunt guys
00:16:19and Tom was thinking
00:16:20you could kind of hear him in this big mouth
00:16:22going hey hey guys
00:16:23you know
00:16:24not so hard
00:16:25he was really hitting them
00:16:26he was doing good
00:16:27but I do know that by the time he got
00:16:28a third and fourth take
00:16:29and we're starting to miss our numbers
00:16:31I'm getting shots in the gut
00:16:32with these rubber batons and stuff
00:16:34and so Tom was just fighting
00:16:36he was going through the moves
00:16:37and this one point
00:16:38he was supposed to swing
00:16:39and one deputy was supposed to duck
00:16:40and he didn't
00:16:41and Tom just had this full on swing strike
00:16:44and hit him
00:16:45right on his shield
00:16:47in his hat
00:16:48the guy just like
00:16:49went cross-eyed
00:16:50and fell right down
00:16:51this is right in front of me
00:16:52and so he's just
00:16:53it's a stunt guy
00:16:54he's sitting there
00:16:55and they pull his hat off
00:16:57and I guess the rivets
00:16:58that held the shield
00:16:59had made two perfect holes
00:17:00in his forehead
00:17:01that squirt blood
00:17:02about four feet
00:17:04about a yard
00:17:05away
00:17:06like right in front of me
00:17:07and I just about passed out from that
00:17:09I wanted the costume to have the traditional aspects to it
00:17:29you know we had Bela Lugosi's ring for that
00:17:33you know exactly the same ring
00:17:36and certainly the high collar
00:17:39and various other things
00:17:41were very good for it
00:17:42and you know I'm a tall person
00:17:44so that long cape works with it
00:17:46you can sort of play with that and use it
00:17:48and it was a lot of fun
00:17:50well my biggest effect in that
00:17:57in Monster Squad was
00:18:00the transformation body
00:18:02where the bat has flown through a window
00:18:06I think he gets shot or something
00:18:07crashes through a window of a sporting goods store
00:18:09and they run up
00:18:10and there is Dracula caught in mid transformation
00:18:14and it was a fairly complex piece
00:18:18it had not only the full length body
00:18:20that blended right under Duncan's pectoral muscles
00:18:23but it had hair as well
00:18:25that had to be laid on the actor
00:18:27he was coming up through a slant board
00:18:29on the floor
00:18:31with one arm pinned behind his back
00:18:33and a little fake kind of vestigial wing
00:18:38attached to the ball of his shoulder
00:18:42as well as a face makeup
00:18:44so gosh I don't know how long we were at that
00:18:47that must have been at least a five hour application
00:18:49I remember the prosthetics
00:18:51and they are very challenging
00:18:54they always are
00:18:55the other thing was dealing with the contact lenses
00:18:58I had very sensitive eyes
00:19:00and we now have better contact lenses to use in film
00:19:04so I don't have that problem anymore
00:19:05but I remember working with Stan Winston
00:19:07who is a dear old friend
00:19:09and I wouldn't let anybody else touch him
00:19:11except Stan
00:19:13because if I even put my own finger up to my eye
00:19:16I would make myself cry
00:19:29The work that I did on The Mummy was
00:19:32I wanted it
00:19:33first off we found this great actor
00:19:35named Michael McKay
00:19:36he was a very thin actor
00:19:39and he was perfect for it
00:19:41because the approach that I talked to Stan about
00:19:48what I wanted to do was to make it feel like
00:19:51sort of a Karloff-esque kind of look
00:19:54but you can't really use real mummies too much
00:19:58because they are very corpse-like
00:20:00and they have a certain
00:20:02there is a certain look
00:20:03although like The Mummy of Ramses
00:20:05the third I think
00:20:06has kind of a great
00:20:07kind of bone structure
00:20:09kind of classic mummy look
00:20:11so it was coming up with a hybrid
00:20:13of what that would be
00:20:15that was it also had a puppet shot
00:20:18there is one shot
00:20:20where it is even more skeletal and strange
00:20:23when it is the monster in the closet
00:20:25so when the little boy asks his dad
00:20:28to look in the closet
00:20:30to make sure there is no monsters
00:20:31the dad opens the door
00:20:32and there is kind of a mummy in there
00:20:34that is actually a full animatronic piece
00:20:37at that point
00:20:38and then there was an unraveling one
00:20:40that was a wax replica
00:20:42that unwound
00:20:44so as he is unwinding from the truck
00:20:46his body is unwinding
00:20:47stuff is falling out
00:20:48and that was a complete sort of
00:20:50combination effect as well
00:20:51See you later
00:20:53Band-Aid breath
00:21:03In producing all of the other monsters
00:21:05Stan sort of broke them down
00:21:06to various members of the crew
00:21:08and I ended up doing
00:21:10the makeup
00:21:12the prosthetic makeup work
00:21:13for the Frankenstein monster
00:21:15The only thing we had to avoid
00:21:16was anything that was
00:21:17specifically universal monster territory
00:21:19so on the Frankenstein monster
00:21:21instead of putting electrodes
00:21:22on his neck
00:21:23we put him up here on his temple
00:21:24because we knew that we wanted to have
00:21:25a source of getting electricity
00:21:27into the character
00:21:28We stayed away from the greens
00:21:31that were prevalent in color artwork
00:21:34of the Frankenstein monster
00:21:35and my original paint job on it
00:21:37was much more ghastly
00:21:39and I was literally looking at
00:21:41kind of forensic type photographs
00:21:43to get that feeling of a real dead person
00:21:46and I remember the test
00:21:48that we went on set
00:21:49the first time
00:21:50Peter Hyams, producer
00:21:52came over and looked at it
00:21:54and he hated it
00:21:56and he just told me
00:21:57he said it's horrible
00:21:58he said this looks something
00:21:59like I would find down
00:22:00on Hollywood Boulevard
00:22:01in a mask shop
00:22:02and I was just
00:22:03completely devastated
00:22:04because it was such an early film
00:22:07you know I work on at the time
00:22:08and I remember telling Stan
00:22:10and he said don't worry about it
00:22:11we'll work it out
00:22:12and Stan ended up working out the colors
00:22:15with me later
00:22:16and sort of got them
00:22:17tuned up the right way
00:22:19Master is near
00:22:24Master wants children dead
00:22:28I spent more time with the makeup people
00:22:30than I did with the kids
00:22:31and Stan's a...
00:22:33Stan Winston's a real character
00:22:35He's this little...
00:22:37I wouldn't say mean
00:22:39but can be very mean little guy
00:22:41and I made the choice
00:22:42when I did the movie
00:22:43to not really talk to anybody
00:22:44for a while
00:22:45just to get a feeling
00:22:46because Frankenstein doesn't talk much
00:22:47and that pissed him off
00:22:49he didn't like that
00:22:50and he would do all kinds of stuff
00:22:51to mess with me
00:22:52like I remember once he
00:22:53doing the makeup
00:22:54he glued my eyes shut
00:22:56he glued my hands to the chair
00:22:59he...
00:23:00but after a while
00:23:01his being mean to me
00:23:02made me feel somewhat
00:23:03like he was parental
00:23:04and I would start to call him Dada
00:23:06and follow him around on the set
00:23:07which he hated
00:23:08because he's little
00:23:09and I was huge
00:23:10as far as prosthetics go
00:23:12for me as an actor
00:23:13anything you put in the way
00:23:14of me getting what I want
00:23:15is good for me
00:23:16you transform
00:23:18and like they built up my body
00:23:19so I look like I have muscles
00:23:21and I look like I have a bigger neck
00:23:22and...
00:23:23um...
00:23:24I even, you know
00:23:25the prosthesis...
00:23:26I wear a prosthesis in my mouth
00:23:27and my voice is different
00:23:28so it's...
00:23:29it's...
00:23:30you become somebody else
00:23:31without really having to work at it
00:23:32which is what you want to do
00:23:33when you're acting
00:23:34it's great
00:23:35for me it opened my eyes to sort of the process
00:23:41Untertitelung des ZDF, 2020
00:24:11und nicht imitators.
00:24:13Und weil wir nicht wissen, was wir waren,
00:24:17wir mussten innovieren, eine neue Weise zu tun.
00:24:21Wir alle lieben es,
00:24:23weil es all die Universal-Monstersen gab.
00:24:26Und später, zu hören Fred sagen,
00:24:29wie Abon and Costello mit Frankenstein
00:24:31war so ein wichtiges Film zu ihm,
00:24:34als Kind, dass er das ganze Vibe in diesem Film war.
00:24:37Ich würde absoluten agree mit es,
00:24:40das war so ein cooles Film.
00:24:42At der Zeit, die Top-Line-Monstersen-Movies
00:24:45und du sie in diese wirkliche Sillie-Store
00:24:47mit diesen Comedik-Aktors.
00:24:49Es war ein guter Mix.
00:24:50Und das ist das das Film.
00:24:52Es ist cool-Monstersen,
00:24:54mit diesem Kind-Avventure-Kid-Store
00:24:56und macht es alles gut.
00:25:00Ich würde sagen, für mich, Monster Squad
00:25:02war wirklich ein tolles Moment
00:25:06für Stan Winston Studios
00:25:09und meine association mit Stan,
00:25:11um,
00:25:12um,
00:25:13um,
00:25:14um,
00:25:15um,
00:25:16um,
00:25:18um,
00:25:19und,
00:25:21um,
00:25:22um,
00:25:23um,
00:25:24zu machen.
00:25:25Um,
00:25:26um,
00:25:27um,
00:25:28um,
00:25:29um,
00:25:30um,
00:25:31um,
00:25:32um,
00:25:33um,
00:25:34zu machen,
00:25:35um,
00:25:36um,
00:25:37um,
00:25:39oder
00:25:42um,
00:25:43um,
00:25:44um,
00:25:45um,
00:25:46um,
00:25:47zu rauchten,
00:25:48um,
00:25:49um,
00:25:50so,
00:25:51um,
00:25:52all of us and raising the bar to try to try to make it a really amazing little movie.
00:25:59And I think I think that worked out.
00:26:22The character of Frankenstein's monster and the character of Count Dracula have both been
00:26:45seen numerous times in movies, I think along with characters like Tarzan and Sherlock Holmes
00:26:50more than any other fictional characters in movies.
00:26:54So the question was, which predecessors do we embrace and which do we ignore?
00:27:01There was an actor who was brilliant in the role of Dracula and we thought for sure we're
00:27:08going to hire this guy who's relatively unknown, his name was Liam Neeson, and he was brilliant,
00:27:14brilliant.
00:27:15However, he left and we were all looking at one another, wow this guy's fantastic, blah,
00:27:20blah, blah, blah, blah.
00:27:21And Duncan came in and was not only as brilliant, but he was terrifying also, terrifying.
00:27:32Duncan was just, he was just smooth and chiseled and, you know, he was a badass Dracula, you know,
00:27:39I think like we were saying before, I think he's, you know, he's got to be one of the top
00:27:43five Draculas of all time, I think.
00:27:45I mean, Duncan's such a great actor that what he did, which really worked well, was that
00:27:50he didn't really talk to the kids.
00:27:52He stayed sort of as Dracula and he'd walk around with his cape on and, you know, I saw
00:27:58him come in one way and I went the other.
00:28:01I was asked, you know, to come in and if I wanted to play it and I looked at the role
00:28:07and at first I kind of thought, well this is, you know, it takes me back to my childhood
00:28:11watching Bela Lugosi and, you know, all of that stuff was a lot of fun to watch and
00:28:15I thought, in a way I thought, this is kind of a comic book character in a way because it's
00:28:19been done by so many different actors and the big challenge, you know, I came up with
00:28:24a challenge for myself, I had to make a difference somehow.
00:28:33Well I think the character had become more enriched and obviously more modernized, it's
00:28:36been done so many times, and to take some of the melodrama out of what he was doing, but
00:28:45use a little bit of that too, make this character camp, make him have a bit of a sense of humor
00:28:51about what he was doing, but retain a kind of direct approach to exactly what he wanted,
00:29:00as a sociopath might.
00:29:03Meeting adjourned.
00:29:06I didn't just want to play Dracula as a monster, I wanted the human aspects to this character
00:29:13as well.
00:29:14He thinks he's absolutely right, as most villains do in a way, they sort of know what
00:29:20they want, it's the hero who doesn't know what he wants, the hero knows that he wants
00:29:24to stop the villain, that's what he knows.
00:29:26But villains, and especially this Dracula, knew exactly what he wanted and nobody and no
00:29:33thing was ever going to stop him.
00:29:36Van Helsing's diary is missing.
00:29:40Tom Newton was somebody who was recommended by Rob Cohen, who at that time was working
00:29:54with Michael Mann, and I had seen Manhunter, in which Tom is terrific, and we offered him
00:30:02a great moment right off the bat.
00:30:04He had a gentle giant quality, in which we fell in love with and felt that was that relationship
00:30:13between he and Ashley was the heart and soul of the movie, and if that didn't work with
00:30:20all the pyrotechnics, it really wouldn't matter, because if you didn't cry, or at least well
00:30:25up, when Frankenstein goes off, then the movie wouldn't work.
00:30:32Well, you know, as a five-year-old, it was actually the perfect match with Tom, because
00:30:38he was so in the character, and so it was just, it took the make-believe to a whole other level,
00:30:44because I was in the character, so whenever he and I were together, we were just, you know,
00:30:48Phoebe and Frankenstein hanging out, being Phoebe and Frankenstein.
00:30:59Tom was just beautiful and quiet, wonderful guy, and a lot like Frankie, in a sense.
00:31:05He was very, very much into that character of Frankenstein's monster.
00:31:09He was, he really, really stayed close to it, and did a beautiful job.
00:31:16Well, Duncan, I had never really worked with before, and I remember being on the set thinking,
00:31:23this guy's kind of a prick.
00:31:25I never, you know, I get along with people, and I don't really interact with actors that
00:31:28much, but I remember in scenes, he was kind of very dismissive and kind of hoity with me.
00:31:33Like, and I, it bothered me, but I guess that was part of his character.
00:31:36But I remember thinking, what the fuck is this guy's problem?
00:31:47What I liked about the script was, you know, I wasn't, I wasn't a bad guy.
00:31:50I got to work with these kids.
00:31:51It seemed funny. It seemed sweet.
00:31:54I don't, you know, I hadn't done a lot of, in plays, I do a lot of funny, maybe not sweet things,
00:32:00but less horrific things than I do in movies.
00:32:02It's a very different tone in general in my acting career.
00:32:06I don't really plan what I do when I act very much.
00:32:11I don't sit around and kind of conceive of a part or make choices the way people talk about acting.
00:32:17It really just kind of evolves from moment to moment on the set.
00:32:21I heard, as a rumor from the kids, that Tom Noonan never appeared as Tom Noonan in front of them.
00:32:29But he made it a point to always be in full makeup and costume if he ever showed himself for them.
00:32:35And that's, I think, his method at work, and I applaud him for it.
00:32:40My choice with the kids in this movie was not to have them see me, not to have any social interaction with them outside the park, just to be Frankenstein.
00:32:48He was Frankenstein, and that was it. There was no breaking.
00:32:52And there was a scene in the clubhouse where we're all sort of meeting him for the first time.
00:32:59And I hand him the mask, the Frankenstein mask.
00:33:03And he's sitting really close to me.
00:33:05And we're just kind of sitting there.
00:33:08And I looked at him and I said, hey, Tom, you know, how's it going?
00:33:12You know, we actually never met.
00:33:14And he kind of went, honey, honey.
00:33:17And I'm like, okay.
00:33:20I'm like, I get it.
00:33:22I'm 15, man.
00:33:23I know what's going on, man.
00:33:25I know makeup.
00:33:26You don't have to play that game with me, dude.
00:33:28But he kept it, man.
00:33:29He kept it.
00:33:30Never broke.
00:33:31Sat there for hours.
00:33:33And I just kind of just hung out.
00:33:35It was difficult because they didn't really
00:33:37they didn't like that.
00:33:39They thought I was a strange guy.
00:33:41They didn't, you know.
00:33:43I mean, I think it was effective in the end
00:33:45because I think they had to deal with me directly as only the character.
00:33:48But at times it was difficult for me.
00:33:51Both Tom and Duncan were very much in character throughout.
00:33:55And I think it was beneficial for both of them.
00:33:58But as important, they knew as the adults in the movie
00:34:03and as actors, how to benefit the young actors
00:34:08who between the four or five of them
00:34:11didn't have the experience of one of them for a month.
00:34:15So it was also them giving.
00:34:18Soon the creatures of the night shall rule the world.
00:34:22And there is no one to stop it!
00:34:44The challenge with the kids for me was to find actors who were not going to camp it up,
00:34:50who were not going to be too broad, who were not going to be caricatures,
00:34:54who were going to be real or at least believable.
00:34:59What's this?
00:35:05Sean is the linchpin because he is the kind of glue that holds the squad together.
00:35:13He's their leader.
00:35:14So it was very important that it was an actor with that kind of, you know,
00:35:19that we would believe that he could lead a team like that.
00:35:22He's the big picture guy.
00:35:24He's the management.
00:35:25And he can administer and get everything lined up, what it is.
00:35:28And he knows what to do, but he needs his crew to do it.
00:35:32And he's the one that kind of sets everything up and delegates it
00:35:36and brings them all together.
00:35:37And, you know, then we're all kids and then it gets serious.
00:35:40And we all pull together and save the world.
00:35:44The book is right.
00:35:46Don't you think it's all true?
00:35:48I actually read for the role of Rudy first.
00:35:50That's what I actually went all the way through the process
00:35:52and actually screen tested for Rudy.
00:35:54And when the call came from, you know, the agents that I'd actually got
00:35:57in the movie The Monster Squad, I was excited.
00:35:59They said, but you didn't get the role of Rudy.
00:36:01And I was actually disappointed because, you know, as we all know, Rudy's the cool kid.
00:36:06He gets the, you know, he's got the spiky hair and the leather jacket and smokes
00:36:10and kills more stuff than anybody.
00:36:12So, but I think it worked out pretty good.
00:36:14We have a pretty good cast.
00:36:21Ryan Lambert was a teen idol at that time, as was Andre Gower.
00:36:25And he came into our audition and he told me the story.
00:36:28I didn't remember it, that he came in and the first thing he said was,
00:36:31you got to smoke?
00:36:33And he looked at me a little bit baffled.
00:36:36He gave me a cigarette.
00:36:38I lit it up.
00:36:39I don't know what happened after that, but here I am.
00:36:42You dropped your candy bar, EJ.
00:36:44It's his.
00:36:45It's yours now.
00:36:47This kid was genuinely cool.
00:36:49And I have to say there are actors whose names you would know
00:36:53who at that time were in that rough age range
00:36:56and had done fairly big movies who were suggested for the role of Rudy.
00:37:01And I realized, you know, they're not as cool as this guy
00:37:04because this guy is sort of effortless about it.
00:37:08Sean, he's in Tunder High.
00:37:09I heard he killed his dad.
00:37:11Rudy is sort of like a mystery, I always thought.
00:37:16Like, he weren't sure if he killed his dad or if, you know, if he actually went to school
00:37:23or where he came from.
00:37:24Did he have family?
00:37:25Did he just wander around?
00:37:27But that's sort of like the surface stuff.
00:37:29I really felt like he actually did want to belong to something.
00:37:33It kind of seems in the film like he maybe fell into it and he just saves the fat kid
00:37:38and they ask him to be in.
00:37:40But I always thought like in the background he's going,
00:37:42Are they going to let me in?
00:37:43Are they going to let me in?
00:37:44I know about this stuff.
00:37:45I can be a badass.
00:37:50I was actually totally enthralled with Lisa Fuller.
00:37:53I mean, I could have played it cooler as Rudy,
00:38:00but in real life I was just making her mix tapes of Journey.
00:38:04I just tried.
00:38:06I tried to pull it off and just nothing.
00:38:09I blew it.
00:38:11But I actually do get her in the end in the film.
00:38:15I do.
00:38:16They cut it out.
00:38:17I promise.
00:38:22So?
00:38:23What did you want to ask me?
00:38:25What do we want to ask you?
00:38:28Robbie Kiger plays Patrick, who is kind of the sidekick.
00:38:33And he came in with this very kind of peculiar kind of personality that I really liked.
00:38:39He's a little bit of an oddball and I think is a perfect balance to the rest of the group.
00:38:45I had known him for years because we grew up in L.A. and working and acting in the business.
00:38:50Robbie worked a lot of television and did some good stuff.
00:38:53And actually, you know, it was my vote to be Patrick because I knew him.
00:38:57I had some of the other people that had come in and stuff like that.
00:38:59Not that I had, you know, pull or anything.
00:39:01But it worked and we had good chemistry.
00:39:03So, he's a good kid.
00:39:08Why?
00:39:09There's a monster in my closet.
00:39:13Michael Faustino plays Eugene.
00:39:14And he was just this great little kid.
00:39:16I just really liked him as a kid and he was a real kid.
00:39:19He wasn't a movie kid.
00:39:20And that's kind of what I was looking for up and down the line.
00:39:23You see him scenes where he's supposed to be scared.
00:39:26But he's five years old and he never runs off.
00:39:28So, it's a great character.
00:39:29And, you know, Michael was obviously, you know, more near Ashley's age.
00:39:33And, you know, he trooped through too.
00:39:35I mean, he's got a lot of stuff to do in there as well.
00:39:37And, you know, he's got his little cute kid moments and it just works.
00:39:39Mommy came in my house.
00:39:42Right.
00:39:47Can't you read?
00:39:48Mom says you have to let me in the club or else it's prescription.
00:39:52It would be easy to sort of pigeonhole Phoebe as the adorable Muppet.
00:39:58But in truth, she's really important to the plot.
00:40:01Because she's the one who brings Frankenstein's monster into the mix
00:40:05and teams him up with the squad in a way that actually alters the course of the plot.
00:40:11So, it was important that it be, she had to have a sweetness
00:40:15and that it was important that it be someone who our heart would go out to
00:40:19in the same way that the monster's heart goes out to.
00:40:25I think I just got a call for the audition.
00:40:27And I went in and got called back again and again and again.
00:40:31And we had screen tests and met with Fred.
00:40:34And I actually, I turned down the part in Fatal Attraction to do the monster squad.
00:40:40It just seemed like a project that would be so much more fun.
00:40:45And so, I mean, you know, as a five-year-old kid,
00:40:48do you want to be the little ancillary character getting terrified in a movie
00:40:52or do you want to get to hang out with a bunch of kids for three months?
00:40:55Well, Ashley was, I mean, I met Ashley at this monster convention recently.
00:41:03And she's great.
00:41:04But as a kid, she was a bit of a pain.
00:41:06Because she's a five-year-old, which is, you know,
00:41:09a movie set is not a great place to raise a five-year-old.
00:41:12And she was nervous or whatever kids get when they're five.
00:41:15And she used to be, like, difficult.
00:41:16She would, she would try to, like, mess with me when I was acting.
00:41:19She would, like, put things between me and the camera
00:41:22and kind of, like, make fun of me, ask me questions about my billing and, you know.
00:41:27So what I did with her was I would try to mess up her takes.
00:41:30Like, I would do things during her takes to mess her up,
00:41:33which you do when you act with actors to kind of,
00:41:36it becomes an interesting part of acting.
00:41:38And she hated this.
00:41:40She would say, what's he doing?
00:41:42Why is he doing that?
00:41:43He's not supposed to do that, Fred.
00:41:44And, like, and I would go, you know.
00:41:48You know, Ashley, it was, you know, it was interesting because you got to take yourself back to being,
00:42:01you know, a 13, 14-year-old and a lot of stuff.
00:42:04And you're dealing with a five-year-old.
00:42:06I mean, it's hard enough to deal with a 13-year-old,
00:42:08but now you're dealing with a five-year-old that you don't know.
00:42:10And, boy, you have all these, you know, preconceived ideas.
00:42:13It's going to be a problem.
00:42:14You don't want to mess with it.
00:42:15And, I mean, she was a trooper.
00:42:17She really was.
00:42:18My relationship with Andre was that he really treated me kind of like his kid sister,
00:42:23which was great.
00:42:24We really bonded immediately.
00:42:26And we hung out.
00:42:29And he, you know, sort of looked out for me a little bit.
00:42:31And, you know, I had crushes on all of them.
00:42:34I did.
00:42:35I had huge crushes on all of them.
00:42:38Which, you know, being the only girl surrounded by, you know, five good-looking boys.
00:42:44Like, I was in heaven.
00:42:47I taught him to talk.
00:42:49Oh, God.
00:42:51All the kids, I have to say, and I've worked on other films with child actors.
00:42:58And one of the traps many of them fall into is an awareness because their children, when
00:43:05they walk on the set, everybody stops.
00:43:08And people start fawning.
00:43:09People start paying a lot of attention.
00:43:14And it can become very addictive.
00:43:16And before you know it, young children are bossing around 90 adults.
00:43:21And you sometimes are forced to have to deal with it because you need to get your day's
00:43:25work.
00:43:26But that never happened on this set.
00:43:28Can it, Frank.
00:43:29Time's running out.
00:43:31Shot home.
00:43:32Scary house.
00:43:34Real monsters.
00:43:35Us.
00:43:36Twelve years old.
00:43:37Remember?
00:43:51When people ask me about Brent, I, um, he, the thing I remember most about him is that
00:44:02he was just such a, like, really nice, sweet, like, caring, gentle guy.
00:44:08Well, he was sweet, sweet, sweet kid.
00:44:11His mom was really, really nice.
00:44:13A sweetie.
00:44:16Just a, again, this is recollection.
00:44:19I think he had the least resume of any of the kids.
00:44:23So he was the most enthusiastic and sort of wide-eyed at it all.
00:44:28Brent was very, very sweet.
00:44:30And that was very clear from the get-go.
00:44:32He was also younger than the others.
00:44:33He was, he was, I think, around 10 years old.
00:44:35Whereas, uh, Andre and Robbie and, uh, obviously, uh, Ryan were, you know, 12, 13, 14.
00:44:42Uh, so he brought that kind of innocence and sweetness to the character.
00:44:47You know, some of the kids, older guys might have teased me a little bit or played jokes,
00:44:51as teenage boys do, but never him.
00:44:54He was always, you know, looking out and, you know, do you need anything?
00:44:58Are you okay?
00:44:59Or, and, you know, he has some of the greatest lines in the movie.
00:45:02Wolfman's got nuts!
00:45:06Come on! Come on!
00:45:08His voice is sampled in Europe and, you know, with DJs on songs on the radio.
00:45:13And it's just, uh, you know, it's a, it's a badass line.
00:45:16And he ends up being a badass character.
00:45:18But what comes through is his innocence as Horace.
00:45:21Hey, fat kid. Good job.
00:45:24My name is Horace.
00:45:31I was, um, just surfing the internet and came across the fact that he had died of pneumonia
00:45:37in Las Vegas and, uh, he was 22 years old and, uh, it was heartbreaking.
00:45:42When I, when I heard about what happened to him, I was really saddened because he was,
00:45:47I mean, I think he would have really loved to have been here to see all of this.
00:46:17Mark Kerr, action.
00:46:31The biggest difficulties I had were my inexperience.
00:46:35Um, you know, the first, uh, couple of days of the picture, uh, is always tough because
00:46:41you have to gain the confidence of the crew.
00:46:43But eventually we established a rhythm and they began to trust me, I think.
00:46:48Mostly because it was clear that I was so connected to the subject matter.
00:46:51And also my relationship with the kids was so unencumbered and, and true and real and, and,
00:46:57and wonderful because I've always been kind of a kid myself that I think that kind of won the day.
00:47:04He had a big, big responsibility.
00:47:07And I always saw it.
00:47:09I always saw everybody around him, um, wondering whether or not he was gonna be able to pull this off.
00:47:16And, I mean, no one was skeptical or anything, but it just seemed like,
00:47:19wow, this guy's got a huge opportunity here.
00:47:22And I never saw it in his face.
00:47:25I just saw it like, I know what I'm doing.
00:47:28The way that Fred and I would work when I was on set is that generally speaking,
00:47:32I mean, I couldn't read at the time.
00:47:34So, I'd show up on set with my mom and we'd get the pages for the day.
00:47:38And she would go over with me the lines until I had them memorized.
00:47:43And then I'd sit with Fred for a few minutes and he'd be like,
00:47:46okay, you know, you're gonna be scared or I want you to say it like this.
00:47:49And he was really, really great.
00:47:51He really sort of took me through it step by step.
00:47:54And he was really wonderful to work with.
00:47:56I think Fred Decker did great considering all the things he had to deal with,
00:47:59with kids and having only be able to shoot with them for like eight hours at a time
00:48:03and all these effects.
00:48:04And, you know, I don't think he'd ever directed much before.
00:48:06I think he'd done one other thing.
00:48:08And I thought, you know, we did okay.
00:48:11There was a moment, there's one moment in the movie where we had a bit of a disagreement.
00:48:16At the very end, I smiled when I grabbed Duncan and threw him over the church or whatever.
00:48:22And Fred said, what are you, you can't smile. This is supposed to be like your vengeance.
00:48:26And I said, well, this is how I'm vengeful.
00:48:29And he said, well, you can't do that.
00:48:31I said, well, you know, you can't stop me.
00:48:38I remember the quote that I used when I talked to Fred.
00:48:41I said, you know, you put me in this fucking costume.
00:48:43You wrote the script.
00:48:44I've done everything you've wanted.
00:48:46I'm not doing anything else.
00:48:48You've had as much input as you're gonna have.
00:48:51And just did the scene.
00:48:53And I'm not like that.
00:48:54I've never done that in a movie.
00:48:55Maybe once or twice.
00:48:56And then later we talked and he said, you know, I think you made the right choice.
00:48:59I was just freaked out.
00:49:00It was the end of the movie.
00:49:01And, you know, I wish I hadn't said this, but go on.
00:49:05You know, with all humility, there was no point in the picture, apart from certain personalities,
00:49:12that there was no point where I felt overwhelmed.
00:49:18It was such a great sandbox or the train set that Orson Welles talks about.
00:49:23Because not only was I making this movie, which was, you know, certainly the biggest thing I'd ever done,
00:49:27but I was making a movie with these monsters who I loved as a kid.
00:49:31I was making it with these filmmakers who I idolized.
00:49:36It was just, you know, a wonderful experience, even when there was tough times.
00:49:41Oops.
00:49:42That's all right.
00:49:43I guess I must have a stupidity problem.
00:49:48What'd you say, faggot?
00:49:49What'd you say?
00:49:50You're an asshole.
00:49:51Over the years and recently, in retrospect, we've gotten a lot of guff for some of the political incorrectness
00:50:04of the way the kids talk and the way the kids behave.
00:50:07And I would dispute that for a couple of reasons.
00:50:11One, there is not a truth to it, but there is a sort of basis in truth.
00:50:19You know, kids talk like, you know, when I was a kid, we said some of the things that these kids say.
00:50:24So I was just using my own experience.
00:50:26It's okay, you guys.
00:50:28He's friends with us.
00:50:30Come on.
00:50:31Don't feed chicken chicks.
00:50:33It was the first time I'd ever sworn.
00:50:35And I was actually afraid to say the line because I saw it and I went, Mom, can I say that?
00:50:41Am I going to get in trouble?
00:50:43She was like, it's okay.
00:50:44You know, go ahead.
00:50:45It's all right.
00:50:46And I was like, all right, cool.
00:50:48This is great.
00:50:49We were just sort of following our gut as far as making an entertaining picture that we were amused by.
00:50:55I mean, frankly, when Shane and I wrote the script, a lot of the stuff was just to make us laugh.
00:51:00And to have these little kids saying some of these things and toting 12-gauge shotguns and, you know, trying to take pictures of naked girls.
00:51:07That, to us, was funny.
00:51:09And some of it, you know, I think rings true to being a kid.
00:51:13Not the 12-gauge shotgun part, by the way.
00:51:16Kick him in the nards!
00:51:21Kick him in the nards!
00:51:22Well, obviously, the marquee line that's followed me around for years is kick him in the nards.
00:51:28That's the most highly requested and most original line that I, you know, probably in just about any movie.
00:51:36People ask me where it comes from.
00:51:38I said, hey, you got to ask the writers, you know.
00:51:40And it's just a great line and no one's copied it.
00:51:42Wolfman's got nards!
00:51:44Come on! Come on!
00:51:46You know, the Wolfman's got nards thing is, first of all, it's a kind of achievement.
00:51:51First of all, it's kind of a cheap joke.
00:51:52But more importantly, Dracula has nards.
00:51:55I would think Frankenstein's monster has enormous nards.
00:51:58And the creature probably has little, little ones.
00:52:02Little ones.
00:52:04The mummy, the mummy's nards are completely dried up and useless.
00:52:08So, if you tried to kick the mummy in the nards, I think he would just sort of unravel and fall apart.
00:52:13You know, it wouldn't, you could kick him anywhere and he'd actually unravel and fall apart, as we see in the movie.
00:52:21The part of making the movie that I remember the most vividly is the part that I remember with the most fondness.
00:52:31And that was shooting the last 20 minutes of the movie, which was toward the end of the shoot.
00:52:38I can't remember exactly, but I had my sea legs.
00:52:42The crew was kind of behind me.
00:52:44Peter Hyams had sort of stepped back in terms of, you know, frankly, kind of micromanaging how to direct the movie.
00:52:51And I think that's when I felt the freest and I think that's the best part of the movie.
00:52:58The whole finale of the movie was done in the Warner Brothers backlot.
00:53:01It was done over about a eight or nine day period.
00:53:04Probably the most challenging for Fred Decker and myself and our production team was those eight days because of the amount of things,
00:53:16lightning, wind, protecting the actors' eyes, taking young girls out and running them with stuff going on.
00:53:25And that was very challenging.
00:53:27And at that time of the year, it was freezing in Burbank.
00:53:30So everyone's bundled up.
00:53:32You got goggles.
00:53:33Here comes take one and all this stuff is being blown at you in your mouth.
00:53:38I mean, the first take was a disaster.
00:53:40So it's like, no, less dirt, less mulch.
00:53:43You know, you want the wind.
00:53:45But it was hard.
00:53:46The lighting design of Monster Squad was to be a scary kind of movie, but yet more up.
00:53:56So I wanted it to be have a brighter, more colorful feel to it because it was a monster movie.
00:54:02And usually those movies are very film noir and they're in their style.
00:54:06And since it was a kid's movie or that's the way we kind of planned it to be, it was about children.
00:54:12We wanted more of a very colorful palette and a little bit more up in his exposures than dark and dreary.
00:54:20You guys!
00:54:26Oh, shit!
00:54:27Pass it, come on!
00:54:28Okay, come on, read the book!
00:54:30Probably my favorite line in the movie is when Rudy realizes that he's got a crossbow in hand
00:54:37and it's up to him to take out the vampire brides that are walking towards them.
00:54:41And he says,
00:54:42I'm in the goddamn club, aren't I?
00:54:44To me, it was almost like a throwaway line.
00:54:47Because when we shot it, I just kind of like brushed past everyone and just say,
00:54:52I'm in the goddamn club, aren't I? Light a smoke.
00:54:54It just seemed to me like that was going to be like this thing that,
00:54:56and when you see the film, it's just like bun-dun-dun.
00:55:00And it definitely, definitely is one of my favorite lines.
00:55:05Right before the scene where Dracula lifts me up and says, you know, give me the amulet, you bitch,
00:55:22where I'm standing on this, like, wooden platform, and Fred goes,
00:55:26okay, so, you know, I want you to scream in this scene.
00:55:29I'm like, okay, where?
00:55:31And he goes, oh, you'll know.
00:55:34She had never seen him in the makeup before, with the teeth and the eyes.
00:55:38In fact, from the beginning of the movie, I pretty much avoided her as much as I could.
00:55:43And then we put in the, you know, the special fangs and the dialogue, and it was pretty intense.
00:55:49And Fred goes, action.
00:55:51And Duncan opens his eyes and opens his mouth and hisses at me.
00:55:54And that scream is one take.
00:56:04And it was real.
00:56:06I think she felt pretty helpless, and I felt terrible afterwards.
00:56:11She's a cute kid.
00:56:14Took a long time for her to calm down after that.
00:56:17But it wasn't by design.
00:56:19It wasn't one of those silly things like you see in a movie where, you know,
00:56:22directors are trying to do some sort of stunt to scare someone.
00:56:26That wasn't the intention.
00:56:28It just is the way it worked out.
00:56:30I think it's a great scene in the end.
00:56:32And a lot of the tension that was there in that scene was real.
00:56:37I mean, you know, we were trying to work through a very challenging portion of the film there.
00:56:42And it sort of came out on the screen as being something natural.
00:56:45And that quite often happens, you know, where the set gets a little bit tense because there's a lot of difficult things,
00:56:50a lot of, you know, special effects are involved, and things have to go just right.
00:56:55Or we have to do it all over again.
00:56:57So there's a lot of pressure on everybody.
00:56:59And that sometimes works to your advantage.
00:57:02And sometimes you get really, really good material that way.
00:57:17What was really hard to do was the scene at the very end because the physical problems was when they,
00:57:22I'm going to get sucked into the vortex of time or whatever, and the little girl's reaching out to me.
00:57:26Well, they said, you know, Tom, we're going to put a fan on it and get a little breeze going.
00:57:31And we're going to put some stuff in it so it looks like, you know.
00:57:33Well, they put on this fan like the size of a, you know, like off a sack bomber.
00:57:39This huge fan.
00:57:40And then they started throwing everything they could find under the thing.
00:57:44Like pieces of wood and leaves and dirt.
00:57:47And it was, and I'm getting bombarded with this, you know, stuff flying at like 200 miles an hour.
00:57:51And I'm looking at it and get killed.
00:57:53I mean, the kid almost got, I mean, she, at one point she started getting actually blown away.
00:57:58That part was a little scary because I'm sitting here, I'm like 40 pounds on this grass with these huge fans blowing.
00:58:05And they're, you know, yanking the benches away.
00:58:08And I'm like literally gripping onto the grass, like to keep from blowing away.
00:58:13And in the middle of that, I'm supposed to be doing the big moment in the film where I'm, you know,
00:58:16I'm reaching out to her and I'm supposed to be upset.
00:58:18And, you know, I finally bonded with, you know, somebody and it was, it was hard.
00:58:24And they have me on a skateboard too, and they're pulling me by my feet with a rope and, you know,
00:58:27And also then they, they green screened it where they put you in this harness and they spin you around.
00:58:32And you have to do the same thing.
00:58:33And it was just physically really difficult.
00:58:35It is a really sad moment when he, when he gets pulled away.
00:58:38And it, it for me felt real.
00:58:40I mean, to, to meet, for me to think of a great friend, you know, suddenly disappearing, it's really sad.
00:58:46Um, and it's, it's sort of in a lot of ways the heart of the movie is their sort of bond and their friendship.
00:58:55And that, you know, sometimes for, you know, good to be restored, you have to lose people that you love.
00:59:01Which is kind of a, a hard lesson for kids, but, but a worthwhile one.
00:59:08With many of the people that work on the film, it was serendipitous because we've got wonderful people.
00:59:29Uh, in large part because they love the script and then they love Fred's vision and his enthusiasm.
00:59:35And felt this is a guy who's going to deliver the promise of the screenplay.
00:59:40And Bruce is someone who Peter and I, and Fred, music we had loved.
00:59:45I'd seen Silverado and, uh, the music by Bruce Broughton was to me so rousing and such a great statement of sort of everything that a Western should sound like while still scoring the movie.
01:00:01So it was, it was a pastiche that didn't sound like a pastiche.
01:00:04And I thought that's exactly what we need for this movie.
01:00:07And I also knew that I wanted a, a composer that would do a, a classical score.
01:00:15Fred was very young.
01:00:20Um, to work with, he was great.
01:00:23He was very young, but he, he was, he was, I mean, he was very young.
01:00:27Uh, he was very enthusiastic and he had lots of energy.
01:00:31He had, um, Peter Himes is his, I think, executive producer, producer, who he looked up to and who sort of mentored him.
01:00:38And Peter, of course, had, um, a lot of technique and a lot of ability.
01:00:44And, but, uh, but the thing I remember between the two of them was, it was not Peter's movie.
01:00:49And Peter was very sure that it was Fred making the decisions.
01:00:54I was very hands on in laying out what I wanted from the score.
01:00:58Not so much in following, uh, him and standing over his shoulder at the keyboard while he came up with it.
01:01:04I said, I want it to have a, a classical structure.
01:01:06I want certain characters to have themes.
01:01:08I want it to have a kind of a rousing quality.
01:01:11Actually, the scene that I remember I really enjoyed in this was the opening scene.
01:01:22And that whole thing, that whole scene was just so over the top.
01:01:25Um, I did it sort of like a 1930s movie gone mad.
01:01:29You know, I mean, just very chromatic things.
01:01:31And the music's getting higher and higher and more frantic and faster and faster and faster.
01:01:34And suddenly it's all over, you know.
01:01:36And that was really fun to construct.
01:01:38It was fun to play and, and, um, yeah, that part I got off on.
01:01:42The first day of scoring with a full orchestra and Bruce tapping the, his baton and the first cue coming up.
01:01:59I just, I burst into tears.
01:02:00It was like, uh, it was like my whole life had led up to that moment.
01:02:04One producer said to me one time, he said, you know, you just can't imagine the effect of seeing the score on a film material.
01:02:11On a film that you've worked with for so many weeks and can't make any better.
01:02:15And you've just had to live with.
01:02:16And suddenly the music comes up and it all works, you know.
01:02:19And I think Fred may have been reacting to that.
01:02:21But when he saw it come alive, it, it was sort of like, um, his movie had gained more of a heart or a bigger heart.
01:02:30You know, it had more of a feeling.
01:02:31And then you hope that the feeling is the feeling that's appropriate for all the other steps yet to come.
01:02:36Which is the marketing and the audience and the studios and, you know, all those other people.
01:02:41You know who to call when you have ghosts.
01:02:54But who do you call when you have monsters?
01:02:57We're the monster squad.
01:02:59I'm not sure that it was marketed as well as it could have been.
01:03:02But I don't blame the marketing department so much as the fact that the movie was a little bit ahead of its time.
01:03:07I mean, who are you marketing this movie to?
01:03:09If you're marketing it to kids, their parents are going to be afraid to bring them to it because there's monsters in it.
01:03:13If you're marketing it to teens and adults, they're going to think it's a kid's movie.
01:03:17So, I don't think it's the marketing department's fault that the movie kind of cancelled its audience out theatrically.
01:03:24What we didn't anticipate was that parents would be scared of the movie and think that it was inappropriate for their kids.
01:03:32I think at the time that they were right.
01:03:37I think if we had it to do all over again, we'd make the same movie the same way, but probably would have toned down the places where we pushed it.
01:03:47Give me the amulet, you bitch!
01:03:51The fact that the movie wasn't a huge success didn't even really occur to me.
01:03:55It was just sort of something I did and I had no expectations of it being a big hit because I'd never done a feature film before.
01:04:02So it was, everything else I'd worked on, you did it and people saw it and then it was over.
01:04:07You know, sometimes you do a film and it takes three weeks and you're like, that was fun, that was good, great.
01:04:15I had a great time, the director was great and all the actors were great and then it comes out and it doesn't do anything and you're like, eh, well, you know, it was good.
01:04:22This seemed like a lifetime, making this film.
01:04:25Like, it was, we all, there was relationships and we met people and we were there a lot and, you know, all of our families were there because our kids and their mothers became friends and it just seemed like this big family and we were all like really excited for this to happen and then, nothing.
01:04:42Abraham von Helsing. This is great. This is German.
01:04:49So I never saw it as a not success because I know, you know, the ton of people that did see it, loved it and saw it more than once.
01:04:56And, you know, that kind of follows you through. So, you know, years later you're like, wow, did it not do that well?
01:05:02But I think a box office number, you know, there's movies that have done, you know, a hundred million dollars that nobody would buy the DVD.
01:05:09Are, are you dead?
01:05:13Dead.
01:05:14I remember it coming out and don't, didn't follow it much. I was never much into the business and following things.
01:05:18I remember thinking, geez, that's fast. And I remember thinking also they marketed it really badly.
01:05:24I think they wanted to not make it seem too scary and make it seem like it would appeal to a lot of different, you know, groups of people.
01:05:32And I think they should have focused on one and try to sell it there.
01:05:35It's always a bit of a crapshoot with whatever it is. It's all timing. It's all marketing.
01:05:40And, you know, all of those ingredients have to be in and things have to fall in the right place at the right time.
01:05:47It was a real disappointment that this picture didn't do as well as we had hoped. It was a real disappointment.
01:05:52This movie killed my career, actually, for a couple of years. And then I made Robocop 3 and I killed it again.
01:06:00So I'm still kind of recovering from that, frankly.
01:06:04I'm still kind of breathing. Thank you.
01:06:05So Jaud yes.
01:06:07Let me see you doing this.
01:06:09The book that beholds me about you as well.
01:06:11For me?
01:06:13I have been looking for you all in você.
01:06:16A The Out.
01:06:21For you because I don't understand.
01:06:30...
01:06:50Alles um den Film war toll, man.
01:06:52Größter auf, die Monster Squad regarde,
01:06:55ich habe, in der Liebe und ich wollte ein Teil der Monster Squad sein.
01:06:59I wish I could have been in it. I wish I could have been with Rudy and Sean and fighting the monsters.
01:07:08My brothers loved horror movies. He called me to watch it.
01:07:11When I moved here about 15 years ago, I remember I used to go to the
01:07:14playground with my mom and tell the kids to call me Rudy,
01:07:16My mom had to explain to the other moms that my name was in fact Xi,
01:07:20that Rudy was a character in a movie.
01:07:24Well, growing up we watched it, we always slept over each other's houses
01:07:28Und es gibt immer eine Wahl zwischen The Monster Squad oder einem anderen Film we rentieren.
01:07:32Und immer sagen wir, wir sehen, The Monster Squad.
01:07:34Und dann einfach zu sehen und zu sehen und zu sehen, es ist 20 Jahre später.
01:07:41Und dann sehen wir, es ist eine von deinen Kindheit-Memory-Movien-Movien.
01:07:45Und ich liebe es.
01:07:48Das Film ist, der Kult-Follower wurde, in einem Stolz-Kindel-Kindel-Kindel-Kindel-Kindel-Kindel-Kindel.
01:07:54Ich glaube, es hat über die Jahre gelegen, mit jungen viewers zu sehen, auf Video und auf Cable.
01:07:59Und dann, wie sie zu lieben, aber nicht zu sehen, bis sie dann sahen, wenn sie sogar älteren waren.
01:08:08Und es hat diese gute Wille, ich denke.
01:08:11Und dann, es war nicht nur ein paar Jahre später, dass ich, auf Internet,
01:08:16dass da eine Tremendliche Interesse in der Videobeschichte ist.
01:08:19Und eine Tremendliche Affektion für die Videobeschichte ist.
01:08:21Ich war an dieser Konvention, und ein Kind kommt und sagt,
01:08:24»So, wann hast du eine Kult-Follower von Monster Squad?«
01:08:28Und ich sagte, »Ja, 15 Minuten später«.
01:08:30Es war ein Kult-Follower, der das Film liebte,
01:08:33die ich nicht wusste, weil ich nicht sogar ein Kult-Follower hatte,
01:08:38ich konnte es nicht sogar einen Kult-Follower zu meinen Kindern.
01:08:39Es ist schwer, dass ich mir einen VHS-Follower hatte,
01:08:41weil ich es nicht auf DVD-Follower hatte.
01:08:42Ich war überraschend, dass es dieses Kult, ich glaube,
01:08:46von den Kult-Followern, der das Film liebte es.
01:08:49Es ist wirklich interessant,
01:08:51weil die Leute, die ich mich in der Mitte bin, sind adult-Follower.
01:08:54Und sie sind alle Kinder.
01:08:58Sie können sie sehen, als sie kommen und sagen,
01:08:59»Ich sah die Monster Squad«, wenn ich ein Kind«,
01:09:01und sie werden die Kinder, die die erste Mal sahen.
01:09:04Das ist, was wirklich sehr erinnert.
01:09:06Das Film liebte, die Fans lieben die Monster Squad,
01:09:10sie lieben es für etwas, was sie wirklich,
01:09:12die sie erst sahen, als sie das erste Mal sahen.
01:09:15Das ist die erste Mal.
01:09:16Es gibt ein paar verschiedene Fälle, die Fans von diesem Film liebte,
01:09:19die es liebte, es liebte, es liebte auf sie,
01:09:23und sie mit ihnen mit ihnen genommen haben,
01:09:24und die einzige Sache war, was sie ein paar VHS-Followern,
01:09:27und dann, wenn sie auf den Kult-Followern kamen,
01:09:29war es toll, und dann,
01:09:30dann, du, was auf die Internet zu bekommen.
01:09:33Und dann, da war es ein zweites Mal,
01:09:35das war es dann, weil ihr Freund oder Bruder oder Bruder
01:09:38oder Bruder oder Bruder war ihre Lieblings-Followern
01:09:39war ihre Lieblings-Followern.
01:09:40Die erste Mal, dass Monster Squad
01:09:42eigentlich hatte ein bisschen ein Kult-Followern
01:09:44war wahrscheinlich in der Schule,
01:09:46wo ich ein paar Leute sahen,
01:09:48und sie sagten, »Oh, ich weiß das Film!«
01:09:50Und ich sagten, »Oh, wirklich?«
01:09:52Okay.
01:09:53Und dann, wirklich,
01:09:54das Jahr, ein Jahr, ein Jahr und ein halb ago,
01:09:57ich kam heraus,
01:09:59ich war, »Surfing die nette an Arbeit«,
01:10:01oder so,
01:10:02ich kam heraus Andrey's e-mail address.
01:10:04Und ich war, »What a trip!«
01:10:06»I wonder what he's up to?«
01:10:07Und ich e-mailed ihn.
01:10:08Und ever since then,
01:10:10es sort of just leaked out,
01:10:12leaked out,
01:10:13but the real thing that really cemented it
01:10:15was the screening we had
01:10:16at the Alamo Drafthouse.
01:10:18»I got a call,
01:10:20an e-mail, actually,
01:10:21from Quinn,
01:10:22from Ain't It Cool News,
01:10:23and he asked me to come out
01:10:25to do a screening,
01:10:26for a screening,
01:10:27do a Q&A,
01:10:28before two screenings
01:10:30at the Alamo Drafthouse
01:10:31in Austin, Texas.
01:10:32And I kind of said,
01:10:34»Why?«
01:10:36»What?«
01:10:37»Who's gonna go to that?«
01:10:39»And he said,
01:10:40»No, no, no,
01:10:41you don't understand,
01:10:42because it is huge.«
01:10:44It was, you know,
01:10:45two sold-out screenings,
01:10:47and Q&As,
01:10:48and that was really the first time
01:10:50in, obviously,
01:10:51in 20 years,
01:10:52that people had seen the movie projected
01:10:53in a movie theater.
01:10:54And not only were they excited to see it,
01:10:56but the stuff still rang true
01:10:58and cheered,
01:10:59and, you know,
01:11:00they turned, you know,
01:11:01a couple hundred people away
01:11:03at the street that couldn't get in.
01:11:04They could have had a third screening
01:11:05and sold it out.
01:11:06So then you knew you,
01:11:07then you knew you,
01:11:08it was a different level.
01:11:09»And to watch it on the big screen
01:11:11for the first time in 20 years,
01:11:12and see it play like,
01:11:13gangbusters.
01:11:14Now, granted,
01:11:15half the crowd was,
01:11:16you know,
01:11:17drunk,
01:11:18because you can drink
01:11:19at the Alamo Drafthouse,
01:11:20but also half of the crowd
01:11:22had seen the movie many,
01:11:23many times.
01:11:24The other half were coming in
01:11:26just because of the reputation of it
01:11:28and appeared to love it.
01:11:29I even saw parents bringing their kids,
01:11:31which was really gratifying.
01:11:33And it was clear to me from that screening
01:11:36and that event
01:11:37that something had changed
01:11:39in this movie's profile.
01:11:43that was real,
01:11:44and that was her job
01:11:45because she was slandered as
01:11:46a mother,
01:11:47and the others.
01:11:48And it was like,
01:11:49you know,
01:11:50she had a little bit of a
01:11:50attention,
01:11:51but, you know,
01:11:52they had a lot of
01:11:53that thing to talk about
01:11:54and they saw that.
01:11:55And it took out
01:11:56the streets to tell people
01:11:57that a lot of people
01:11:58that were really
01:11:58because they were really
01:11:59a lot of people
01:12:00that fortunately had lived
01:12:01on the�leties.
01:12:02They were all very
01:12:03very hopeful.
01:12:04And it was really
01:12:05part of the really
01:12:06Any way
01:12:07maybe the outcome
01:12:08night.
01:12:09Mein Erfahrung mit dem Film ist, dass es viele Erinnerungen, die ich nie vergessen werde.
01:12:16Und es ist ein kleines Erinnerung, das ist ein kleines Erinnerung.
01:12:20Das ist die erste Bildung, die ich als Producere produziert habe.
01:12:24Es war schwer, aber es war so rewarding und es war so spannend,
01:12:27weil du fühlst, dass du etwas von deinem eigenen Erinnerung hast,
01:12:32und versucht, es für eine neue Gruppe zu machen.
01:12:36Wenn meine Kinder gesehen haben, es war sehr gut.
01:12:39Sie lieben es, weil sie rarely sehen, was ich gemacht habe.
01:12:42Ein paar Dinge, die ich gemacht habe, sind nicht für eine 10-jährige Erinnerung.
01:12:46Und ich denke, dass sie Frankenstein und Monsters sind,
01:12:49so es war einfach für sie, dass sie ihre Eltern sein,
01:12:51diese legendäre Charaktere.
01:12:54Sie denken oft, dass ich ein Kindes Jerky bin.
01:12:57Sie denken, dass meine Filme sind wirklich komisch.
01:12:59Es war einfach für sie.
01:13:01Es war einfach für eine andere Geschichte.
01:13:04Es war einfach für eine andere Geschichte.
01:13:06Es war einfach für die Geschichte.
01:13:08Es ist ein kleines Erinnerung, das ist etwas zu tun,
01:13:10zu tun mit der Art.
01:13:12Es ist so viele Menschen auf so viele Lauf.
01:13:15Und mit dem genießen, das ist meine Meinung.
01:13:19Das ist meine Meinung.
01:13:20Wer kann sagen, für sicher?
01:13:22Es ist wirklich schön, dass sie endlich die Film haben.
01:13:25Es war so ein Teil meiner Kindheit.
01:13:28Es war so ein Teil meiner Kindheit.
01:13:31Es war eine Phänomenal Erfahrung.
01:13:34Es war eine, die ich nie regrette und will immer treasured.
01:13:37Und ich bin so froh, dass ich mich dabei bin.
01:13:41Es ist etwas, dass die Leute sagen, dass sie nicht mehr gemacht haben.
01:13:45Und ich denke, dass das jetzt noch etwas cooler ist,
01:13:49denn wir sind ein Teil von einer sehr selecten Gruppe.
01:13:52Es war ein Spaß.
01:13:54Es ist ein guter Film. Es ist. Es ist Spaß zu sehen.
01:14:04Von Beginn zu Ende, ich kann es noch mal sehen und sagen,
01:14:09das war es Spaß.
01:14:11Es ist ein Spaß zu sehen.
01:14:14Es ist ein Kindes-Circle-of-Lifes passiert.
01:14:18Ich habe ein paar Konzentriere und spezielle Sprengenzeichen
01:14:22und Leute kommen zu mir und sagen,
01:14:24ich habe mit diesem Film gefühlt.
01:14:25Das ist das erste, dass es mich selbst fühlt.
01:14:27Aber das zweite, dass es sehr gratifisch ist,
01:14:30denn ich habe das Gefühl,
01:14:32dass ich, wie ich auf den Universal Monsters gesehen habe,
01:14:35das ist wie sie fühlen.
01:14:37Das ist das Film.
01:14:38So in a way, ich habe,
01:14:39ich habe,
01:14:40ich habe,
01:14:41den Torch auf,
01:14:42zu den nächsten Generationen.
01:14:44Das ist das Film.
01:14:46Das Film.
01:14:47Das Film.
01:14:48Das Film.
01:14:49Das Film.
01:14:50Das Film.
01:14:51Das Film.
01:14:52Das Film.
01:14:53Das Film.
01:14:54Das Film.
01:14:55Das Film.
01:14:56Das Film.
01:14:57Das Film.
01:15:27Untertitelung des ZDF, 2020
01:15:57Untertitelung des ZDF, 2020
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