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00:00:00Untertitelung des ZDF, 2020
00:00:30Untertitelung des ZDF, 2020
00:01:00Untertitelung des ZDF, 2020
00:01:29Untertitelung des ZDF, 2020
00:01:31Untertitelung des ZDF, 2020
00:01:33Welcome to the story of Fright Night
00:01:49With me, your illustrious host, Peter Vincent, the great vampire killer that you have all come to love and admire
00:02:05You have seen me do battle with them all
00:02:12Werewolves
00:02:17Blood-sucking bats
00:02:22And of course, the creatures of the night
00:02:28Combines
00:02:29For thirty frightfully glorious years
00:02:35My victories in Fright Night
00:02:38Have illuminated
00:02:41Your screens
00:02:42And yet
00:02:43Not unlike the creatures
00:02:47Of the night
00:02:47It remains as fresh today
00:02:51As it did when first released to the big screen in 1985
00:02:57Who would have believed that a simple tale of blood and gore penned by Tom Holland
00:03:07Could confound the critics to become the fangoriously frightening success it remains to this day
00:03:17Few could have believed that much like myself it would continue to excite the imagination and cement itself as the camp cult classic of
00:03:32Of
00:03:34Excuse the pun
00:03:36Monstrous proportions
00:03:40So
00:03:44Sit back
00:03:48Close the curtains
00:03:52Lock the door
00:03:54Turn out
00:03:56The lights
00:04:00And prepare
00:04:01For a night
00:04:03Of frights
00:04:04With me
00:04:06Your host
00:04:07Peter Vincent
00:04:09The great
00:04:10Vampire
00:04:12Killer
00:04:13Fright Night is my love letter to the fans
00:04:28Ich war ein Fan, als ich ein Teenager war,
00:04:31bevor ich da war, da waren Horror Movie Fans.
00:04:34Stop, du Creature of the Night!
00:04:37Fright Night, in a way,
00:04:39kind of returns to the great conventions of the past.
00:04:43Something that people were not really expecting at that time.
00:04:46It taps into the primal scare.
00:04:50I guess one of those stories, it's timeless.
00:04:53The movie is like getting on a rollercoaster
00:04:56and going up and down and it's just, it's just a lot of fun.
00:05:01Fright Night was kind of the culmination
00:05:04of some of the coolest makeup gags.
00:05:06The master will kill you for this!
00:05:09And physical effects that were done in the 80s.
00:05:11It's always better to show the audience not quite enough
00:05:16and they often tend to remember more than they saw.
00:05:18It very much captures that time as an era,
00:05:23but it doesn't make fun of it, it embraces it.
00:05:26Fright Night was a wonderful experience
00:05:29that blossomed beyond our imagination
00:05:32in spite of the fact that we knew
00:05:33we were in an extraordinary adventure.
00:05:36Traditional horror had gone away
00:05:39and what I wanted to do was bring back
00:05:42the classic horror monsters that I'd grown up with.
00:05:46Welcome to Fright Night.
00:05:59For real.
00:06:00to see you next time!
00:06:02We'll be right back!
00:06:04We'll be right back!
00:06:04Thank you!
00:06:05Well, in the meantime,
00:06:06we're going to wrap the other.
00:06:08We'll be right back!
00:06:11That was the best video!
00:06:25Bis zum nächsten Mal.
00:06:55Bis zum nächsten Mal.
00:07:25Bis zum nächsten Mal.
00:07:55Bis zum nächsten Mal.
00:08:57Bis zum nächsten Mal.
00:08:59Bis zum nächsten Mal.
00:09:31Bis zum nächsten Mal.
00:10:01Bis zum nächsten Mal.
00:12:33Bis zum nächsten Mal.
00:12:35Bis zum nächsten Mal.
00:12:37Bis zum nächsten Mal.
00:12:39Bis zum nächsten Mal.
00:12:41Bis zum nächsten Mal.
00:12:43Bis zum nächsten Mal.
00:12:45Bis zum nächsten Mal.
00:12:47Bis zum nächsten Mal.
00:12:49Bis zum nächsten Mal.
00:12:51Bis zum nächsten Mal.
00:12:53Bis zum nächsten Mal.
00:12:55Bis zum nächsten Mal.
00:12:57Bis zum nächsten Mal.
00:12:59Bis zum nächsten Mal.
00:13:01Bis zum nächsten Mal.
00:13:03Bis zum nächsten Mal.
00:13:05Bis zum nächsten Mal.
00:13:07Bis zum nächsten Mal.
00:13:09Bis zum nächsten Mal.
00:13:10Bis zum nächsten Mal.
00:13:12Bis zum nächsten Mal.
00:13:13und es hat gezeigt.
00:13:16Fright Night war ein throwaway bei Columbia.
00:13:19Es war die letzte Open-Slot.
00:13:22Es war ihre Least-Expensive-Movie.
00:13:26Es war ein Genre-Movie.
00:13:28Vielleicht würde sie ein bisschen Geld machen,
00:13:30aber sie wollten nichts aus es.
00:13:34Es gibt ein paar Elemente zu Fright Night
00:13:36die zu den Erfolg haben.
00:13:38Aber es ist auf die Seite.
00:13:41Es ist Tom Holland's Schrift.
00:13:43Es standen den Testen der Zeit,
00:13:45denn es war seine Liebe zu den Folk-Loren
00:13:49der Vampire-Lore.
00:13:51Die Vampire-Lore.
00:13:53Amy, Sie werden nicht glauben.
00:13:55Es ist ein Innocent-Situation
00:13:58das sollte nicht in die Richtung es geht.
00:14:01Ein Kind aus dem Fenster.
00:14:03Ein Kind aus dem Fenster.
00:14:05Ein Kind aus dem Fenster.
00:14:07Ein Kind aus dem Haus.
00:14:09Ein Kind aus dem Fenster.
00:14:11Ein Kind aus dem Fenster.
00:14:13Charlie?
00:14:14Das ist unser nächst-door-Neigber,
00:14:16Jerry Dandridge.
00:14:17Hallo, Charlie.
00:14:30Fright Night
00:14:35ist auch ein Hommage
00:14:37zu den Vampire-Genre
00:14:38und auch eine Revitalisierung.
00:14:41In der Sinne,
00:14:43dass, bei der Zeit wir
00:14:44den Film filmten,
00:14:46die Vampire-Genre
00:14:47hat sich ziemlich verletzt.
00:14:48In fact,
00:14:49es wurde satirisiert.
00:14:50Es gab viele Filme
00:14:51aus dem Film,
00:14:52das macht es,
00:14:53und wirklich nicht
00:14:54hat das Element
00:14:55von Terror,
00:14:56und gleichzeitig
00:14:58adhering zu den conventions.
00:15:00Und along kommt
00:15:01ein Mann,
00:15:02Tom Holland,
00:15:03der liebt das Genre,
00:15:04und decided
00:15:05er wollte
00:15:06ein Film
00:15:07das both
00:15:08Terrified
00:15:09und
00:15:11macht es
00:15:12ein Laugh.
00:15:13Oh!
00:15:15Es ist ein
00:15:16Liebling.
00:15:17Es ist nicht
00:15:18ein Take-Off
00:15:19auf etwas.
00:15:20Es ist eine reale Geschichte.
00:15:21Es nimmt was
00:15:22in der Vergangenheit
00:15:23und expandiert
00:15:24auf es.
00:15:25Und sagt,
00:15:26die audience,
00:15:27hier ist dein Gift.
00:15:28weil wir Spaß haben.
00:15:30Ich würde
00:15:32schreiben,
00:15:33und ich würde
00:15:34auf dem
00:15:35auf der
00:15:36Flur
00:15:37lachen.
00:15:38Ich würde
00:15:39kicken
00:15:40meine
00:15:41legs in
00:15:42der
00:15:43Es war
00:15:44es.
00:15:45Ich würde
00:15:46lieben,
00:15:47ich würde
00:15:48das haben.
00:15:49Mom,
00:15:50ich brauche
00:15:51keine
00:15:52Worte.
00:15:53Ich habe
00:15:54eine
00:15:55Zeit.
00:15:56Ich würde
00:15:57in
00:15:59eine
00:16:00Vampyre.
00:16:01Eine
00:16:02Vampyre.
00:16:03Dammit,
00:16:04haben Sie
00:16:05gehört
00:16:06nichts
00:16:07ich gesagt?
00:16:08Das
00:16:09ist
00:16:10ein
00:16:11Duell
00:16:12von
00:16:13John
00:16:14Dekir
00:16:15und
00:16:16Dekir
00:16:17Dekir
00:16:18Dekir
00:16:19Dekir
00:16:20Dekir
00:16:21Dekir
00:16:22Dekir
00:16:23Dekir
00:16:24Dekir
00:16:25Dekir
00:16:26Dekir
00:16:27All the, from Cleopatra on, he'd been Daryl F. Zanuck's guy.
00:16:32They always say that we bring in designers very early in the process
00:16:35because it takes them so long to build their sets.
00:16:37That may be true, but it also allows us a lot of time with our director
00:16:42in storyboarding and in really getting inside their heads.
00:16:46Tom extensively storyboarded with his own hand, unfortunately.
00:16:51You know, some, you know, the storyboards for the homie,
00:16:54but at least it was, you know, however crude they were,
00:16:58they really kind of helped me and I think a lot of the other people
00:17:02who were working with him to understand where he was thinking,
00:17:05where he was going and what he wanted to accomplish.
00:17:08I have a great deal of affection for the vampire myth, for the genre,
00:17:12and the genre died out because they couldn't update it,
00:17:16and I wanted to bring it back,
00:17:18and this was the first story that really contemporized it
00:17:21and that gave it validity in today's climate.
00:17:25As soon as I read the script, I was like, this is great.
00:17:28You know, I said to Tom, whoever you hire,
00:17:30this is going to be a wonderful movie, you know.
00:17:33I had worked on Spinal Tap, which was a non-union picture
00:17:35and some other, you know, low-budget movies,
00:17:37and because of the way the union was in those days,
00:17:40there was a seniority system, and I wasn't qualified to cut it.
00:17:43So I knew this going into the interview,
00:17:45but I was like, what the hell, I'm going to interview anyway
00:17:47because I love the script so much.
00:17:48And then when I got the call to edit the movie, I was like, hmm, okay.
00:17:54And I never really questioned how I got hired.
00:17:58I went in to talk to the head of post-production at Columbia,
00:18:00and all he said was, I hope you know how lucky you are.
00:18:03And I was like, yes, I do.
00:18:04Jerry Dandridge is everything that, you know, you want in a vampire.
00:18:15Sophisticated, suave, elegant, got great taste.
00:18:20Now that I've been made welcome, I've probably dropped by quite a bit.
00:18:23In fact, any time I feel like it.
00:18:27Two-faced, psychotic.
00:18:31A lot of people were suggested,
00:18:38but nobody had a combination of coolness with menace.
00:18:44He's a very charming, witty,
00:18:49devil-may-care kind of happy-go-lucky, undead vampire.
00:18:56In a sort of classic way, I was sent the script by my agent,
00:19:02and I looked at the cover, I looked at the name Fright Night,
00:19:06and of course at the time I was doing Hallmark Hall of Fame,
00:19:09and I was playing Sidney Carton and Charles Darnay in Tale of Two Cities,
00:19:13and I was doing theater in New York,
00:19:15and I'd gotten an Academy Award nomination.
00:19:17I thought, Jesus, you know, I can't do a movie called Fright Night.
00:19:20And then I opened the script, and I start reading it,
00:19:26and within maybe ten seconds, I was sucked in.
00:19:31Tom has a very evocative way of writing,
00:19:33and also he writes in a way that lets you see the movie.
00:19:37The one thing that Chris brought to it was humor.
00:19:41What's the matter, Charlie?
00:19:42Afraid I'd never come over without being invited first.
00:19:46Everybody who encountered him was won over by him,
00:19:49which is really dangerous.
00:19:51You know, I just remember that smile.
00:19:54All you have to do is take my hand.
00:19:57Yeah, I know Evil Ed fell for it,
00:19:59and I probably would, too.
00:20:03I'd watched him play leading men with a character edge,
00:20:07and that's what he brought to Jerry Dandridge.
00:20:10Isn't that what vampires are supposed to do, Charlie?
00:20:13I finished reading the script, and I turned to my ex-wife,
00:20:17and I said, Jesus, this is really good.
00:20:20They want to meet me.
00:20:22What do you think?
00:20:22And she said, well, what the hell? Why not?
00:20:24So we set up a meeting,
00:20:26flew out to Los Angeles, as I recall,
00:20:28and met with Herb Jaffe and Tom,
00:20:31and Tom proceeded to sit there
00:20:34and describe every shot of the movie to me.
00:20:38Literally said, okay, so we're going to open on this,
00:20:41and then that shot's going to cut to this,
00:20:42and then this is going to happen, and that's going to happen.
00:20:44And I'm sitting there, and I'm seeing the movie
00:20:48as Tom is describing it.
00:20:50The script drew him in,
00:20:52but he was afraid of working with a first-time director,
00:20:55and I had to sell him on me.
00:20:57I said, this guy knows what he's doing.
00:21:00And immediately, I said literally to them,
00:21:02call my agent, and let's do this.
00:21:04I mean, literally, from that two- or three-hour meeting,
00:21:07I was in, and that was the beginning.
00:21:09And at a single stroke,
00:21:11that was a brilliant, brilliant bit of casting.
00:21:14Charlie's the engine that makes it go,
00:21:26because Charlie's the one who's most motivated.
00:21:30He's the one who sees Jerry Dandridge at night
00:21:33into the house next door.
00:21:34So he's the one that's on purpose.
00:21:48Oh, my goodness, there's a vampire living next door.
00:21:52He was living with his mom.
00:21:54Father was divorced.
00:21:56It was pretty traumatic, and I wanted to stand up
00:21:58and be the man of the house and be responsible
00:22:00and not disappoint anybody.
00:22:02I had a couple of friends.
00:22:04I had this little sort of dark, narrow band width
00:22:07in my spectrum, I guess,
00:22:09and that's what made me friends with Ed.
00:22:11I had a very nice girlfriend.
00:22:12I was just the boy next door, literally the boy next door.
00:22:16Ed Thompson didn't have many friends,
00:22:18if just that one friend, Charlie Brewster.
00:22:21So, aside from the scenes that are shown in the movie,
00:22:25I really feel that these two guys were buddies and pals
00:22:29and loved each other.
00:22:33I saw a tremendous number of actors.
00:22:36I had a wonderful casting director, Jackie Birch,
00:22:38and I remember one of them was Charlie Sheen
00:22:41as a young guy, and Charlie came in,
00:22:44and I said, you're too good-looking.
00:22:46You're too handsome.
00:22:47You're a lead.
00:22:48And he was very upset with me.
00:22:50I should not have done it.
00:22:53I should have just let him read
00:22:54and let it go after that.
00:22:55But I was looking for somebody that was attractive,
00:22:59but that you could believe was the nice kid,
00:23:03was a little special, but not that special, you know?
00:23:07I was in acting school in San Francisco,
00:23:09in Berkeley, actually,
00:23:11and I was about to graduate,
00:23:13and I got a call from the head of the school
00:23:16who said that a casting person in San Francisco
00:23:19across the bay was looking for actors
00:23:21to play a part in this movie,
00:23:23and the movie was Mask, Peter and Bogdanovich.
00:23:26They were looking for boys who were kind of sickly
00:23:28and feeble, and I was thin in those days,
00:23:32and the woman casting it was a woman named Jackie Birch.
00:23:35Met with Peter Bogdanovich.
00:23:36I did an audition for him and didn't get that role,
00:23:39but then a few months later when I was coming down to visit,
00:23:42I called Jackie and said,
00:23:44you know, I'd like to take you to lunch,
00:23:46and she said, no,
00:23:48but why don't you come and read for this other thing I'm doing?
00:23:52You might be right for it.
00:23:53So I came down and I read for Fright Night then,
00:23:56went back and forth from San Francisco to L.A.
00:23:58for a couple of months doing that auditioning
00:24:00and finally got it.
00:24:03Bill Ragsdale came in
00:24:05and just did a wonderful, wonderful reading,
00:24:07and he was Charlie.
00:24:10He's basically a nice guy.
00:24:12He's very fond of cars,
00:24:13and he spends a lot of time working on cars,
00:24:15and he's grown up in a small Iowa town.
00:24:19He knows a lot of people.
00:24:21He's got a girlfriend named Amy Peterson.
00:24:24Bill was this lovely guy.
00:24:26I have deep affection for him.
00:24:29We had a connection right away.
00:24:32Terrible actor.
00:24:33Billy Ragsdale himself terrible.
00:24:35That's a lie.
00:24:37We have fun.
00:24:38I was just bullying him the whole time,
00:24:40and no matter what you see,
00:24:41every single time,
00:24:43all I'm doing is bullying him.
00:24:44Hey, kid!
00:24:46It was great, and it was fun, you know?
00:24:48What are you doing?
00:24:49It's just like, hey, fuck you, man.
00:24:51I'm a dick.
00:24:53Our first day of shooting
00:24:55was the high school scene
00:24:57where I smashed the burger in his face.
00:25:00Charlie.
00:25:00So it was nice to sort of start out
00:25:05with a more casual scene
00:25:07as opposed to just being in the bedroom
00:25:09and taking off my blouse
00:25:10and trying to seduce him,
00:25:13which was a pretty pathetic attempt.
00:25:15Charlie.
00:25:17I'm ready.
00:25:19He's a really good kisser.
00:25:21I'm not just saying that.
00:25:22He's a really good kisser,
00:25:23and that helps when you have to do
00:25:25those scenes a few times.
00:25:31The real problem I had
00:25:32was finding Amy
00:25:33because I needed not only a love interest
00:25:36and the girl next door,
00:25:37but I needed somebody
00:25:39who could also do
00:25:40a very subtle comedy with it.
00:25:43I don't understand you.
00:25:45First you want to make love,
00:25:46and then you don't.
00:25:47Amy's the girl next door.
00:25:59She's in love with the boy next door
00:26:01who happens to live next door
00:26:02to a monster.
00:26:03Well, goodnight, Charlie.
00:26:07Yeah, goodnight.
00:26:08But she's just so focused on Charlie,
00:26:12and I think young women
00:26:13in high school age,
00:26:15that's a very real part
00:26:17of that time in their lives.
00:26:19The girl of my dreams,
00:26:21the sweet, innocent girl
00:26:22that I wanted to be with.
00:26:26Amanda Burst came in,
00:26:28and she got the grin.
00:26:31She got the amusement
00:26:32underneath the situations.
00:26:34When I was auditioning,
00:26:36I was sitting with real
00:26:3716 and 17-year-olds,
00:26:39and I'm 26 at the time.
00:26:41And I'm looking around going,
00:26:42okay, I know I look
00:26:43a little younger than my age,
00:26:45but this is ridiculous.
00:26:47However, because of the arc
00:26:49of the character,
00:26:50how it's written for her,
00:26:51she has to go through
00:26:53a deepening, sort of sexual,
00:26:56very maturing experience
00:26:58once she gets involved
00:26:59with Chris Sarandon's character.
00:27:00The girl who desperately
00:27:02wants to grow up
00:27:03and then has to grow up
00:27:06too fast.
00:27:11I went off to do
00:27:12the spectacular film
00:27:13before Fright Night
00:27:14that actually starred
00:27:16Stephen Jeffries.
00:27:17Lay rubber, rental.
00:27:18I'm being facetious.
00:27:22Spectacular.
00:27:24When Stephen and I
00:27:25were wrapping Fraternity Vacation,
00:27:27it was like,
00:27:28well, what are you going
00:27:28to do next?
00:27:29Well, I'm doing this little film,
00:27:31this horror film called
00:27:32Fright Night,
00:27:32and I was like,
00:27:33me too.
00:27:34And it was just,
00:27:35wow, cool,
00:27:36we're going to work
00:27:36with each other again.
00:27:37And there were really
00:27:38two incredibly
00:27:40different experiences.
00:27:42In this business,
00:27:45there's luck,
00:27:46there's talent,
00:27:47and in this case,
00:27:49luck played a big part.
00:27:51I was accidentally
00:27:52sent to an audition.
00:27:55My agent just
00:27:56kind of goofed up,
00:27:57and I went in
00:27:58and I met Jackie Birch.
00:27:59He says,
00:28:00you're not Anthony Michael Hall.
00:28:02Are your parents
00:28:02aware of this?
00:28:03I'm like,
00:28:04well, no, I'm not.
00:28:05I remember reading
00:28:06this acting book
00:28:08that says,
00:28:08you know,
00:28:08anytime you're in a situation,
00:28:10you've got to take
00:28:11advantage of it.
00:28:12And I was like,
00:28:12wow, I'm with this
00:28:13casting director
00:28:14from Columbia Pictures,
00:28:15so I really took
00:28:16advantage of the fact
00:28:17that I was sitting
00:28:18on the other side
00:28:19of the desk
00:28:19with this great lady.
00:28:20And we talked for,
00:28:22I think,
00:28:2220, 30 minutes,
00:28:24even though I wasn't
00:28:25the person that she
00:28:27had any intention
00:28:28of casting for this movie.
00:28:30But from that
00:28:31mistaken encounter,
00:28:33she remembered me
00:28:34when she got
00:28:35the breakdown
00:28:35for Fright Night.
00:28:37He thought he was
00:28:37going to be auditioning
00:28:38for Charlie Brewster.
00:28:39He thought he was
00:28:40going to be
00:28:40the leading guy again
00:28:41like he was
00:28:42in the film
00:28:42we were in together.
00:28:43You know,
00:28:44I had never played
00:28:45this kind of strange,
00:28:47weird, sort of
00:28:47offbeat character
00:28:48like Evil Ed.
00:28:49And it really
00:28:50took me a while
00:28:51to process that
00:28:53and to wrap
00:28:53my mind around it.
00:28:54It's,
00:28:55what do you see
00:28:56in me that
00:28:57bears any similarity
00:29:00to this
00:29:00really kooky
00:29:03She's got the hots
00:29:04for the creep.
00:29:05Amy!
00:29:07Somewhat
00:29:07obnoxious character.
00:29:09When Stephen
00:29:10Jeffries walked in,
00:29:12Stephen's choices
00:29:13as an actor
00:29:14were so out there.
00:29:16Get this.
00:29:19Both of them
00:29:20had their heads
00:29:21chopped off.
00:29:23Can you believe it?
00:29:24You're sick.
00:29:27You know,
00:29:27I mean,
00:29:28they were so outrageous
00:29:29that I just loved them.
00:29:32Evil Ed.
00:29:33He was the kid
00:29:34in school
00:29:35that everybody
00:29:36thought was weird.
00:29:39He was the one
00:29:40that wasn't
00:29:40in the cool group.
00:29:42Start with this.
00:29:45But
00:29:45you must have
00:29:47total faith
00:29:49in it
00:29:49for it to work.
00:29:50He was the
00:29:51quintessential
00:29:52horror fan
00:29:53to me.
00:29:54Then get some garlic.
00:29:56Links are the stuff
00:29:57you can wear
00:29:57around your neck
00:29:58and hang from your window.
00:29:59If he comes
00:30:00for you,
00:30:01that'll be the way.
00:30:03You know,
00:30:03he was the kind
00:30:04of guys
00:30:04that I'd grown up
00:30:05with that got
00:30:05into horror
00:30:06but were never
00:30:07invited to the parties
00:30:08and certainly
00:30:09didn't make it
00:30:09to the football games.
00:30:11What are we
00:30:11going to do?
00:30:13This is just
00:30:13like Fright Night.
00:30:15The character
00:30:16of Evil Ed
00:30:17was so ostracized.
00:30:18Stephen had his
00:30:19way of working
00:30:19which was
00:30:20to kind of go off
00:30:21and be by himself
00:30:22a lot of the time.
00:30:23It's like,
00:30:24where's Stephen?
00:30:24I don't know.
00:30:25Where's Stephen?
00:30:25Anybody know
00:30:26where Stephen went?
00:30:27You know,
00:30:27and it worked
00:30:28because of the strain
00:30:29of a guy
00:30:30trying to fit in.
00:30:31Evil Ed
00:30:32is,
00:30:33in many ways,
00:30:34he is a lost boy.
00:30:36A young man
00:30:36who feels
00:30:38that he has
00:30:39no place
00:30:39in the world
00:30:40and covers it
00:30:41by being manic
00:30:42and crazy.
00:30:48His dinner's
00:30:50in the oven!
00:30:52Your dinner
00:30:53is in the oven.
00:30:54I mean,
00:30:55who could do
00:30:56or reading
00:30:56like that?
00:30:58I'm used
00:30:59to playing
00:30:59these nice,
00:31:00innocent,
00:31:01sweet guys
00:31:02or whatever.
00:31:03Although he is
00:31:04very,
00:31:05very gentle
00:31:07and,
00:31:09I mean,
00:31:09I'm just
00:31:10very strange.
00:31:11I'm weird
00:31:12in the movie.
00:31:14Yes.
00:31:15The humor,
00:31:16not comedy,
00:31:17but the humor,
00:31:18had to come out
00:31:18of playing
00:31:19the reality
00:31:20of the situations.
00:31:21Jonathan Stark
00:31:22was a member
00:31:23of the Groundlings,
00:31:24which was like
00:31:25the first
00:31:26comedy improv group.
00:31:28So I get a call
00:31:29to come in
00:31:30and read for this thing
00:31:31and I got the sides.
00:31:33I read them.
00:31:34It was basically
00:31:35the scene I did
00:31:36with Art Evans
00:31:36and Bill Ragsdale.
00:31:38That was the scene
00:31:38I auditioned with.
00:31:40You sure about this?
00:31:41My agent sent me out
00:31:43for an audition
00:31:44for a film called,
00:31:45what is it called?
00:31:46Fright Night.
00:31:47Fright Night.
00:31:48Okay,
00:31:48it's not like a horror film.
00:31:49He says it is.
00:31:50So I get there
00:31:51about 20 minutes early.
00:31:53There's a bunch
00:31:54of guys there
00:31:55and then the next
00:31:56thing I know,
00:31:56an hour later,
00:31:57we're all still there.
00:31:59This is it.
00:32:00I said,
00:32:00I'm out of here.
00:32:01I can't believe this
00:32:02and nobody's gone in.
00:32:04And talking to this guy,
00:32:05we were hanging out.
00:32:06I said,
00:32:07look,
00:32:07I'm getting ready
00:32:08to bust a move, man,
00:32:09because I got
00:32:09another appointment
00:32:10to make
00:32:11and I don't want
00:32:11to be late.
00:32:12He says,
00:32:13Art.
00:32:13I said,
00:32:14what?
00:32:14He says,
00:32:15I don't think
00:32:15you want to leave.
00:32:17Why?
00:32:18He said,
00:32:19just look around.
00:32:20So I started
00:32:21looking around.
00:32:25I'm the only
00:32:26black guy there.
00:32:28Lieutenant Enix,
00:32:28homicide.
00:32:29Mind if we come in?
00:32:31No,
00:32:32no,
00:32:32not at all.
00:32:32Come on in.
00:32:33It's the first time
00:32:34I bring an outsider
00:32:35in to try
00:32:37and intervene
00:32:37in this situation.
00:32:39There was a murder
00:32:39last night.
00:32:40Charlie lives next door,
00:32:41thinks he saw
00:32:42the victim in this house.
00:32:43And it's also
00:32:44the first time
00:32:45the vampire
00:32:45really realizes
00:32:48that I'm not
00:32:48going to stop
00:32:49until he's exposed.
00:32:50Look,
00:32:51I can prove
00:32:51he's lying.
00:32:55Let's look
00:32:55in the basement
00:32:56instead.
00:32:57What's down there,
00:32:58Charlie?
00:32:59Yes, Charlie.
00:33:01What's down there?
00:33:02I never look at
00:33:03the part that you get
00:33:03in the film
00:33:04as a small part
00:33:05because I can make
00:33:06something out of it.
00:33:07A coffin.
00:33:09That's what's down
00:33:10there, a coffin.
00:33:10I saw them carry it in.
00:33:12What?
00:33:13That scene was fun
00:33:14for me
00:33:15because I was doing
00:33:16stuff that wasn't
00:33:16in the script.
00:33:17Art and I were just
00:33:18like bum, bum, bum,
00:33:18bum, bum, bum, bum,
00:33:19and it's really
00:33:20felt so natural
00:33:21when we did it.
00:33:22Ooh.
00:33:23Ha, ha, ha, ha.
00:33:25Ooh, doing all
00:33:26those faces
00:33:26and stuff,
00:33:27and it was like,
00:33:28gosh, that's weird.
00:33:30Uh-oh.
00:33:30I saw him
00:33:31in that room last night
00:33:32and he had fangs
00:33:33and he bit her
00:33:33on the neck.
00:33:34For heaven's sake,
00:33:36come on.
00:33:37I thought my character
00:33:38was very pivotal
00:33:39in moving the film forward.
00:33:41I think he only worked
00:33:42two days on the film
00:33:43and it's a real
00:33:44turning point
00:33:45in the movie, too.
00:33:46Look, I'm telling you,
00:33:47Jerry Dandridge
00:33:48is a vampire.
00:33:49Sure, and I'm dirty hearing.
00:33:50Now let me tell you
00:33:51something here.
00:33:52If I ever catch your ass
00:33:53down at the station house again,
00:33:54I'm throwing it in jail.
00:33:55Whatever!
00:33:56Look, Lieutenant, please.
00:33:57Come on, just listen
00:33:58to me for a second.
00:33:59Look, I know it's crazy.
00:34:00I know that,
00:34:01but look, Lieutenant!
00:34:02Billy's always got
00:34:09Jerry's back.
00:34:10Two guys
00:34:11who are very aware
00:34:12of their power.
00:34:13They know what they have to do
00:34:14and they go about
00:34:16doing it in a very kind of
00:34:17almost business-like way.
00:34:19You never quite know
00:34:20what their relationship is.
00:34:21I know there's a lot
00:34:22of speculation and stuff
00:34:23what the relationship,
00:34:25real relationship,
00:34:26was between Billy Cole
00:34:27and Jerry.
00:34:31I'm not going to speculate
00:34:32on that,
00:34:32because we never really
00:34:34talked about it.
00:34:35We didn't make a decision,
00:34:36oh, well, they were
00:34:37at some point back
00:34:38when, centuries before,
00:34:41lovers or close friends
00:34:43or that Jerry turned him into.
00:34:46We didn't really get into that.
00:34:49People ask me sometimes
00:34:50about the homosexual element.
00:34:52but we never discussed that,
00:34:54ever.
00:34:55It's just that we were really good friends
00:34:57and we took care of each other.
00:34:58And then there's a scene
00:34:59where I'm washing Chris's hand
00:35:01and Tom says,
00:35:01well, get down on your knees
00:35:02in front of him.
00:35:03And I'm like, okay,
00:35:05whatever, you know,
00:35:06I'm the servant,
00:35:06I'm subservient,
00:35:07so I'll do that, you know.
00:35:08So afterwards I watched the movie
00:35:10and I was like,
00:35:11wait a minute.
00:35:14You fooled me, Tom.
00:35:17Everybody's going to write
00:35:18their own story
00:35:19so they can, you know,
00:35:21it doesn't bother me
00:35:22one way or another
00:35:22what they want to think.
00:35:23Which makes it all
00:35:24the more intriguing
00:35:25because you want to find out
00:35:28what's going on
00:35:29with these two dudes.
00:35:39Heidi Sorensen
00:35:40was just beautiful.
00:35:42Got out of the car
00:35:43and of course she was the victim
00:35:44of, you know,
00:35:45going into Jerry's house.
00:35:47Obviously an escort service.
00:35:49Charlie notices her
00:35:50and he's wowed by her.
00:35:52Is this 99 Oak?
00:35:54No.
00:35:54No, it's next door.
00:35:58Well, I wanted to get
00:36:00even a little bit more sexiness
00:36:01and I thought that
00:36:03if I could get the nipples
00:36:05a little bit harder,
00:36:06that would certainly
00:36:07get Charlie's attention
00:36:08and it would get mine.
00:36:09Hot.
00:36:10Very hot.
00:36:11And of course,
00:36:12the way you do that
00:36:13is use a little bit of ice.
00:36:14I was too embarrassed
00:36:15to ask Heidi directly.
00:36:18So I asked the wardrobe woman
00:36:20to ask Heidi for me.
00:36:22I don't know if I'd be
00:36:23any better at asking
00:36:24now.
00:36:30Hey, Mom?
00:36:31Yeah, I'm in here.
00:36:33This is a shout out
00:36:34to Dorothy Fielding
00:36:35who played Mom.
00:36:37Have you seen
00:36:37the new guy next door yet?
00:36:39No, but I did hear
00:36:40he's got a live-in carpenter.
00:36:42My luck?
00:36:43It's probably gay.
00:36:44She was a very strong actress
00:36:47who once again
00:36:48could be funny.
00:36:50She could act and play ditzy.
00:36:52Charlie, what is going on?
00:36:54Oh, nothing.
00:36:54I just had a nightmare.
00:36:56Oh.
00:36:56You know, I had one last night.
00:36:59It was awful.
00:37:01I was at this white sale
00:37:03and I suddenly realized
00:37:04I was stark naked.
00:37:06I mean, she's a hoot.
00:37:06You can get that, too.
00:37:07You can get that
00:37:08in those brief moments
00:37:10that she's in the scene.
00:37:11Are you kids having
00:37:12a lover's spat?
00:37:13No, Mom.
00:37:14Nothing like that.
00:37:16Well, there's nothing
00:37:17wrong with it.
00:37:18It says right here
00:37:19that the divorce rate
00:37:20is 76% higher
00:37:21among couples
00:37:22who don't argue
00:37:22before marriage.
00:37:23Mom, we're in high school.
00:37:25And she had this sort of
00:37:26bubbly, unexpected
00:37:28kind of goofiness.
00:37:29Charlie?
00:37:31Dorothy, wherever you are,
00:37:32we all love you.
00:37:33We send you our best.
00:37:34And nobody knows
00:37:35where she is.
00:37:36She dropped out of sight.
00:37:41Oh, born in the dark,
00:37:48cobbled streets
00:37:49of London town,
00:37:52England,
00:37:54in 1928,
00:37:56character actor
00:37:57Roddy McDowell
00:37:59would start his career
00:38:00as a child in 1938.
00:38:03He would fast become
00:38:05a recognizable face
00:38:07in such films as
00:38:10Lassie,
00:38:11Cleopatra,
00:38:12The Poseidon Adventure,
00:38:15and most memorably,
00:38:18the Planet of the Apes saga,
00:38:21playing talking chimps.
00:38:24When casting the role
00:38:26of Peter Vincent,
00:38:28Tom Holland would be drawn
00:38:30to Roddy
00:38:30because of the work
00:38:32they did
00:38:33in Class of 1984.
00:38:35The heart of the show
00:38:39is Peter Vincent.
00:38:41And I wanted
00:38:43Vincent Price
00:38:44because I'd grown up
00:38:46with Vincent Price
00:38:47and he was my
00:38:49horror hero.
00:38:51And I found out
00:38:52that his health
00:38:52was not good.
00:38:53So that was impossible.
00:38:55And then I thought
00:38:56of Roddy McDowell.
00:38:58He understood
00:38:59who Peter Vincent was.
00:39:01and I had faith in him
00:39:02because I'd seen him
00:39:04do it.
00:39:05Peter Vincent
00:39:06is the cowardly lion,
00:39:07as Roddy said to me.
00:39:10So it's the story
00:39:11of a terrible ham actor.
00:39:13This is Peter Vincent,
00:39:16back once more with you
00:39:18as host of Brighton.
00:39:20He is appearing
00:39:25on the midnight shows
00:39:27presenting these features
00:39:30that he made
00:39:30when he was a youth.
00:39:33There are a lot of people
00:39:35who do not believe
00:39:36in vampires,
00:39:37but I do
00:39:38because I know they exist.
00:39:43And he's a very,
00:39:45very bad actor.
00:39:46A terrible,
00:39:48terrible actor.
00:39:49Mr. Vincent,
00:39:49could I talk to you
00:39:50for a minute?
00:39:52Please, Mr. Vincent,
00:39:53it's very, very important
00:39:55what you want me to sign.
00:39:57Pardon me?
00:39:58Well, you do want
00:39:59my autograph, don't you?
00:40:00I don't think he's
00:40:01as hammy as he thinks he is.
00:40:03Well, he's a little hammy.
00:40:05I was curious about
00:40:05what you said last night
00:40:06on TV, you know,
00:40:07about believing in vampires.
00:40:10What about it?
00:40:12Were you serious?
00:40:14Oh, absolutely.
00:40:17The young man
00:40:18in the film comes to him.
00:40:19I believe in vampires.
00:40:22He sort of takes him
00:40:23seriously in the sense
00:40:24that he has played
00:40:24a character called
00:40:25the vampire killer
00:40:25and the young man
00:40:26comes to him
00:40:27because there is a vampire
00:40:28living next door to him.
00:40:30In fact,
00:40:30I have one
00:40:31living next door to me.
00:40:33Would you help me kill him?
00:40:34Peter Vincent then finds out
00:40:49it's real
00:40:50that there are vampires.
00:40:51We need your help
00:40:52to stop him, Mr. Vincent.
00:40:54You see,
00:40:54he really does believe
00:40:55his next door neighbor
00:40:56is a vampire
00:40:57and he's planning to kill him.
00:40:58You know,
00:40:59he's an old school actor.
00:41:00He's the performer,
00:41:02the thespian,
00:41:03you know.
00:41:03Now, down to distance.
00:41:04Where is the lair
00:41:06of the suspected creature
00:41:08of the night?
00:41:09There.
00:41:12Oh, yes,
00:41:13I see what you mean.
00:41:14You know,
00:41:14he's chewing the scenery up,
00:41:16of course.
00:41:16Hey, wait a minute.
00:41:17Wait a minute.
00:41:17Where's your stakes
00:41:18and hammers?
00:41:19Oh, I left them in my bag.
00:41:21You're not going in there
00:41:22without them.
00:41:23But I have to prove
00:41:25that he is a vampire
00:41:25before I kill him, Charlie.
00:41:27And he finds out
00:41:29not only that it's real,
00:41:30but that these young people,
00:41:33these teens
00:41:33that he really actually likes
00:41:35are in terrible mortal danger.
00:41:37That goes for you too, Ed.
00:41:39I expect we have
00:41:40a lot of the same interests,
00:41:41you know,
00:41:41in horror movies
00:41:42and the occult.
00:41:44When he found out
00:41:46that Jerry Dandrews
00:41:47was really a vampire,
00:41:48he said,
00:41:49let me out of here.
00:41:50What's wrong with you?
00:41:52Nothing.
00:41:53But then would find it
00:41:54somehow within him
00:41:55to rise to the moment.
00:41:56And he overcomes
00:41:57his own fears,
00:41:58his own cowardness.
00:42:00You're Peter Vincent
00:42:01ready to do battle
00:42:02with the undead.
00:42:04Roddy was a great mentor
00:42:07and a great friend.
00:42:09He was completely approachable
00:42:11and accessible, you know,
00:42:13and I had grown up
00:42:14watching him
00:42:15in the television
00:42:16and films my whole life
00:42:17and I was really thrilled
00:42:19to be able to work with him.
00:42:20He was always there
00:42:21and I'm thinking,
00:42:22I kept looking at him
00:42:23going, you know,
00:42:23compared to the rest of us,
00:42:24you're a pretty big star.
00:42:25And you can ask
00:42:26and do whatever you want.
00:42:28But he was just,
00:42:28he was just one of us.
00:42:31Roddy had two dinner parties
00:42:32a week.
00:42:33He had a Wednesday night
00:42:34dinner party
00:42:35for straight people
00:42:36and he had a Friday night
00:42:37dinner party
00:42:38for gay people.
00:42:39I was invited
00:42:40to the straight nights.
00:42:41But I mean,
00:42:41I ended up at Roddy's
00:42:43having dinner
00:42:44with Vincent Price
00:42:46and his wife,
00:42:46Coral Brown.
00:42:47And I was such an idiot,
00:42:49I don't know why
00:42:50I didn't get autographs.
00:42:51Roddy's Peter Vincent
00:42:55to me is, again,
00:42:59a perfect piece of casting.
00:43:01Back, spawn of Satan.
00:43:06Interestingly,
00:43:07because in a way,
00:43:08Roddy at that point
00:43:10in his career
00:43:10wasn't doing a lot of films.
00:43:12He was doing,
00:43:13he was working,
00:43:13but he wasn't doing
00:43:14a lot of films.
00:43:15And he understood,
00:43:17I think,
00:43:17who Peter Vincent was.
00:43:19The fear
00:43:20of losing the career.
00:43:23I suppose I think
00:43:24success means
00:43:24if you can keep working
00:43:26on a level
00:43:29of some respectability
00:43:30and invention.
00:43:32I remember watching
00:43:33Roddy do a wardrobe test
00:43:35because they were trying
00:43:36to get the look right
00:43:38of Peter Vincent.
00:43:39But he was playing
00:43:40this B-movie actor
00:43:42and Roddy said,
00:43:43it's largely me.
00:43:46And that,
00:43:47I was so struck by.
00:43:49Every child performer
00:43:51has a different group
00:43:54of hurdles to overcome.
00:43:56I don't think it's easy
00:43:57for an adult,
00:43:58either,
00:43:58to overcome
00:43:59their initial success.
00:44:01You know,
00:44:02a legend
00:44:03and an icon.
00:44:04He was a walking
00:44:06history book
00:44:07of film
00:44:08and of Hollywood.
00:44:09And before anybody
00:44:10else was into it
00:44:11that I knew,
00:44:12he was building up
00:44:14an enormous collection
00:44:16of films
00:44:17in 35 and 16 mil.
00:44:20Whenever I needed
00:44:20a film
00:44:21because I wanted
00:44:21to research something
00:44:23and I couldn't find
00:44:23it anywhere,
00:44:24I'd go to Roddy
00:44:25and ask him
00:44:27and he almost always
00:44:28had these obscure films
00:44:30and he had
00:44:31the 35 mil prints.
00:44:33I miss him
00:44:33a lot.
00:44:35And it's too bad
00:44:36he's not here
00:44:36because he would love
00:44:37all of this stuff.
00:44:39You know,
00:44:39he was the grand historian
00:44:41man as well
00:44:42as being a really
00:44:42good actor
00:44:44and person.
00:44:45So,
00:44:46it's our loss.
00:44:48He was an extraordinary
00:44:49friend.
00:44:50Toward the end
00:44:51as well,
00:44:51when he was dying,
00:44:52he had friends over,
00:44:54we would sit around
00:44:55and talk,
00:44:56have a glass of wine,
00:44:57he would be
00:44:58impeccably dressed.
00:44:59He was an amazing guy.
00:45:02Roddy McDowell,
00:45:03God bless you.
00:45:13Having given the cast
00:45:15the luxury
00:45:17of two weeks
00:45:18of rehearsal time
00:45:19prior to filming,
00:45:22Tom Holland
00:45:23would allow his actors
00:45:24to develop
00:45:26their own characters,
00:45:27creating their own
00:45:29backstories.
00:45:31I had them
00:45:33write up biographies
00:45:34for each of their
00:45:35characters
00:45:36and their relationships
00:45:37with the other actors
00:45:39that had happened
00:45:39before the movie began.
00:45:41We sat around
00:45:42for several days,
00:45:43we talked,
00:45:44we talked about
00:45:44the characters.
00:45:45We did probably
00:45:46five or six pages
00:45:47just on our history
00:45:48together.
00:45:49I mean,
00:45:49you know,
00:45:50I think we were together
00:45:50800 years
00:45:51or something like that.
00:45:53Well,
00:45:53I had them create
00:45:54all of that
00:45:55in their own heads
00:45:56and whatever their
00:45:57choices were,
00:45:58it didn't matter.
00:45:59once we started acting,
00:46:01we'd let it all go,
00:46:02but they had it
00:46:03in their heads
00:46:03when they'd met
00:46:04the first time,
00:46:05when Charlie and Evil Ed
00:46:07first got into horror films,
00:46:09all of that background
00:46:10was added.
00:46:11I rather arrogantly
00:46:13said,
00:46:14oh,
00:46:14I don't need to write
00:46:15a history,
00:46:16and I think everyone
00:46:18was kind of shocked,
00:46:20and then I went
00:46:21to my hotel that night
00:46:22and I got a call
00:46:23from my agent
00:46:24that said,
00:46:25Steve,
00:46:26Tom's kind of worried
00:46:27about you,
00:46:29you know,
00:46:30almost to the point
00:46:32that, you know,
00:46:32he wasn't sure
00:46:33if I could do it
00:46:34because I didn't write
00:46:36the suggested
00:46:37character history.
00:46:39When I got finished
00:46:39reading my bio,
00:46:40it looked like
00:46:41Gone with the Wind.
00:46:42I stretched that sucker out.
00:46:45Mine,
00:46:45as I can recall,
00:46:46was relationship-oriented
00:46:48with Charlie
00:46:48of our history,
00:46:50how we knew each other,
00:46:51where we met,
00:46:52when we started dating,
00:46:53that sort of thing.
00:46:54Characters in Fright Night
00:46:55are in any good movie.
00:46:57They're not all black
00:46:58and they're not all white.
00:47:00They're mixtures.
00:47:01They have to be rounded.
00:47:04I had a couple of ideas
00:47:05that he loved
00:47:05that we used in the movie
00:47:07this.
00:47:10In my research,
00:47:13how do you research
00:47:14a vampire,
00:47:15so I, you know,
00:47:16read a lot about
00:47:16vampire lore,
00:47:18but I also read about bats
00:47:20because I figured,
00:47:21well, you know,
00:47:22that's the genealogy
00:47:23of the vampire world.
00:47:25At some point,
00:47:26back in the very beginning,
00:47:27the first vampire
00:47:29was bitten by,
00:47:30say, a vampire bat.
00:47:32So I started researching bats
00:47:34and I discovered
00:47:34that nine-tenths,
00:47:36somewhere in that range,
00:47:37of all the bats
00:47:38in the world
00:47:39are not vampire bats.
00:47:40They're fruit bats.
00:47:42I thought,
00:47:42well,
00:47:43that's kind of interesting.
00:47:44Would it be interesting
00:47:44to have,
00:47:45somewhere in
00:47:46Jerry's genealogy,
00:47:48an urge to eat fruit?
00:47:50So I brought it up
00:47:51to Tom and he said,
00:47:52oh, that's great.
00:47:53Let's try some.
00:47:54And so we kind of
00:47:55laced it
00:47:56throughout the movie.
00:48:07Gothic association
00:48:08with the vampire
00:48:09is a classic
00:48:10and an established association.
00:48:12What was difficult
00:48:13was finding that house
00:48:15in juxtaposition
00:48:16to Charlie's house?
00:48:17Charlie's house was
00:48:18and needed to be
00:48:20a much more suburban,
00:48:21traditional,
00:48:22two-story residence.
00:48:24The Victorian house
00:48:26was built
00:48:26on the back lot
00:48:27at Disney.
00:48:28As serendipity
00:48:29would have it,
00:48:29the little suburban house
00:48:31was sitting right there
00:48:32next to it.
00:48:32Now this was after
00:48:33weeks and weeks
00:48:34of location scouting
00:48:35and traveling
00:48:35all over Los Angeles.
00:48:36First went on the set
00:48:47at the Disney lot
00:48:48and saw this house
00:48:49and I was like,
00:48:50oh my God,
00:48:51this is amazing.
00:48:52It looks really scary.
00:48:54We shot at the Laird Studios
00:48:55in Culver City,
00:48:56which were the original
00:48:57Ince Studios
00:48:58and it's where they shot
00:49:00Gone with the Wind
00:49:01so it was very storied
00:49:03and historic
00:49:03and it was great
00:49:04to be on that set.
00:49:05It's very important
00:49:10to keep levity on the set
00:49:11when you're doing
00:49:11a horrible movie.
00:49:14Most of the memories
00:49:15I have of the movie
00:49:15are shooting at Laird
00:49:17and smoke.
00:49:20Smoke, smoke, smoke.
00:49:21Giant keezer
00:49:22walking around
00:49:23pumping the smoke
00:49:24onto the set.
00:49:25Peter!
00:49:28John DeCure,
00:49:29our production designer,
00:49:30was very communicative
00:49:32and kind of understood
00:49:33my needs
00:49:34in lighting
00:49:35and kind of being able
00:49:36to move cameras
00:49:37and have the space
00:49:38and ability to do that.
00:49:41We worked pretty hard
00:49:42to create looks
00:49:44inside that house
00:49:45that were not only
00:49:45Victorian consistent
00:49:46but allowed him
00:49:48to perform
00:49:49some of the magic
00:49:50that I think
00:49:51makes the film
00:49:52as exciting as it is.
00:49:53We built this rather grand staircase.
00:49:59It really gave Tom
00:50:01the opportunity
00:50:02to choreograph
00:50:03the scenes
00:50:04and the action
00:50:04and the special effects
00:50:05that were required.
00:50:11The schoolhouse
00:50:12that was next door
00:50:13to Charlie's house
00:50:14was actually a church
00:50:15originally
00:50:15and Tom said,
00:50:17yeah,
00:50:17I don't think
00:50:18they'd move that close
00:50:19to a church
00:50:20so they changed
00:50:21it to a school.
00:50:26Peter being
00:50:27the television host
00:50:28had a sort of
00:50:29a Hollywood-esque
00:50:30sense
00:50:31to his character
00:50:32so we looked
00:50:33at the classic
00:50:34Hollywood courtyard
00:50:36apartment
00:50:37because we wanted
00:50:38to sell the Hollywood
00:50:39notion of Peter
00:50:40being the guy
00:50:41that worked
00:50:41in television.
00:50:44I really was happy
00:50:45to hear that Tom
00:50:46wanted to shoot
00:50:47anamorphic
00:50:47because that's
00:50:48one of my favorite formats.
00:50:50Wow!
00:50:52Especially on a
00:50:54smaller budget
00:50:55it gives a
00:50:56greater opportunity
00:50:57for three-dimensionality
00:50:59because there's
00:51:00that more restrained
00:51:01depth of field
00:51:02and it's going to be
00:51:03more specific
00:51:04it helps the eye
00:51:06kind of drift off
00:51:06into the abstract
00:51:07of the sets.
00:51:09There is no
00:51:10campiness in this.
00:51:11I would not
00:51:12show disrespect
00:51:13for the genre
00:51:15by parroting it.
00:51:16I could just
00:51:17totally trust
00:51:19and depend on
00:51:20Tom to guide me
00:51:21in the right direction.
00:51:23His approach
00:51:23to the work
00:51:24is somewhat
00:51:25cerebral
00:51:26but just
00:51:27very authentic.
00:51:29Tom put his hand
00:51:30on my shoulder
00:51:30so I knocked
00:51:31his hand up
00:51:32because I'm
00:51:33a police officer
00:51:34and it's just
00:51:35a matter of respect
00:51:36for the position
00:51:37representing the law.
00:51:38What are you
00:51:39talking about?
00:51:40I will make
00:51:40your ass have
00:51:41some respect
00:51:41after I go
00:51:43through your ass
00:51:43like ex-lax.
00:51:44There was just
00:51:45this real genuine
00:51:46sense of everybody
00:51:49on the set
00:51:50nobody was bringing
00:51:51any attitude
00:51:51and Chris Sarandon
00:51:53and Roddy McDowell
00:51:54would be the ones
00:51:55I guess
00:51:55to be the divas
00:51:57although I think
00:51:58Billy Ragsdale
00:51:59really is prone
00:52:00but no
00:52:01kidding
00:52:02not.
00:52:04Tom was very
00:52:04passionate
00:52:05very involved
00:52:06and knew
00:52:08every single
00:52:09aspect about
00:52:10what the lighting
00:52:11was going to look like
00:52:12what the shot
00:52:12was going to look like
00:52:13what the movement
00:52:14in the frame
00:52:14was going to look like
00:52:15I did make the mistake
00:52:17one time
00:52:17we were shooting
00:52:18in an alley
00:52:18and we had gotten
00:52:20to the end of the alley
00:52:21and there was really
00:52:22nowhere else to go
00:52:23so I sort of
00:52:25jokingly said
00:52:26cut
00:52:26and he did not think
00:52:30that was my
00:52:30job
00:52:32to call cut
00:52:32and he let me know
00:52:34that
00:52:34you know
00:52:35sort of
00:52:35in front of everybody
00:52:36and I got it
00:52:38so
00:52:38and I never
00:52:39did it again
00:52:39shooting in the alleyway
00:52:44at night
00:52:44where
00:52:45Evil Ed
00:52:46fakes being
00:52:47attacked
00:52:47he got me Charlie
00:52:49he bit me
00:52:51you know what
00:52:53you're gonna have to
00:52:54do now
00:52:54don't you
00:52:55kill me
00:52:57kill me Charlie
00:52:59before I turn
00:53:01into a vampire
00:53:02and
00:53:02give you a hickey
00:53:04you asshole
00:53:08it was late at night
00:53:11the middle of the night
00:53:12in a downtown alley
00:53:14and people were
00:53:15throwing things
00:53:16like literally
00:53:17throwing garbage cans
00:53:18at us
00:53:18and trash and stuff
00:53:20as we were filming
00:53:21throughout the night
00:53:21it's not funny
00:53:23that gave it a grittiness
00:53:24that we didn't expect
00:53:25I guess
00:53:26Charlie
00:53:29Amy
00:53:29is that you?
00:53:31if that's you
00:53:32it's not working
00:53:32I'm not scared
00:53:33when I was in the alley
00:53:40with Chris
00:53:41you know
00:53:41obviously it was
00:53:42a life changing event
00:53:44hello everyone
00:53:48the scene in the alley
00:53:50is so poignant
00:53:52you don't have to be
00:53:53afraid of me
00:53:54because it is
00:53:55the dying cry
00:53:57of a young man
00:53:58who says
00:53:59please help me
00:54:00and is willing
00:54:01to give up his soul
00:54:03in order to be somebody
00:54:05I know what it's like
00:54:06being different
00:54:07they won't pick on you
00:54:10anymore
00:54:11and Tom's take on it too
00:54:13is that Jerry
00:54:14is not
00:54:14ravenous
00:54:16in that moment
00:54:16he's tender
00:54:17all you have to do
00:54:19is take my hand
00:54:20it's not Jerry
00:54:22licking his chops
00:54:23and saying
00:54:23okay another victim
00:54:25take my hand
00:54:26it just was so
00:54:28intriguing for him
00:54:29to think
00:54:30wow
00:54:31I mean I
00:54:31I could live this fantasy
00:54:33that I've been
00:54:34pretending to be in
00:54:36it's Jerry essentially
00:54:37saying to him
00:54:38you know what
00:54:38nobody's ever going to
00:54:40make fun of you again
00:54:41I'm going to see you then
00:54:43and that's an extraordinarily
00:54:47human
00:54:48connection
00:54:49that's made
00:54:50in a scene
00:54:51that could be
00:54:52horrifying
00:54:53it was a Christmas Eve
00:54:59and we had done
00:54:59all of the exterior stuff
00:55:01all the location stuff
00:55:02and so we moved inside
00:55:03and we were about to
00:55:04break for the holiday
00:55:05there's a scene
00:55:06where I run down
00:55:07the staircase
00:55:07to say hi to my mom
00:55:09after she's called me down
00:55:10so I'm supposed to just
00:55:12sort of glide down the stairs
00:55:13sort of carefree
00:55:14and I did that a few times
00:55:15and I said
00:55:16can you do it faster
00:55:17like an idiot
00:55:19we had it in the can
00:55:20but we're going to do it
00:55:21one more time
00:55:21so we can get it
00:55:21a little faster
00:55:22and when I came down
00:55:24the stairs
00:55:25I slipped and fell
00:55:27and I
00:55:28sprained my foot
00:55:30so it was starting to swell
00:55:32and they said
00:55:33well you know
00:55:33let's get some ice on it
00:55:34let's wrap it up
00:55:35and the sound man
00:55:36came over and said
00:55:37it's not a sprain
00:55:39it's a break
00:55:39because he could hear
00:55:40the snap
00:55:41on his headphones
00:55:42I guess
00:55:43so they went back
00:55:43and listened to it
00:55:44and said
00:55:44yeah let's get him
00:55:45to the hospital
00:55:46so I did the rest
00:55:48of the movie
00:55:48with a broken foot
00:55:49and a lot of the
00:55:51interior scenes
00:55:52where I sort of
00:55:53run out of frame
00:55:54I'm actually kind of
00:55:55falling out of frame
00:55:56if you watch it
00:55:57you can sort of
00:55:58see me kind of
00:55:58go down
00:56:00as I make my escape
00:56:01they had a teamster
00:56:03there
00:56:03big guy
00:56:04who would catch me
00:56:05cut
00:56:05and we'd start over
00:56:06they had to
00:56:08access their
00:56:09insurance coverage
00:56:10you know
00:56:10to sort of
00:56:11extend the shooting
00:56:12because of it
00:56:12so I went to the doctor
00:56:14to get my checkup
00:56:15my osteopath
00:56:16and he said
00:56:17so you slowing them down
00:56:19huh
00:56:19you know
00:56:21slowing them down
00:56:21and I
00:56:21you know
00:56:22it was a movie set
00:56:23I'd never been on one really
00:56:24I said
00:56:24well you know
00:56:24I wait for them
00:56:25mostly
00:56:26I just wait for them
00:56:26to set up
00:56:27and you know
00:56:27and then I do my thing
00:56:28that apparently got back
00:56:30to the producers
00:56:31and to the insurance company
00:56:32and the insurance company
00:56:34and the producers
00:56:34started having
00:56:35a difference of opinion
00:56:36about how much my injury
00:56:38was adding to the shoot dates
00:56:40so that became an issue
00:56:41only because
00:56:42one of the producers
00:56:43would follow me around
00:56:44and sort of
00:56:45he'd be behind a set
00:56:46you know
00:56:47or by a car
00:56:48by the catering
00:56:49or something
00:56:49and when I wasn't
00:56:51aware
00:56:51he would say
00:56:52$100,000
00:56:54that's what you cost me
00:56:57every day
00:56:58$100,000
00:56:59and
00:57:00I was a kid
00:57:02you know
00:57:02so I felt like that was
00:57:04thought it was a little weird
00:57:06at the time
00:57:06and I think it was pretty
00:57:07pretty lousy now
00:57:08but
00:57:09so that's a fun story
00:57:11the first scene
00:57:15that I filmed
00:57:16that laugh
00:57:17I kind of didn't want to do it
00:57:19and I was trying to
00:57:20weasel my way around
00:57:21doing it
00:57:21because
00:57:22I just didn't feel
00:57:23comfortable with it
00:57:24and then as soon as
00:57:25the first take happened
00:57:27and Tom just rushed up to me
00:57:29and said
00:57:29Steve
00:57:29just trust me
00:57:31this laugh
00:57:32is a vital
00:57:33aspect
00:57:34of Evil Ed
00:57:35you gotta do it
00:57:37so
00:57:37I dug deep
00:57:40and
00:57:40you know
00:57:41invented this cackle
00:57:43that turned into
00:57:44this
00:57:45Evil Ed laugh
00:57:47I can't do it
00:57:54you're so cool
00:57:55Brewster
00:57:55what a reading
00:57:56oh you're so cool
00:57:58Brewster
00:57:59I can't stand it
00:58:02the special effects
00:58:08mastery
00:58:09on Fright Night
00:58:10not only enhanced
00:58:12the film
00:58:13but also added
00:58:14a sense of realism
00:58:16to its
00:58:16horrific scenes
00:58:19the effects team
00:58:28headed by Richard
00:58:30Edland
00:58:31did such a
00:58:33marvellous job
00:58:34that even I
00:58:36on more than one
00:58:37occasion
00:58:38skipped a
00:58:39heartbeat or two
00:58:41this is a state-of-the-art
00:58:46special effects film
00:58:48in terms of prosthetics
00:58:50makeup
00:58:50optical effects
00:58:52and even in terms
00:58:53of the camera design
00:58:54the shot design
00:58:55of the film
00:58:55the best that was
00:58:56available
00:58:57in terms of
00:58:58today's technology
00:58:58to make the effects
00:58:59work
00:59:00are involved
00:59:00in this film
00:59:01they gave me
00:59:03Richard Edland
00:59:03and this brilliant crew
00:59:04Randy and
00:59:05Steve Johnson
00:59:06just wonderful
00:59:07wonderful people
00:59:08Ken Diaz
00:59:09they're just
00:59:10talented, talented crew
00:59:12he would ask
00:59:13everyone in our
00:59:14department
00:59:15do you like
00:59:15vampire movies
00:59:16what would you
00:59:17like to see
00:59:18in a vampire movie
00:59:19what would make
00:59:20a vampire movie
00:59:21more special to you
00:59:23I think he really
00:59:24respected the opinion
00:59:25of a lot of the
00:59:26different crafts
00:59:27that were working
00:59:28on his movie
00:59:29we were all kids
00:59:31and we were just
00:59:32making the stuff up
00:59:32as we went along
00:59:33and we had this
00:59:34incredible play around
00:59:35all we had to do
00:59:36was go in there
00:59:36and make the best
00:59:37bunch as we could
00:59:37and that was
00:59:38absolutely fun
00:59:38I missed that
00:59:39and there was
00:59:40a lot of cocaine
00:59:41Fright Night
00:59:46was practical effects
00:59:47it was puppets
00:59:48it was rubber
00:59:49it was in your face
00:59:50it was on set
00:59:51it's sort of like
00:59:54fighting a war
00:59:55you know
00:59:55you go into the
00:59:56battlefield
00:59:56with whatever
00:59:57armaments you have
00:59:58and you gotta make
00:59:59do with whatever
01:00:00you got against
01:00:01the enemy
01:00:01which is time
01:00:02and money
01:00:03anything
01:00:04visually is possible
01:00:06if you can think
01:00:06about it
01:00:07and talk about it
01:00:08then you can usually
01:00:09draw a picture of it
01:00:10if you can do that
01:00:12then you can figure out
01:00:13a way of visualizing
01:00:14it on film
01:00:15Gary Martin
01:00:18who was the president
01:00:19of physical production
01:00:20at Columbia
01:00:20said you gotta do me
01:00:22a favor on this one
01:00:23because we only got
01:00:24X amount of dollars
01:00:25to do this movie
01:00:26and I think we had
01:00:27enough money
01:00:27to do 30 shots
01:00:29Richard called up
01:00:31Rick Baker
01:00:32and said
01:00:33hey I've got this show
01:00:33called Ghostbusters
01:00:34just opened this huge studio
01:00:35would you like to be involved
01:00:37and Rick said
01:00:37hell no
01:00:38I just got back
01:00:39from a year in England
01:00:40I want to take a break
01:00:41and so he goes
01:00:42but I'll introduce you
01:00:43to Steve Johnson
01:00:44which was the perfect way
01:00:46for Rick to get rid of me
01:00:47so I went down
01:00:48I met Richard
01:00:48and it was really strange
01:00:50because they didn't know
01:00:51who I was
01:00:52I was an 18 year old kid
01:00:53and the movie was Ghostbusters
01:00:55and they didn't really trust me
01:00:56so they had me do a test
01:00:58they had me do
01:00:58the zombie cab driver
01:00:59so I just had two weeks
01:01:02to do it
01:01:03I built it in my bedroom
01:01:04he was a very handsome guy
01:01:06and charismatic
01:01:06and very talented
01:01:07somebody caught him
01:01:11screwing one of the girls
01:01:12on the table
01:01:13you know
01:01:15in the rubber room
01:01:17and if you go into this room
01:01:18you know
01:01:19the fumes
01:01:19you know
01:01:20you think about these guys
01:01:21and what's happening
01:01:22to their brains
01:01:22you know
01:01:23because they're dealing
01:01:24with these strange fumes
01:01:25all the time
01:01:26he really loves
01:01:27what he does
01:01:28he's like this mad scientist
01:01:31and with sort of
01:01:32a maniacal look
01:01:33in his eyes
01:01:34while he's
01:01:35putting all this stuff
01:01:37on you
01:01:37when you were down
01:01:38to the last minute
01:01:39and trying to get the stuff
01:01:39onto set
01:01:40there was Steve saying
01:01:41you know
01:01:41it's just got to be one better
01:01:43it's got to be one better
01:01:43it's not in front of the camera
01:01:44yet
01:01:45it's got to be one better
01:01:46Steve Johnson
01:01:47and I sort of squabbled over
01:01:49who was going to get
01:01:51what piece of the pie
01:01:52you know
01:01:52and
01:01:53and I lost a few
01:01:55and won a few
01:01:56you know
01:01:56Steve and Randy
01:01:58were really the
01:01:59kind of creative team
01:02:01a lot of really good people
01:02:02it was a real
01:02:02kind of dream team
01:02:04I got asked to come
01:02:06to this meeting
01:02:07Tom really liked
01:02:08my work
01:02:09and he said
01:02:10I want you to be
01:02:11the lead makeup artist
01:02:13on this
01:02:13I want you to do
01:02:15the prosthetics
01:02:16and apply them on the set
01:02:17I remember Randy Cook
01:02:18sitting on the other side
01:02:20of the table
01:02:20at one point
01:02:21because he's talking about
01:02:22how he wants Chris
01:02:23to have multiple stages
01:02:25of the makeup
01:02:26and Randy's looking at me
01:02:28and kind of
01:02:29mouthing to me
01:02:29I want to do
01:02:31the final stage
01:02:32let me do
01:02:34the final stage
01:02:35and I'm like
01:02:36okay
01:02:37you know
01:02:38that actually happened
01:02:40Randy would probably
01:02:40throw rocks at me
01:02:41for that
01:02:41but it's true
01:02:42then I said
01:02:44look guys
01:02:45this is great
01:02:46I'm very flattered
01:02:47I think it's really nice
01:02:48you want me to do this
01:02:49but I can't do it
01:02:49and Tom says
01:02:50what do you mean
01:02:50you can't do it
01:02:51I said
01:02:51I'm not group one
01:02:53well in those days
01:02:54in the makeup artist union
01:02:56you had to get
01:02:57a certain amount of days
01:02:59working on films
01:03:01that you could only get
01:03:02if there was no one else
01:03:03to call on
01:03:04in the list on the union
01:03:05and I explained all this to him
01:03:06and Jerry Barowitz
01:03:08is sitting there
01:03:09looking at me
01:03:09he says
01:03:10Steve
01:03:10I'm very good friends
01:03:11of Howard Smith
01:03:12now Howard Smith
01:03:13was the president
01:03:15of the makeup artist union
01:03:16at the time
01:03:17and he says
01:03:18I can work this out
01:03:19so he gets the phone
01:03:20he calls him
01:03:21right there
01:03:22it's just like
01:03:22something out of a
01:03:23Woody Allen movie
01:03:24and he's on the phone
01:03:25and he's saying
01:03:26yeah yeah
01:03:26hi Howard
01:03:26yeah what's Barry
01:03:27Jerry Bear
01:03:28what's hearing
01:03:28I got this guy here
01:03:29Steve Neal
01:03:30yeah yeah
01:03:30huh what
01:03:32yeah well Tom wants him
01:03:33to do the film
01:03:34here's the phone
01:03:35he said what
01:03:36Howard wants to talk to you
01:03:38so I get on the phone
01:03:39and I talk to Howard
01:03:40Howard said
01:03:41hey Steve
01:03:42don't worry about a thing
01:03:43I got this handled
01:03:44I said well I'm not group one
01:03:46he said that's okay
01:03:47we're gonna overlook that
01:03:48and you're gonna do this job
01:03:50because you know
01:03:51they want you
01:03:51and all this stuff
01:03:52and I said okay
01:03:54I got a really bad feeling
01:03:55about this but okay
01:03:56the first day of shooting
01:03:57comes up
01:03:58I'm down there on the set
01:04:00I'm gonna make up trailers
01:04:01Roddy
01:04:01I start to make him up
01:04:03I get as far as getting
01:04:04the prosthetic glued
01:04:05to his forehead
01:04:05and the trailer door
01:04:07kicks open
01:04:08and Howard Smith
01:04:09comes in
01:04:10and he said
01:04:10stop right now
01:04:12you know
01:04:13you're violating union regulations
01:04:15and all this
01:04:15and you have no right
01:04:16to do this
01:04:17and I'm like
01:04:17I knew this was gonna happen
01:04:19and I said
01:04:20Howard
01:04:20what about the deal you made
01:04:22what deal
01:04:23I don't know anything
01:04:23you're talking about
01:04:24if you don't leave the set
01:04:25right now
01:04:26I'm gonna have the police
01:04:26come down here
01:04:27and arrest you
01:04:28so I said
01:04:28god what the hell
01:04:30so I leave
01:04:31the trailer
01:04:32Roddy's looking at me
01:04:34the actors are looking
01:04:34like what did I do
01:04:35I go and get on a phone booth
01:04:37there's no cell phones
01:04:38I call Richard
01:04:39I said Richard
01:04:40I told him what happened
01:04:41he's like
01:04:42yeah well
01:04:43you know
01:04:43I said well
01:04:44this is all
01:04:45screwed up deal
01:04:46you guys all knew about it
01:04:47and evidently
01:04:48somebody rat finked
01:04:49or complained
01:04:50that I was pushed ahead
01:04:52of everyone else
01:04:53what am I supposed to do
01:04:54he says
01:04:55well
01:04:55it's kind of like
01:04:56getting caught out
01:04:57in the rain
01:04:58without an umbrella
01:04:59you got wet
01:05:00I get this phone call
01:05:03from the studio
01:05:03okay well
01:05:04we still need those prosthetics
01:05:05how are you doing on them
01:05:07and it's like
01:05:08nothing had ever happened
01:05:09I mean ultimately
01:05:10they knew that they screwed up
01:05:11so they're not going to admit that to anyone
01:05:14but they knew that I hadn't done anything wrong
01:05:16and that I was innocent in the whole thing
01:05:18and they still kept me working
01:05:19the one shot that was a really tricky one
01:05:28was the scene where he comes into the bedroom
01:05:30and he walks past the mirror
01:05:32and you don't see his reflection
01:05:34and that was basically shot
01:05:38a blue screen shot of the mirror
01:05:40so he walks in front of the blue screen
01:05:42we then shot a plate of the mirror
01:05:45with nobody in the scene
01:05:47so that we got the background
01:05:48without his reflection
01:05:49as usual
01:05:52when one comes in contact
01:05:53with a vampire
01:05:54things can get a little
01:05:58ugly
01:05:59now we wouldn't want to wake your mother
01:06:03would we Charlie
01:06:04then I'd have to kill her too
01:06:07he picks me up by the neck
01:06:09and breaks the wall
01:06:11with the back of my head
01:06:12I'm coming toward Charlie
01:06:14and I'm walking toward him
01:06:16and Tom came over and said
01:06:18you have to walk like
01:06:19you're the baddest ass in the world
01:06:21you have to walk to him
01:06:23with the sense that
01:06:24you are
01:06:26the most powerful creature alive
01:06:29there's a moment where
01:06:31Jerry offers Charlie
01:06:33a way out
01:06:34he's holding Charlie up
01:06:36and he's saying
01:06:37come on
01:06:37you can do this
01:06:38I could give you something
01:06:39I don't have
01:06:40a choice
01:06:41all you have to do
01:06:42is just forget about all this
01:06:44and we'll be fine
01:06:45what do you say Charlie?
01:06:47and Charlie refuses
01:06:49and Jerry does something
01:06:51very interesting
01:06:52where there's a sense of
01:06:54why does this always have to happen
01:06:56where he says to Charlie
01:06:58fool
01:06:59you're a fool
01:07:01I gave you a way out
01:07:03and you didn't take it
01:07:04and now it's war
01:07:06now you are
01:07:11in big
01:07:12fucking trouble
01:07:13I stick him in the hand
01:07:15with a pencil
01:07:16and he
01:07:17he gets very upset
01:07:18that kind of originated
01:07:29from a film that I saw
01:07:30called Excalibur
01:07:31there was an incredible scene
01:07:32where Lancelot
01:07:33has been stabbed
01:07:35through his guts
01:07:37and he's nude
01:07:38and you see the blade
01:07:40of this lance
01:07:41going into his flesh
01:07:42and you see it actually
01:07:43coming out too
01:07:44so it's gone all the way
01:07:45through him
01:07:45and in one shot
01:07:46he pulls it out
01:07:47and you see these
01:07:48two little wounds there
01:07:49I got the VHS tape
01:07:51and just studied
01:07:52and studied
01:07:52and studied this
01:07:53because I couldn't believe
01:07:54what my eyes were seeing
01:07:55and you know
01:07:56I'm supposed to be
01:07:57somewhat of an expert
01:07:58on these things
01:07:59so why couldn't I
01:08:00figure it out
01:08:01and finally it dawned on me
01:08:02that it had to be
01:08:03a retractable blade
01:08:04so one section
01:08:04is sliding into the next
01:08:06and it sprung
01:08:08the actor
01:08:09is just pushing it in
01:08:10there's no appliance
01:08:11he's pushing it in
01:08:12makes a dent
01:08:12on his belly
01:08:13when he lets go of it
01:08:14it springs back
01:08:15to its normal length
01:08:16right
01:08:16one piece slides out
01:08:17of the other
01:08:17but to prove
01:08:20that there's a piece
01:08:21over here
01:08:21there's just a little
01:08:22tiny tip of a sword
01:08:23stuck onto him
01:08:24probably with some
01:08:25kind of adhesive
01:08:26and a monofilament
01:08:27fishing line tied to it
01:08:28had to be
01:08:29so we see him
01:08:30with his blade
01:08:31sticking through
01:08:32and for just a second
01:08:33hides that tip
01:08:34from the camera
01:08:35and that's when
01:08:36somebody yanks it off
01:08:37and I thought
01:08:38really for years
01:08:38I've wanted to use
01:08:39that effect in a film
01:08:40and I thought
01:08:40what a perfect opportunity
01:08:41we'll do the same thing
01:08:42we'll make a retractable
01:08:43pencil
01:08:44prove that the tip
01:08:45is coming through
01:08:46roll it back
01:08:48right as he does this
01:08:49yank this off
01:08:50bam
01:08:51it's done
01:08:51beautiful
01:08:52went on set
01:08:57explain it to Tom
01:08:57everything worked great
01:08:59beautiful effect
01:09:00I finally had
01:09:00my Excalibur moment
01:09:01and then I was
01:09:03in the editing room
01:09:03at Boss Film
01:09:04with Tom
01:09:05here comes the scene
01:09:06and Chris proves
01:09:08that it's sticking
01:09:09all the way through
01:09:09Tom cuts to a reaction
01:09:12shot of Billy
01:09:13and then back
01:09:15to this
01:09:16so completely
01:09:18destroyed the effect
01:09:19you know
01:09:19that it could happen
01:09:20all in one take
01:09:21because obviously
01:09:21it could have been
01:09:22done as a cheat
01:09:22the way Tom had
01:09:23edited it with the cutaway
01:09:24the point was
01:09:25you don't need a cutaway
01:09:26to show it come
01:09:27all the way out
01:09:27bam
01:09:27so I told Tom
01:09:30that he'd ruin the shot
01:09:31so he fixed it
01:09:32when Jerry's full
01:09:35vampire-ness
01:09:37was upon him
01:09:38it was disfiguring
01:09:39you know
01:09:40and it was disturbing
01:09:41it was gross
01:09:42it wasn't like
01:09:43Bela Lugosi
01:09:45you know
01:09:46it wasn't a guy
01:09:47who's just pasty
01:09:47with a little trickle
01:09:48of blood
01:09:49I mean the guy
01:09:49was a heinous freak
01:09:51working with Chris
01:09:53Sarandon
01:09:53we did three stages
01:09:55of the vampire
01:09:56transformation
01:09:57the early stages
01:09:58were a brow piece
01:10:00I tried to create
01:10:01a three-dimensional
01:10:02paint job
01:10:03that would kind of
01:10:04blend into the later
01:10:05stages of the
01:10:06transformation
01:10:07the second stage
01:10:08was more involved
01:10:09with a piece
01:10:10that came down
01:10:10like this
01:10:11with little lines
01:10:13that kind of
01:10:13went down
01:10:14into the face
01:10:15so I kind of
01:10:16drew that
01:10:16with the paint job
01:10:17in the earlier versions
01:10:18to tie that in
01:10:19Randy Cook's
01:10:21a hell of a sculptor
01:10:22he's a really good
01:10:23artist
01:10:23one of the best
01:10:24I think I've ever
01:10:25worked with
01:10:25whenever you would
01:10:26sit around with him
01:10:27he would come up
01:10:27and have an idea
01:10:28and ideas would just
01:10:30spill out of his pencil
01:10:31he could sit there
01:10:32in five minutes
01:10:32and what he could
01:10:33put on your desktop
01:10:34he could do caricatures
01:10:36and just descriptive
01:10:38drawings
01:10:38he was just a master
01:10:39of the pencil
01:10:40I wound up with
01:10:41the main final look
01:10:43of Jerry
01:10:44and the fingers
01:10:45you know
01:10:45and I think Steve
01:10:47did the teeth
01:10:47on that
01:10:48I was one of the
01:10:53backroom boys
01:10:54one of the lab boys
01:10:55we got a bust
01:10:57of Chris
01:10:57we always give
01:10:58the actor
01:10:59whoever's getting
01:11:00a face cast
01:11:01a pad of paper
01:11:02and a pencil
01:11:02so that they can
01:11:04communicate with us
01:11:05and they just
01:11:06simply scribble a note
01:11:07you know
01:11:07hurry
01:11:08or I'm uncomfortable
01:11:10or I'm fine
01:11:11or whatever
01:11:12and all of a sudden
01:11:13I get a little note
01:11:13it's getting hot
01:11:15in here
01:11:15shooting day
01:11:16was extremely long
01:11:17for us
01:11:18for the makeup department
01:11:19there's many times
01:11:20where we would only have
01:11:21four hours
01:11:22in between shifts
01:11:23we'd wrap like
01:11:24one o'clock in the morning
01:11:25and had to be back
01:11:26like five o'clock
01:11:27in the morning
01:11:275.30 in the morning
01:11:29until
01:11:30approximately 1.30
01:11:32to 2.30
01:11:33in the afternoon
01:11:33you're in the chair
01:11:35never been through
01:11:36anything like it
01:11:37in my life
01:11:38the tedium
01:11:38as you can imagine
01:11:40sitting in the chair
01:11:41for eight hours
01:11:41you know
01:11:42you get up
01:11:42and sort of move
01:11:43around a little bit
01:11:43but until the adhesives
01:11:46are all fixed
01:11:46you can't really do
01:11:47a hell of a lot
01:11:48after the first day
01:11:49or two
01:11:50because this makeup
01:11:51was an eight hour makeup
01:11:52I said
01:11:53you know
01:11:53you've got to give me
01:11:54something to do
01:11:55or otherwise
01:11:55I'm going to go crazy
01:11:56he actually started
01:11:58helping us
01:11:59by putting the
01:11:59finger extensions
01:12:00on his hands
01:12:01or at least the one
01:12:02that he could
01:12:03start gluing down
01:12:04while Ken and I
01:12:05were working on his face
01:12:06I would help
01:12:07do some of the
01:12:07latex blending
01:12:08and then they let me
01:12:09stipple the hands
01:12:10and make up the hands
01:12:11so that you know
01:12:13I could pass
01:12:13a couple hours
01:12:14of the eight
01:12:15while he was sitting
01:12:16there for initially
01:12:17eight hours
01:12:18we trimmed it down
01:12:18like six and a half hours
01:12:20I don't remember
01:12:21ever falling asleep
01:12:22in the makeup chair
01:12:23but I remember
01:12:25kind of you know
01:12:26from 4 a.m. to noon
01:12:30we'd make up
01:12:31and then I'd go out
01:12:32and we'd work
01:12:32for eight hours
01:12:34then I'd come back
01:12:35and get the makeup off
01:12:36in half an hour
01:12:3845 minutes
01:12:38go home
01:12:39sleep for six hours
01:12:40come back the next morning
01:12:41and do the same thing
01:12:42for two weeks
01:12:43it was a motherfucker
01:12:45our makeup trailer
01:12:51had a little cubbyhole
01:12:52up on top
01:12:53with a little black curtain
01:12:54and many of nights
01:12:56I slept in that cubbyhole
01:12:58I slept with a wolf
01:13:00with a steak
01:13:01up in there
01:13:02and I'd come
01:13:04at 4 a.m.
01:13:06and I'd say
01:13:07hey good morning
01:13:08and Ken would go
01:13:09hey alright
01:13:10let's go
01:13:10come on
01:13:11let's get
01:13:11let's do some makeup
01:13:12my wife
01:13:13seldom saw me
01:13:14during the week
01:13:15only on the weekends
01:13:16and there were plenty
01:13:17of sleepless nights
01:13:18long days shooting
01:13:19with
01:13:19so we were there
01:13:21and I'd say
01:13:21I'd say
01:13:23I'd say
01:13:24I'd say
01:13:25to the young man
01:13:27so I was
01:13:27opera
01:13:28and still
01:13:29I'd say
01:13:29if you knew
01:13:29I'd say
01:13:30I'd say
01:13:31that's there
01:13:33and I'd say
Kommentare