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The Lost Boys (1987) · Citizen Frame

• 0:01
  Hey man read this i told you i don't like horror comics think of it more as a survival manual,
• 0:11
  there's a number on the back and pray you never need to call us i'll pray i
• 0:19
  never need to call you one thing about living in santa carla i never could stomach
• 0:24
  all the damn vampires All right, guys,
• 0:29
  welcome back to another sweet, exciting episode of Citizen Friend.
• 0:32
  I know you're all excited because today we're here to talk, well,
• 0:38
  we were here to talk Stephen King's Life of Chuck, which we are going to talk about.
• 0:44
  Don't get me wrong. now as you know listening to us we have a tendency to be
• 0:49
  unprofessional and we have a tendency not to put our our titles out right in
• 0:55
  advance because we have a tendency to jump into something else.
• 1:00
  And we found out like about a week ago or so that these this classic lost boys
• 1:08
  is going to be screen here in the local cinema.
• 1:12
  So we went to see it, of course. And how could we not talk to Lost Boys after
• 1:16
  watching it on the big screen?
• 1:18
  It's the first time I've seen it on the big screen. Obviously,
• 1:21
  I've seen it plenty of times. I can watch it 4K anytime I want.
• 1:25
  But the reason I had to see this movie on the big screen was because the funny
• 1:30
  story, I think I've told it before on the podcast,
• 1:33
  where I went to see it in 87 and I
• 1:37
  was just underage to go see it and the lady of the ticket booth would not give
• 1:41
  me a ticket to go see this but she did allow me to go see hellraiser right yeah
• 1:50
  yeah so never got that one but,
• 1:56
  so it was nice to see this on
• 1:59
  the big screen for the first time just last week yeah it
• 2:02
  was the same for me i mean again for me it was a
• 2:05
  video when i first watched it as a kid i
• 2:08
  had the soundtrack i loved it i believe i actually
• 2:11
  owned it on video at one point as well loved it but had never actually seen
• 2:16
  it on the big screen until the other night and it looks great on the big screen
• 2:21
  it really does work even more you know but let's piggyback on the soundtrack
• 2:27
  portion of this conversation, because I have that in my notes,
• 2:30
  in the 80s, soundtracks were fucking gold.
• 2:35
  I mean, gold. They died in the mid-'90s, and now it's just scores and stuff,
• 2:40
  which don't get me wrong. I still like those.
• 2:42
  But you don't get the Kenny Loggins, which was the go-to for a new soundtrack.
• 2:48
  But when musicals died, they pretty much died with Grease.
• 2:54
  The soundtrack became more about the different artists that would contribute
• 2:59
  a song to the soundtrack. Yeah, like the official song for the film, yeah.
• 3:06
  Well, a bunch of official songs for the film. Yeah, one main one.
• 3:09
  But you'll have the Saturday Night Fever kind of started that.
• 3:14
  After Grease bowed out. But then you had, in the mid-'80s, you had Flashdance, Footloose, Top Gun, St.
• 3:25
  Elmo's Fire, Beverly Hills Cop, and, of course, this incredible soundtrack Lost
• 3:31
  Boys which even though all the soundtracks I've given you are wonderful this
• 3:36
  is probably by far the best and holds up the best I would agree,
• 3:40
  now in the 90s and actually right up to the current day,
• 3:44
  Tarantino has always done great pumping soundtracks to his films,
• 3:48
  but yes the 80s was a real peak time for soundtracks for films essentially and
• 3:58
  there were some great ones, but The Lost Boys, to me,
• 4:00
  is the greatest of them all.
• 4:03
  See, I want to put Tarantino up there on that list because of the fact that,
• 4:07
  his stuff was kind of gimmicky.
• 4:11
  It's more... Well, let me finish. He... It's not an insult.
• 4:16
  It's clever what he did, but his stuff wasn't going to reach...
• 4:22
  The soundtracks were just more... I don't know how to...
• 4:26
  More popular, more Oscar-nominated. I mean, all these songs were just,
• 4:34
  and you can't forget them.
• 4:38
  I can hear me every song on the soundtrack. I love this soundtrack.
• 4:41
  Pulp Fiction, Reservoir Dogs is great. Reservoir Dogs is his best soundtrack, Stuck in the Middle.
• 4:48
  And that did bring back some of the classics, or people never knew they existed before.
• 4:53
  They don't have the staying power as the
• 4:56
  80's soundtrack does well Tarantino's soundtracks
• 5:01
  they're more a wide range from
• 5:03
  right across the decades you know sometimes anachronistically using songs like
• 5:09
  for example he's using David Boye in a World War 2 setting and Glorious Bastards
• 5:15
  you know so that's you know gimmicky as well but you also got to realize there's a difference,
• 5:21
  they were quintessential 80s there there's
• 5:25
  a difference between a great tarantino's
• 5:28
  greatest hits of his favorite songs and songs
• 5:31
  written specifically for the soundtrack that's
• 5:35
  what i'm talking about now footloose be a perfect example you had footloose
• 5:40
  you had bonnie tyler you had other songs written for the soundtrack this isn't
• 5:46
  a greatest hits box set of likes and dislikes this is just written for the soundtrack.
• 5:53
  Well, for the most part with The Lost Boys, there are some ones in there.
• 5:58
  There's actually quite a few covers. Why are you arguing?
• 6:03
  It's still made for the soundtrack.
• 6:07
  I'm not arguing, I'm discussing. I know, but... You're looking at an argument,
• 6:10
  but I'm not arguing. I'm not. You fucking are.
• 6:13
  Wow. What's with the temper? Wow. No. People, I apologize.
• 6:18
  Wow. No, I'm not arguing, I'm discussing. This is a family show. Right.
• 6:23
  What the fuck? It gets an e-cert. We get an e-certificate every single,
• 6:27
  basically, edition, you know, due to Kieran's potty mouth. But,
• 6:32
  you know, I'm done apologizing for him.
• 6:34
  So, I'm going to say it. But there's a big difference between songs utilized
• 6:38
  in the soundtrack, Top Gun, you know,
• 6:43
  I can't not take my breath away, Danger Zone, Flying with the Boys,
• 6:48
  the great score by Steve Stevens.
• 6:52
  All written for score.
• 6:53
  Yeah, you might get a song for these that's put in there like,
• 6:56
  what do you call it? The Righteous Brothers would be on there maybe.
• 6:59
  Five of a Coast? Yeah, that was used a couple of times, Unchained Melody, whatever it was.
• 7:03
  I don't give a fuck. but my point is that most of
• 7:06
  the songs were written for the film and they don't do those
• 7:09
  anymore they died in the actually
• 7:12
  in the 80s it could actually be
• 7:15
  to do with cost cutting you know I know
• 7:17
  James Gunn likes his sort of greatest hits soundtracks on
• 7:20
  his films but again they're not obviously written
• 7:24
  for the films specifically yeah but I think
• 7:26
  James Gunn's more relating more toward shout out
• 7:30
  Guardians of the Galaxy are fucking great soundtracks but again
• 7:34
  that's more of what a nod to what tarantino did
• 7:37
  yeah similar very similar yeah rather than
• 7:40
  what i'm talking about what these guys did i mean kenny logins was in every
• 7:44
  fucking soundtrack caddyshack i'm all right i mean danger zone then he had over
• 7:50
  the top meet me halfway with i think that was over the top you know cobra fucking
• 7:56
  global has got a great soundtrack Well,
• 7:58
  almost any I mean, even Rocky IV and stuff Rocky IV had Survivor Hearts on Fire Yeah,
• 8:04
  he had Hearts on Fire by Survivor He had Robert Tepper There's no easy way out
• 8:08
  Yeah, yeah Doing that really bad montage scene after Creed's death,
• 8:11
  Well, and I would say as well, there were a hell of a lot of 80s power ballads,
• 8:16
  you know, within those soundtracks, you know, it was a time of big horror,
• 8:21
  big music, and big blockbuster films.
• 8:25
  There's a flip side of this coin. Some of those songs destroyed a franchise.
• 8:30
  And it's a good song. We talked about it with Mad Max Beyond the Thunderdome
• 8:34
  when they threw Tina Turner in there.
• 8:37
  And it's like, what the fuck? It's
• 8:38
  a good song, but what's this doing in a fucking Mad Max? Where to place.
• 8:41
  Yeah. exactly so it's hit or miss but maybe
• 8:44
  you got something there where in the 80s you had
• 8:47
  artists creating the song for the movie and then
• 8:51
  in the 90s it became a greatest hits of what
• 8:54
  the director might like or might envision what the
• 8:57
  characters might want to listen to so you got that with
• 9:00
  Tarantino and you got that with John
• 9:02
  Hughes as well you know John Hughes
• 9:06
  most of his stuff was written well that was Joel
• 9:09
  Schumacher wasn't it actually that's why I
• 9:12
  bring this up Joe Schumacher that was David
• 9:16
  Foster that was and Seamus Fire
• 9:19
  names escape me I love the song Man in Motion
• 9:22
  it is yes and it's not actually about nothing to do with the film even though
• 9:26
  it's used for the film I think it's something to do with some disabled sportsman
• 9:33
  or something who anyway it doesn't matter but yes it's a very memorable one
• 9:39
  from that film, St. Elmo's Fire.
• 9:42
  But, yeah, so there was more, I think there was more more hair put into the
• 9:49
  soundtrack in the 80s than there was in the 90s.
• 9:51
  90s was just up greatest hits. It's where I'm going with this.
• 9:55
  Edwards is fine, but I do miss the soundtrack. I mean, the soundtrack was so
• 9:59
  good. I remember when movies coming out, Can't Wait for the soundtrack.
• 10:03
  Bellio's Cop 2, what a great soundtrack. Shakedown. Paralove.
• 10:07
  Yeah, Bob Seger. Back to the Future. And the great thing about soundtracks,
• 10:11
  You get artists that you like to get nominated and win awards,
• 10:15
  like Oscars, for instance.
• 10:16
  I remember seeing Bob Seger nominated for Shakedown.
• 10:19
  You had Glenn Frey, I believe, was nominated for The Heat Is On, or Axl F.
• 10:23
  Was even nominated for Beverly Hills Cop. You had all the way to,
• 10:28
  I know you hate the song, but I love Brian Adams and everything I do, I do for you.
• 10:31
  Brian Adams was nominated for a bunch of awards.
• 10:35
  He actually became the new Kenny Loggins in the 90s. what about
• 10:39
  but what about speaking of the 90s and songs
• 10:42
  for films what about that absolutely sort
• 10:45
  of 10th sort of level of hell
• 10:48
  that is that Celine Dion one my heart will go on fuck me fuck me that and that's
• 10:55
  the problem with the 90s you had that one song in the one soundtrack and oh
• 11:00
  you had the bodyguard I would always love you yes Whitney Houston Fuck, fuck.
• 11:05
  That's a cover as well, but yes, it was done for that film. Yes, yeah.
• 11:09
  Lost Boys is by far the best soundtrack out there. Footloose is pretty close.
• 11:14
  Footloose is pretty close. But Nothing Beats, In Excess, Jimmy Barnes,
• 11:20
  Echoing the Bunnymen, we'll get to Tim Capello and his saxophone playing.
• 11:25
  Roger Daltrey, Lou Graham, and is it Jared McKinnon?
• 11:31
  Jared McMahon. McMahon. With Cry Little Sister. Cry Little Sister.
• 11:35
  It's a wonderful song. Never really made it big after that, but boy,
• 11:39
  I'm sure he made his money from it because so many people cover it.
• 11:42
  It is, it's a beloved song, but what an incredible soundtrack.
• 11:47
  In fact, the soundtrack is so good.
• 11:50
  That they already had some of the artists signed on.
• 11:55
  And two of the artists who play a couple songs on the soundtrack are Australian
• 11:59
  band, Jimmy Barnes and the great band, In Excess. Yeah.
• 12:04
  And they already had an idea of what they were going to do, put on the soundtrack.
• 12:09
  And that is the only reason Kiefer Sutherland signed on.
• 12:13
  Yes, I read that as well. Yeah, he went to Australia for a holiday,
• 12:18
  And he got into Australia bands, you know, like Men at Work and stuff like that.
• 12:24
  And he really liked those two bands.
• 12:27
  So I persuaded him to take the part of David.
• 12:30
  Thank God, because I will put my cards on the table.
• 12:35
  Kiefer Sullivan steals the movie. He is the movie to me. He's the best.
• 12:39
  We'll certainly dig a little deeper into it.
• 12:42
  So that incredibly long intro, we're still going because we got to talk about the man behind the lens.
• 12:47
  Fuck. sorry guys but it's fucking lost boys so suck
• 12:50
  it up get it suck it up
• 12:53
  okay go ahead i try with your
• 12:56
  bad puns that was a good one right up
• 12:59
  there all right it was all right right up there
• 13:02
  christopher walken yeah you stopped
• 13:05
  getting with that fucking right joel schumacher
• 13:09
  my brother i was always a big fan of joel schumacher he started kind
• 13:12
  of really made it big with it was seeing the most fire and
• 13:15
  what i like about schumacher he
• 13:19
  he dabbles in everything especially for
• 13:22
  a very deal do something very dark and very
• 13:25
  bleak very lynch in tone i would say which movie he did called eight millimeter
• 13:30
  forget about it with nicholas cage i remember it very ahead of its time cult
• 13:35
  it's called classic now which knows this one so he knows his club classics and
• 13:39
  a movie called The phone booth, which is really good. Phone booth is great.
• 13:44
  Yeah. Colin Farrell. Or not Colin Farrell. Colin Farrell. Yeah.
• 13:47
  Colin Farrell. And of course the villain is Kiefer.
• 13:50
  You've got A Time to Kill, Flatliners. Obviously he likes to work with Kiefer. He's in both of those.
• 13:57
  But the sad thing is I list you some great films. And he's got more to his credit.
• 14:03
  Sadly, he's remembered for the bad ones, which is Batman and Robin and Batman Forever. Yeah.
• 14:09
  Batman Forever isn't too bad. It's terrible.
• 14:12
  Totally, it's a world away from the Burton ones that came before.
• 14:16
  But Batman and Robin is ridiculous.
• 14:18
  You know, it's almost so bad. It's actually good, you know, if you enjoy really bad puns from Arnie.
• 14:26
  And almost as bad as Kieran's puns, but not that bad.
• 14:29
  You know, bad puns from Arnie and Uma Thurman in it. You know,
• 14:33
  it's just, we'll have to do it at some point.
• 14:37
  Isn't Batman and Robin the one with Schwarzenegger? Yeah, it is,
• 14:42
  aren't I? I thought you said Batman Forever.
• 14:45
  No, no, Batman Forever for me isn't too bad. That's the one with Jim Carrey
• 14:50
  and Tommy Lee Jones. Yeah.
• 14:52
  No, Clooney's Batman and Robin. Val Kilmer's Batman Forever. Who gives a fuck?
• 14:58
  They're terrible. They're terrible. They're absolutely terrible.
• 15:02
  But anyways, Richard Donner was going to direct, but he just...
• 15:07
  Just got done a shitload of great films including ended
• 15:10
  with the goonies and then he waited but delay
• 15:13
  got you know as films do production got delayed and
• 15:17
  he had to leave stayed on as producer and he went
• 15:20
  on to do lethal weapon thank god but mary lampert we've talked about in this
• 15:25
  podcast before who directed the great pet cemetery and then we talked about
• 15:30
  her just fading and doing hallmark movies now not to take that away from her
• 15:34
  career you know careers change and the only the different directions,
• 15:38
  but Mary Lampert was the original director on this. That's right.
• 15:41
  And she walked away for creative differences, which is too bad because,
• 15:46
  you know, I'd like to see her take,
• 15:47
  but things happen for a reason and quite frankly, I don't want to see anyone
• 15:53
  else behind the chair besides Joel Schumacher because this is a fucking classic.
• 15:57
  Well, it would be, you know, no matter who could have been director,
• 16:02
  you know, I mean it doesn't matter now because it didn't happen,
• 16:04
  but essentially it would have been a very different film from what we got,
• 16:08
  but I mean, it's a moot point because, you know, we love what we did get.
• 16:14
  This is written by, we mentioned him before, Jeffrey Boehm. I want to give him a shout out.
• 16:18
  Died way too early at a young age. He went on in the 80s, just alone.
• 16:23
  Dead Zone, Indiana Jones, Last Crusade, Leather Weapon 2 and 3,
• 16:28
  and the underrated Phantom.
• 16:29
  Pretty impressive. Taken away too soon. I'd love to see what he could have done more of.
• 16:34
  Yeah, the movie was $8 million in budget. It made $32 million.
• 16:38
  It did okay, but it was the soundtrack that catapulted in this film.
• 16:44
  And, again, a lot of other films, soundtracks helped them, and it maintained
• 16:49
  a little longevity, but this, by far, is one of the biggest.
• 16:53
  Again, 80s, we're raided a shitload of these cult hits, and this, by far, is the big one.
• 16:59
  I mean 80s has given us Blade
• 17:02
  Runner The Thing Big Trouble Little China and
• 17:06
  this fucking film and they're all cult hits
• 17:09
  and it is amazing what the
• 17:12
  mentality was people not going to see them at that time to
• 17:15
  see it and what their mindset is now to
• 17:18
  what these films well obviously nostalgia is a
• 17:21
  big factor as well that's not taken away from the quality of
• 17:24
  the film or the quality of films in the 80s however
• 17:27
  there is very much i mean we've even discussed it on
• 17:30
  the podcast a tonal change and
• 17:33
  more of the studios taken over in the 80s from certainly
• 17:36
  the 70s for example but there
• 17:39
  are some real standouts that are really
• 17:42
  memorable and yes nostalgia is a big thing especially for
• 17:45
  people of gen x you know the generation we belong to so but at the same time
• 17:52
  you know the so many of these sort of nostalgic favorites for our generation
• 17:58
  do stand on their own two legs as well and The Lost Boys is one of them in my opinion,
• 18:04
  Alright, we're going to find out why as we jump into this, finally, 20 minutes later.
• 18:10
  But there's a method to our manners, people Sometimes it's the big picture,
• 18:15
  we talk about the big picture when it comes to films You're welcome,
• 18:21
  We cover all bases Alright, we got our boy, Kiefer Sutherland as David,
• 18:27
  Corey Haim as Sam, Jason Patrick as Michael, Jamie Gertz as star,
• 18:31
  Diane Wiest as Lucy, Edward Herman as Max,
• 18:35
  Bernard Hughes, scene stealer, plays Grandpa,
• 18:38
  Corey Feldman as Edgar, Jameson Newlander as Alan,
• 18:43
  both known as the Frog Brothers.
• 18:46
  Of course, a little Alex Winter there, who plays Marco. And then we got Laddie,
• 18:50
  Dwayne, and Paul, who wrap up the rest of the characters.
• 18:53
  What's the point of Laddie here? Seriously.
• 18:58
  I think, I think we got laddie because laddie's the reason why star doesn't want to turn.
• 19:05
  Yeah. Well, I don't know, but I, I, maybe there were scenes,
• 19:09
  more scenes with him or maybe more scenes with him written, even not even so
• 19:13
  much cut or cut in terms of the script.
• 19:17
  He has a kind of sort of shoehorned in character who has nothing to do.
• 19:21
  I don't think he's shoeing.
• 19:23
  In fact, they have a scene I have in my notes where the mom comes home.
• 19:29
  She's pissed off because something will happen with dinner. We'll get to it, I'm sure.
• 19:33
  And somebody spilt milk. And when she picks up the milk carton,
• 19:38
  after arguing with the kids, she puts the milk carton in.
• 19:41
  And back in the 80s and the 70s in the States, milk carton would always have
• 19:45
  a feature of missing child. Yeah.
• 19:47
  Well, they saw that. She puts the milk carton down. We see Laddie missing and
• 19:51
  the child's real name on the milk carton.
• 19:54
  So that is why one of the reasons he's in it, they kind of show that nobody's safe.
• 20:00
  A, kidnapping was a big thing. Sad to say that, but it is, and it still is, sadly.
• 20:06
  But back then, this is the stuff that was going on.
• 20:10
  And so I think it was to show that nobody was safe.
• 20:13
  Yeah. I also would say, just going back to songs and pop songs,
• 20:18
  in the early 90s, I remember a really good sort of rock song by a band called
• 20:23
  Soul Asylum called Runaway Train,
• 20:25
  and it was about runaway kids, essentially, you know, the kids on the back of
• 20:29
  milk cartons, that sort of thing. Yeah.
• 20:35
  So, I thought you were going to say something completely fucked.
• 20:38
  Did I distract you there? No, yeah.
• 20:41
  I'm giving you the rhyme and reason why Laddie's probably put in this film you
• 20:47
  bring up fucking Soul Asylum runaway train don't do it back whenever Keither
• 20:53
  Sufferland was on holiday in Australia,
• 20:57
  he tried to get a part on Neighbours but they wouldn't have him because the
• 21:01
  standards were too high on Neighbours obviously yeah,
• 21:08
  why do i why do i do this podcast and i
• 21:11
  but i can see my lighting's there and then you add the
• 21:14
  fact of it's the reason why she she's there
• 21:17
  to protect the child she doesn't want the child to turn so
• 21:20
  she can't turn so she's got to protect both
• 21:23
  of them and she sees mike isn't out and that's why i think the kid's in there
• 21:28
  and i i i i'm okay with it usually you're right if you put a kid in the movie
• 21:32
  for no fucking reason i'm gonna be pissed but you need it and i'm going with
• 21:38
  it Now I would say just on the subject of the two of them,
• 21:42
  Star and Laddie, that apparently Michael, the reason they got Michael on board,
• 21:46
  because Michael was supposed to be, originally for David,
• 21:50
  he was supposed to be their first kill, but they couldn't go through with it. Star and Laddie.
• 21:55
  No, I've read up on that. Well, no. They kind of play on that,
• 22:00
  don't they? To a certain extent, yes.
• 22:02
  Yeah, but it's not explicitly stated. The love scene, which I don't like,
• 22:06
  the love scene that you have is, I thought the whole thing was to bait him.
• 22:13
  And then instead of it being a love scene, it was debate scenes.
• 22:18
  Well, apparently whenever they first meet,
• 22:23
  basically Michael at the foreground, and, you know, they do the motorbike chase
• 22:27
  and all this here sort of thing,
• 22:28
  apparently the original intention of David was for Michael to be star,
• 22:33
  and laddie's first victim to turn them into fool vampires. Oh,
• 22:37
  okay. But it didn't pan out like that.
• 22:38
  I like the version we got there, and that's the truth. It works better in terms
• 22:42
  of the, you know, the film overall. Yeah.
• 22:45
  So we're here in the fictional town of Santa Carla, which is based on the real
• 22:49
  town of Santa Cruz and filmed in Santa Cruz.
• 22:52
  Santa's, you know, it's kind of neat. Santa Cruz means Holy Cross in Spanish. Yeah. I've been in it.
• 22:59
  We've all been there. The famous boardwalk's still there.
• 23:02
  But yeah there you go all right so there's a bunch of stuff we want to talk about here,
• 23:08
  i like the introduction i like the introduction of
• 23:11
  everybody really to be honest with you when it's quick the movie's an hour and
• 23:15
  37 minutes seven minutes with credit so it's about an hour and a half maybe
• 23:19
  a little less and you're introduced to pretty much the main characters the vampires
• 23:25
  right away pretty much but what i do like about it.
• 23:29
  The great song, Cry Little Sister playing. And we're introduced to the boardwalk at night, right?
• 23:36
  Where in the beginning, where we're introduced to Santa Cruz during the day,
• 23:40
  it's kind of people are strange. A little more bubbly and fun.
• 23:44
  But at night, we get to a darker song about Cry Little Sister.
• 23:50
  And you're introduced to Dave and the gang. And they're seeing that the cops
• 23:53
  are kicking them out. You guys aren't supposed to be here. You're troublemakers.
• 23:56
  Can you go? and the cop gets, you know, pulled away.
• 24:00
  I like the zoom in camera where they're coming in. You don't see them,
• 24:03
  and then he's pulled away.
• 24:05
  Yeah, it's teasing us. Yeah, it's very gore-free. And I thought about this because
• 24:10
  usually I like my gore factor, but they don't play on the gore as much.
• 24:16
  The violence is actually more when the vampires get it.
• 24:20
  They suggest it more apart from that, yeah. Yeah, and the reason I think that
• 24:25
  they pull away on, is it really them?
• 24:28
  I know we all know that they are going to be the vampires or the Lost Boys,
• 24:32
  but we don't really know it's them doing the attack until they try to make Michael feed.
• 24:39
  And so I do like that kind of, I don't think it's deliberate.
• 24:43
  It's not supposed to be a misdirect, but it's more of a what if.
• 24:47
  And especially the film plays a lot like a comic book.
• 24:54
  And obviously, comics have a big play in this movie.
• 24:58
  And especially with the Frog Brothers, you run a comic book shop.
• 25:01
  So I think that's kind of where they're going with, with the little subtleties.
• 25:06
  The Warriors did this. The Warriors is famous for doing it.
• 25:09
  And we'll be getting the Warriors soon again.
• 25:11
  But the initial concept, Walter Hill says, the Warriors is so dark and technically
• 25:17
  disturbing that we wanted to play it more of a comic book style.
• 25:21
  So people wouldn't take it too seriously and kind of know where they were going with it.
• 25:28
  And actually, the director's cut, it's told through a comic book's point of
• 25:31
  view, which is wonderful, by the way, if you guys haven't seen it.
• 25:34
  Some people don't like it because it takes away from the graininess of the original
• 25:38
  film, and I can understand that, but you should check it out.
• 25:42
  But that's where I'm going with this.
• 25:44
  I think, and by not letting it see the vampires,
• 25:48
  it also, for practical reasons, cuts back
• 25:52
  on the on the on the budget the only real
• 25:55
  gore we'll get apart from the vampires themselves getting killed is the
• 25:58
  beach attack on the surf nazis you know
• 26:01
  where where there's quite a bit of gore but apart from that
• 26:04
  this is quite i remember this being slightly disappointed as a kid that this
• 26:09
  was only a 15 certificate but the movie overall made up for it but yeah this
• 26:13
  was a 15 certificate back in the day in the uk which was for a horror film was
• 26:19
  pretty much unheard of they were usually just slapped with the 18 certificates straight away.
• 26:24
  Yeah, this would never, I mean, it was R-rated in the States in the mid-80s,
• 26:30
  but I'll tell you what, even when I see this now, it'd probably be a soft PG-13. There's no swearing.
• 26:39
  It's vampire violence if you see anything. There's no graphics X.
• 26:44
  There's nothing that would make this a heavy R.
• 26:48
  You know what's funny? I would probably go oh man there's not enough gore and stuff but,
• 26:55
  You can say the same thing about a film that came out a year before this called Fright Night.
• 26:59
  Fright Night got an R. Now, Fright Night deals with a little... I love Fright Night.
• 27:04
  I think it takes... The only reason I think Fright Night will stay with an R
• 27:08
  is because there's the hooker scene where he undresses her.
• 27:11
  And he's voyeur. He's watching from across the way. So you see her topless.
• 27:16
  There is the erotic scene where technically he's tempting a minor in the dance club scene.
• 27:24
  Yeah. And you've got the... There's more gore. Evil Ed.
• 27:28
  No, I don't think there's more gore in Fright Night. It's all vampire gore.
• 27:33
  So actually, I think that's why that kind of stays with an R,
• 27:37
  because the adult themes in it.
• 27:41
  The Lost Boys is essentially, and very intentionally, a teenage horror film.
• 27:47
  And again, that's not me having a dig at it or whatever, but in terms of tone
• 27:51
  and all the rest, the cast, It's very much focused for the teen audience,
• 27:56
  and that's okay. Let's talk about Sam's outfits.
• 28:01
  Fuck me. If he's a teenage culture club, nobody.
• 28:05
  And in the 80s, we wore some pastel colors, and I had my big fucking shoulder pads.
• 28:12
  Did you? What? I want to see photos.
• 28:15
  I remember, true story. I remember Miami Vice was with all the way, right?
• 28:22
  Yep. and I flew we were staying in Bestbrook for the summer right,
• 28:27
  I know it well for our summer and we went
• 28:30
  to church and I had my fucking white jacket
• 28:33
  my pink shirt I would pay good money and my jeans on and I was walking in thinking
• 28:38
  I was all badass going to church looking like Don Johnson and everyone I think
• 28:42
  was just pointing at me who's a fucking idiot I would pay serious good money
• 28:47
  to see that are photos of it I remember it because no in Bestbrook knowing Bassbrook in the 80s,
• 28:53
  because my family's from Bassbrook as well you know I can well imagine you waltzing
• 29:00
  in with fucking shoulder pads looking like well trying to look like Don Johnson
• 29:05
  yeah that would be comedy gold let me try and I look good yeah right yeah that's
• 29:12
  not what they say in Bassbrook,
• 29:14
  yeah I was definitely still talking about it to this day I was definitely a fish out of water there,
• 29:19
  But the 80s were about that. You know, the feathered hair.
• 29:24
  Over the top. The hairsprayed hair and all that crap.
• 29:29
  But yeah, Sam's a little out there with his clothing.
• 29:33
  Joel Schumacher was always oblique. Nothing wrong with that at all.
• 29:38
  You can see it in a lot of his visual stylings.
• 29:43
  And there's a lot of things going around about the Rob Lowe poster and stuff
• 29:48
  like that. And he says, no, the Rob Lowe post was innocent.
• 29:51
  The only reason I put that there was because he was hot from St. Elmo's Fire.
• 29:55
  And I just directed St. Elmo's Fire. So I put that in there.
• 29:58
  But then there's just a way, he's got a childlike demeanor.
• 30:04
  He's got an earring that's questionable and all these different.
• 30:09
  Yeah, I would say, I mean, I would never in a million years have caught this,
• 30:14
  watching this as a kid myself, but watching it this time as an adult,
• 30:18
  for me, it was, pretty clear that Sam is quoted as gay, as being gay.
• 30:23
  Well, you know, although you're saying that Schumacher has denied the Rob Lowe
• 30:27
  poster. No, he never denied.
• 30:30
  He just says the only reason the Rob poster was there, I got one and it was
• 30:34
  a nod to me directing him in St. Elmo's Fire.
• 30:37
  It's Rob Lowe, semi-naked, on a poster, on a closet.
• 30:42
  Hint, hint, nudge, nudge, wink, wink. What the fuck?
• 30:46
  Also, the way Sam sort of sings in the bath and all is quite sort of camp and,
• 30:50
  you know, I don't know. He's sitting in the bath all the time.
• 30:55
  I was going to say pay good money to see that, but actually,
• 30:57
  no, I'll give that a pass.
• 31:01
  You know, but no, no, for me, quite clearly, Sam is, you know,
• 31:07
  a gay character, but you know what? So what?
• 31:11
  I don't even care because I actually like the character and the way he's portrayed.
• 31:16
  And there's a nice scene near the end where things flip a bit and I really enjoy it.
• 31:21
  But yeah, where did you do some whole boardwalk and you've got,
• 31:24
  you know, all oiled up, Tim Capello playing this song.
• 31:28
  Um, God love him, man. He's a, he's a fitness instructor of this guy and he's
• 31:33
  made a fortune off this song.
• 31:35
  Good for her. Good old, good. And do you know what? And do you know what?
• 31:37
  I've always really liked the song. I think it's a cracking song and I used to
• 31:41
  play it on my radio show when I had one before it was censored, but.
• 31:45
  No, it's a cracking song. And you know what? Good on him. I think people more
• 31:49
  sort of are taking the piss out of his look, where he's like completely oiled up.
• 31:52
  You can get more oiled up, you know, on the ponytail and the top off.
• 31:56
  And it's pure 80s. You know, if ever there was a pure 80s sort of moment or
• 32:02
  look, that's it, you know?
• 32:05
  You know you're in an 80s film when you're watching The Lost Boys.
• 32:10
  Exactly. By just everything. The clothing.
• 32:14
  Max owns a video store. You've got the Frog Brothers who are acting like Rambo and Chuck Norris.
• 32:20
  You've got comic books, which was huge in the 80s. Well, not just the 80s, yeah.
• 32:26
  It just piled it all thick, but did it so well.
• 32:30
  And the great thing about it, he didn't just throw in all this 80s crap just to say it's the 80s.
• 32:36
  He did it, but everything has a rhyme and reason.
• 32:39
  The video store, the comic book store does come into play because this is where
• 32:45
  we meet the Frog Brothers and they give them Destroy All Vampires, the comic book.
• 32:49
  I love the fact that they're actually using the old EC comics,
• 32:55
  the type of comics, as basically survival guides, which is just fantastic to me.
• 33:01
  I remember reading about a story one time, which sort of ties into this,
• 33:06
  about during the whole controversy in the UK in the 1950s, about
• 33:09
  those types of comics there was this really tough housing
• 33:13
  estate in glasgow where there was actual an
• 33:16
  actual real life murder which caused a bit of an
• 33:18
  outcry but some sort of kid who was reading
• 33:21
  these comics told all the rest of the kids in the estate
• 33:24
  that it was vampires that did it so all of the kids congregated in this housing
• 33:29
  estate armed of the teeth with like crosses and sort of things like you know
• 33:34
  knives you know big knives and all sorts and it was a huge controversy at that
• 33:38
  time and I think because of it
• 33:41
  resulted in a lot of censorship of these types of comics, these horror comics
• 33:45
  so it was so I love that this is all part of the Lost Boys as well you have.
• 33:53
  The initiation I like with,
• 33:57
  Like you said in the beginning, Star was meant to lure him.
• 34:00
  You think she's attracted. I get the fact she's attracted to him,
• 34:04
  and he'd be a savior for her.
• 34:06
  But initially, it was written for her to seduce him and then kill him,
• 34:09
  which could play both ways, really, the way the opening scene goes.
• 34:13
  But she gets him. They're doing the bike race. And the bike race is very,
• 34:18
  very rebel without a cause, James Dean, hands down.
• 34:22
  And i just love this whole sequence when they
• 34:26
  disappear into the fog and he's getting lost
• 34:29
  in the shuffle he almost goes off the cliff he goes
• 34:33
  he he goes off the cliff he almost goes off the cliff and he gets off the bike
• 34:38
  and he punches michael david and he goes no just you only you meaning i'm gonna
• 34:44
  take you you know just you and i and the grin that's on david's face because
• 34:50
  right there, he knows. He's got him. He's got him.
• 34:53
  Yeah, yeah. I mean, I was just thinking about this as well. I mean,
• 34:56
  essentially while I do love this film myself,
• 34:59
  essentially it is a film full of teen melodrama, but you know,
• 35:04
  it all comes together so well with the visuals and all of the rest and a great
• 35:08
  script and the performances and look and stuff.
• 35:11
  But yes, yeah, this is a great scene with the initiation then to get him into the vampire lure.
• 35:17
  See, I would never say teen melodrama. I can't. There is a better.
• 35:22
  I can't. I won't. Because back then, you really... Let me finish, please.
• 35:27
  Go ahead. I'm waiting. I wait. Wow. With better breath. Go ahead. Fucking better.
• 35:33
  Longest fucking podcast ever. Yeah.
• 35:38
  Because you had...
• 35:40
  The teen dramas, kind of like, well, Breakfast Club, perfect example,
• 35:44
  come out at the same time. Ferris Bueller.
• 35:46
  But when I think teen melodrama, I think Melrose Place. Not Melrose Place. I think 90210.
• 35:51
  And I think Dawson's Creek. This is not that. And that's kind of what you're saying.
• 35:57
  And to piggyback on what you're saying, you're comparing this now to Twilight.
• 36:03
  And Twilight, let me finish, is a teen melodrama.
• 36:07
  That it pans down blowing vampires and fucking glow dust where the fuck they
• 36:12
  got going on there and they took fucking four 600 movies to get that whole story
• 36:17
  told these guys had to get in and out they had they'd shot it in 21 days.
• 36:23
  I don't think it's a teen melodrama at all they have to play with that because,
• 36:29
  technically there's a scene coming up when David cries where it's,
• 36:35
  it's they're teens themselves they're they're
• 36:39
  called lost they're called lost boys because they're based on the peter pan
• 36:42
  yeah they're boys they're literally boys yeah yeah
• 36:45
  but teen melodrama gets is terrible and and those shows and movies are teen
• 36:52
  melodrama i wouldn't say lost boys is teen well well my argument would be more
• 36:57
  that it's it is teen melodrama for me but it is unlike twilight,
• 37:04
  I'd be honest with you, I haven't seen a Twilight film so about things like
• 37:07
  Beverly Hills 90210 that I have seen that you're talking about I can comment
• 37:10
  more on so I do know what you mean by teen melodrama but here it's teen melodrama
• 37:15
  but with vampires and really well written and a really good delivery,
• 37:21
  if you know what I mean Yeah, I know what you're saying I'm not like,
• 37:25
  but you gotta peel the layers here like we got the scene, the famous scene with
• 37:31
  the maggots and worms, right?
• 37:34
  And they're playing with him a little bit and make him drink the blood.
• 37:38
  But then Cry Love Sissure, which is often played in this film.
• 37:42
  People don't realize it was written for the film.
• 37:45
  And the whole point of that song, it's a metaphor for someone who's innocent being drawn.
• 37:51
  Losing their innocence. Yeah, or being brought into a potentially dangerous group.
• 37:57
  And that's what the song's about. You don't get that from 90210.
• 38:01
  And I don't get that from Twilight.
• 38:03
  And that's why I think it distances itself. So I'm not saying you're not there
• 38:09
  in the ballpark, but it distances itself from being considered a teen melodrama.
• 38:14
  Yeah, it wouldn't be a teen melodrama in the classic sense, but there are certain
• 38:19
  elements there that they tweak and which really work in its favor.
• 38:22
  Can I just say as well that one thing that really works and lands practically
• 38:27
  every time here are the jokes, the comedy. Oh, God, yeah.
• 38:31
  I mean, yeah. I mean, there's not one time I rolled my eyes.
• 38:36
  No, exactly. All of the jokes land and some land very, very well.
• 38:40
  In the theater, it's perfectly timed.
• 38:43
  The minute Tim Capello picked up that sax, the whole audience was laughing.
• 38:46
  Well, that's more unintentional comedy, but I'm talking more about the intentional
• 38:51
  liners and stuff. I'm saying they went with it.
• 38:53
  Anytime the Frog Brothers would show up, someone would snicker.
• 38:57
  No, no. And everyone always laughed at the right lines, especially the dinner
• 39:01
  scene. I love the dinner scene.
• 39:03
  That's great. And so So, well, let's jump into it.
• 39:10
  I love to see where Michael is finally starting to turn. And a great thing about
• 39:14
  Michael's character, too.
• 39:16
  Is in the beginning, for like only, what, five, ten minutes,
• 39:21
  you're introduced to him, and he's kind of shy and reserved, but a nice kid.
• 39:28
  He's moody, brooding, but when he's bitten, because he played it so low-key
• 39:35
  and so reserved, that's down to Jason Patrick, who I thought was an underrated
• 39:39
  actor, but also to Schumacher's direction.
• 39:43
  The minute he changes, it doesn't have to be massive, Just the shades onto him
• 39:48
  and him being dismissive and quiet to his mom. Boom. He's changed.
• 39:52
  Yeah. You don't need it to be a full-on metamorphosis of his personality.
• 39:58
  Or a big exposition or whatever. Yes, exactly. It's all very subtly handed.
• 40:03
  And every scene here, actually, it's very tightly edited.
• 40:06
  And every scene, every line of dialogue has a point. And it forwards the plot
• 40:10
  the way all films should do.
• 40:12
  And this is a great example of it. The piggyback on the whole family dynamic is wonderful.
• 40:18
  The mother who played by the wonderful Diane Weest, I've always liked her.
• 40:22
  She's so good in this because she's trying to keep her cool.
• 40:26
  She's so reserved because you know the father has left them for another woman.
• 40:30
  And they are trying to adapt to this new change.
• 40:35
  And she's actually very giving and very… They're believable as a family unit.
• 40:40
  Yeah. And the great thing about that, because she's being a little...
• 40:46
  Back office from her kids she's kind
• 40:49
  of letting them marinate in the environment you can
• 40:52
  see her frustrations where she's trying to at the same time have her own life
• 40:57
  and move on from you know the breakup with her husband and you know get a new
• 41:02
  potential partner and stuff but also she's duty bound to her sons who and any
• 41:08
  other scenario would be behaving like complete dicks but actually They're telling the truth.
• 41:12
  No, but what I'm saying is she's giving him the breathing room that two teenage
• 41:20
  boys need after what they went through with their father.
• 41:24
  So that's why this story with Michael works and the drama that Sam brings to
• 41:31
  the mom with vampires and stuff.
• 41:33
  And that's why she's kind of like, oh, okay, I'll give you a little space.
• 41:36
  You're being a little crazy.
• 41:38
  She doesn't go on full-on parent mode of them because of what they already went
• 41:42
  through. She's a good mother.
• 41:44
  She's giving them benefit of the doubt.
• 41:48
  Yeah, she's a very good mother. And she's probably the most,
• 41:52
  certainly at our age now, she's probably the most likable and relatable character.
• 41:56
  You can see her frustrations, you know, but she's having to bite her tongue,
• 42:00
  you know, a lot of the time and stuff, and very well played by Diane Wiest.
• 42:09
  The scene where Michael opens the door and Max is coming over for dinner.
• 42:16
  And there should have been a tell right away. I don't remember the first time
• 42:20
  seeing it until I catch it, but I should have known right away Max was the lead
• 42:23
  vampire. He invites him in?
• 42:26
  Yeah, because he asked him to. He goes, well, you're the man of the house.
• 42:29
  You've got to invite me in. Right there, we should have known right away.
• 42:32
  I think the first time I watched it.
• 42:35
  Think he was a vampire because it was running with the Frog Brothers and Sam
• 42:39
  but then whenever after the dinner party scene,
• 42:43
  I think I fell for it when I was just a kid where it's basically then I thought
• 42:49
  oh he's not really a vampire but then it's like the double bluff where oh actually
• 42:53
  he is yeah they did that because I think when he passes the dinner scene you
• 42:58
  realise oh okay maybe that was just a red herring he threw in for us,
• 43:04
  But you know what's a really good touch at the dinner party scene?
• 43:06
  Where they hold the mirror up to his face and he actually screams.
• 43:10
  The reason being, he hasn't seen his reflection in years.
• 43:14
  Yeah. I caught that myself and I thought that's a nice touch.
• 43:20
  But now people watching multiple viewings might have caught that.
• 43:24
  And if you caught that in your first initial viewing, you might have figured
• 43:29
  it out. But I didn't. I don't think I did either.
• 43:34
  The one thing we all know is if you invite a vampire in, they become powerless.
• 43:40
  It's like the devil. Yeah. Yeah. So he's full. So the whole,
• 43:43
  you know, the garlic in the water.
• 43:45
  The Frog Brothers are very funny in this. Corey, I love the way a lot of the
• 43:52
  characters are named after well-known names in vampire lore.
• 43:56
  Like Max is probably named after Max Shrek and also the Frog Brothers named after Edgar Allan Poe.
• 44:03
  Not really vampire lore But obviously Edgar Allan Poe And also Lucy Named after
• 44:09
  Lucy from Dracula So it's all pretty cool Yeah.
• 44:14
  When we finally realized that Michael and the gang, no, sorry,
• 44:19
  David and the gang are baddies, is when we see the surfer Nazis get it. Yeah. Surf punk Nazis.
• 44:25
  Only flaw I had with it was, now don't get me wrong, this is where you full see on full-on violets.
• 44:31
  Ward, you know, we just saw them flying away. You never, I didn't see it.
• 44:35
  You didn't see who was flying away.
• 44:37
  But you saw no carnage. This is the first time you see carnage and biting their
• 44:41
  heads and skulls and blood flying out. It's awesome. and Michael works out.
• 44:46
  And it's very well done, and it's not over the top. You see what they look like
• 44:53
  as a vampire. It's kind of cool, nothing too over the top.
• 44:58
  And it's a nice scene. But why did it have to be surf punk Nazis?
• 45:05
  That's what confused me a bit. I think it should have been like an innocent couple.
• 45:10
  Now we did see the thieves who stole
• 45:13
  from the comic book they got it and we saw the security guard
• 45:16
  the cop who kicked him out being hard-ass with
• 45:19
  them so we can kind of get you know but i almost
• 45:22
  wanted to see almost that darker
• 45:25
  it would have made this scene a little more darker
• 45:28
  if there are just beach goers well rather
• 45:31
  than once you make but once you make them nazi punks
• 45:35
  it's like well they deserve it well no
• 45:38
  i think it's really to highlight that that because
• 45:41
  this gang are in it briefly that they're sort of glimpsed that earlier
• 45:44
  on you know on on the boardwalk so i
• 45:47
  think it's basically you know they're sort of set up as bad quite badasses so
• 45:51
  i mean whenever the vampires sort of go at them they're complete pussies so
• 45:55
  it's really sort of setting up for me anyway how badass david's gang really
• 46:00
  is whereas these other badass gang they don't stand a chance against her?
• 46:06
  Let me ask you this. Go ahead. So near the finale Star asks,
• 46:10
  can she come up to the house? Can she come up? She's looking down the window.
• 46:13
  Michael says no but she comes in. Is it because she's not a full vampire yet? I think so, yeah. Okay.
• 46:21
  Yeah, as far as I'm aware. We never actually see her or no, we see Larry.
• 46:25
  I'm sort of slightly turned.
• 46:27
  What are you talking about? He turns and it's the best line in the film.
• 46:30
  But Star never turns. He's like, holy shit, it's the Takamini monster.
• 46:34
  Yeah, that's right, but no, no, but star, you will never see a vampiric star.
• 46:40
  No. What surprises me, when the Frog Brothers were going after Maddie,
• 46:46
  you figure if she's protecting him, she would have turned to protect him like
• 46:50
  Michael did to protect Sam.
• 46:52
  Yeah. So, yeah, they should have done that. A little continuity of their issues.
• 46:58
  But when Sam goes to, they're going to finally have a showdown.
• 47:02
  Well, first, before they do that, he's going to go to his mom for help one last time.
• 47:07
  And he finally mom's like
• 47:10
  you sam you're losing it blah blah blah which rightfully so
• 47:13
  and he finally says i
• 47:17
  don't care about max to hell with max he finally loses his temper he's not a
• 47:23
  kid who's scared he's not this smart ass he finally talks down to his mother
• 47:29
  and and right there you know that something serious is about to finally go down.
• 47:36
  The mother doesn't take it that way. She takes it. Get out of my sight. You're done. Go home.
• 47:42
  But it's a nice little arc for our boy, Sam. He becomes a man.
• 47:47
  He stands up to the mother.
• 47:49
  But the mother didn't deserve it, but he had no choice. Yeah.
• 47:53
  She wasn't listening to him.
• 47:54
  And it does play well where, let's say you and I were doing this when we were
• 47:59
  in this age and we're in the same situation.
• 48:02
  People don't think, wait, what the fuck is wrong with you?
• 48:07
  But it's crazy. And then I love the scene where they go to their lair and they
• 48:15
  only can take one out and they take Marco.
• 48:19
  And every vampire dies differently. That's how it works.
• 48:23
  And the order that the frog rollers predict?
• 48:28
  Like about a foreshadowing? Oh, okay. I didn't catch it. Thank you.
• 48:33
  Like they say things like some of them explode, all that sort of thing.
• 48:37
  Oh, you're talking about the deaths, not the actual vampire names. No, no, no.
• 48:42
  It's more about the way they say that it's about the deaths themselves.
• 48:47
  Oh, okay. I thought you meant, okay.
• 48:49
  But yeah, so when Marco gets it, he's just full of goo and he's pouring out
• 48:53
  of him. And it's a nice death. He's screaming in pain and they get away.
• 48:57
  But there's a shot where David comes in barely into the light because he can't go into the light. Yep.
• 49:05
  He's kind of smiling, but he's crying. Yeah. Yep.
• 49:10
  It's brilliantly played by Kiefer. Yeah. So I'm thinking, is he crying because
• 49:15
  he's angry as fuck and now he gets to go kill all these people?
• 49:19
  Or is he crying because that was my brother?
• 49:22
  Well, apparently. I'm conflicted. Apparently, in reality, it was neither.
• 49:27
  Because I read up on this, and the reason for it,
• 49:30
  in reality is that there was a
• 49:33
  problem with Kiefer's contact lenses and they were hurting him and that's why
• 49:37
  he's crying but they kept it in because it obviously adds to the power and the
• 49:41
  emotion of the scene so take what you want out of it in terms of the story itself
• 49:46
  but in reality apparently it was down to Kiefer's contact lenses hurting him,
• 49:51
  I don't want to go with that I want to go with that,
• 49:55
  he's upset because you attacked one of my own.
• 49:59
  Before I read up on that That's what I took out of it And for me it was more
• 50:03
  to do with He's crying because he's so angry And so enraged Yeah I think it's
• 50:08
  because you take one of my own No one's done that before,
• 50:12
  So he's going through these emotions Because he's never had to deal with a death
• 50:16
  In one of his family He's also a kid as well Yeah exactly he's a child himself He's a teenager yeah.
• 50:23
  Well, now the last 15 minutes. I fucking love the last 15 minutes.
• 50:27
  Don't forget this. We won't go into details. We all know what happens.
• 50:31
  But the whole thing is so fun.
• 50:34
  And again, no bad effects.
• 50:38
  It was all fun. They did what they can do and what they worked with.
• 50:43
  Nice little suspense shot where they have to go get Danuk.
• 50:47
  He's kind of guarding the gate. And they're flying in. We don't see them flying in.
• 50:51
  We just see it from the cameras coming in. and it's very fun and very intense
• 50:57
  and I just love the whole depth. It's so fun.
• 51:02
  When the one smart at, when the vampire goes Aha, garlic doesn't work but holy
• 51:07
  water does and his death's awesome Yeah, death by stereo, one of the famous lines.
• 51:14
  And then the final showdown with David and Michael flying in the air.
• 51:18
  Yeah. Where Michael goes badass and goes vampire Now the only problem I had
• 51:24
  was I think David would have won this because he's full on vampire he should
• 51:29
  have won but when he throws him under the deer antlers or the antelope antlers whatever it was,
• 51:36
  there was a fan's theory that well that wouldn't have killed him,
• 51:40
  so for years people wanted a sequel and Kira said people said this to me all
• 51:45
  the time you actually it would have been nice little twist if you were actually
• 51:48
  the lead vampire or something but either way.
• 51:52
  Technically, he wouldn't have died.
• 51:55
  Yeah. Well, apparently, you know, in the pretty awful sequel,
• 52:00
  The Lost Boys, The Tribe,
• 52:02
  we'll see, apparently there is a tie-in either comic book or novelization that
• 52:07
  says, essentially, it's some spin-off media anyway, that says that basically
• 52:11
  David does survive this.
• 52:13
  And actually, the lead vampire in the second one was actually groomed by David.
• 52:19
  Yeah, because the second one is Kiefer Sutherland's brother.
• 52:23
  In real life. Yes, that's right. Angus Sutherland. Yes. Terrible.
• 52:28
  We're not plugging that one.
• 52:31
  The third one's not the worst, but yeah. You could have went,
• 52:36
  listen, I'll try to get you a part in 24.
• 52:39
  I'll try to get you in Young Guns 3, but please don't do this fucking movie.
• 52:43
  Don't replace me, please.
• 52:45
  Terrible. Don't worry, Kiefer. No one replaced you, buddy.
• 52:48
  Not even your brother, but the third one's not the worst. Okay,
• 52:53
  we're not talking about those. It's pretty crap as well, but yeah.
• 52:56
  But the whole thing is just wonderful to add when Max is revealed to be the
• 53:02
  head guy, and here comes Grandpa.
• 53:05
  And again, blatantly thrown in our face.
• 53:09
  It's clever because you think he's using all these stakes to make a fencing,
• 53:13
  but then he has all these stakes in the back of the truck. The point ends.
• 53:17
  Pretty much driving off away to go to his date with Mrs.
• 53:20
  Johnson. and we don't see that this is foreshadowing at all it's so well done
• 53:25
  because the grandpa is such aloof but he's the smartest character oh yeah but
• 53:31
  he plays the food and I love when he just crashes into his own house and he
• 53:34
  just you know impales Max and what,
• 53:39
  What a way to end a film where it takes silence.
• 53:43
  He goes up, he goes, grabs, takes a little drink. And he says,
• 53:47
  the one thing about living in Santa Clara, I can never stomach is all the damn vampires.
• 53:54
  He knew all of them.
• 53:56
  And their look on their face is the whole room is only enlightened by the fridge.
• 54:01
  As he says that line, he closes the fridge.
• 54:04
  It's such a nice fade into darkness by him closing the fridge and the look on
• 54:10
  these three faces, the mom Sam and Michael because they realize that he knew
• 54:15
  this whole time and then you go to and it ends with people are strange,
• 54:20
  just fucking the grab was great in it oh yeah, Bernard Hughes but uh,
• 54:26
  yeah great fucking movie.
• 54:30
  Long one I don't care Yeah, it's a classic. It's worth it. Yeah.
• 54:36
  It's everything about it.
• 54:38
  Everything about this film. I can watch it right now.
• 54:41
  The only one that would be ahead of it in terms of fun vampire films for me
• 54:47
  would be Fright Night, but they're both classics to me.
• 54:50
  Fright Night's a great film, but this just...
• 54:52
  Lost Boys got it right. Fright Night has some issues for me.
• 54:55
  We need to get into Fright Nights.
• 54:57
  Definitely. The remake of Fright Night would be up here.
• 55:02
  Because I like the remake better than the original. Right. We'll argue about
• 55:05
  that. I think we've talked about this before, actually.
• 55:07
  We'll definitely have to get to those because we're going to argue.
• 55:11
  But Lost Boys is the best vampire film ever produced.
• 55:18
  Ever. It's up there. It's one of them.
• 55:20
  The other ones on we'll mention is we'll go to From Dusk Till Dawn,
• 55:24
  Fright Night, the remake of Fright Night.
• 55:28
  There's not many out there. You know, it's funny. you see the simple film cost
• 55:31
  $8 million to make, they didn't throw a bunch of visual effects they couldn't
• 55:35
  handle at you they did what they, they worked with what they had to work with,
• 55:38
  and yet fucking 40 years later,
• 55:40
  we get Morbius which, what the fuck,
• 55:43
  the Twilight films, all these they just don't get it but sadly and ironically
• 55:49
  it was the Lost Boys that paved the way for more cool, quirky,
• 55:55
  lovesick teen vampires that we later got in Interview with a Vampire,
• 56:00
  and also The Interview of Vampires Twilight The Interview of Vampire would be
• 56:04
  on my list is pretty cool but it was The Lost Boys that paved the way for sexy
• 56:08
  vampires and Rice and whoever wrote Twilight,
• 56:11
  but there you go yeah listen guys we're going to wrap this one up this was a
• 56:14
  little longer that's on me because I talked for 20 minutes in the beginning
• 56:17
  but you know what it's about the journey people it's about the journey,
• 56:22
  Okay, thank you. It's a part of the journey with us. The one time you never interrupt me.
• 56:26
  The one time you never interrupt me. Fucking hell.
• 56:30
  All right, guys, give us a shout at CitySprame underscore podcast.
• 56:33
  Of course, on Instagram, if you want to give us a shout. And, of course, Facebook.
• 56:37
  The new issue of PhantasmGoria is out today.
• 56:42
  It is available locally in Forbidden Planet and other stores around the U.S. and so forth.
• 56:47
  But mainly all over the world on Amazon.
• 56:51
  It is indeed. It sure is.
• 56:54
  And we'll bring Stephen's in there. Graham Humphrey, Stephen,
• 56:57
  Volk, Simon, Stranthas. So there's a load of big names there.
• 57:03
  You said big names. Were you forgetting?
• 57:05
  I'm sorry. Mr. Shoulderpads in Bassbrook. Right. Rock and roll.
• 57:13
  Crockett's team playing as he walks down the street. I'm walking in the church. Join communion.
• 57:22
  Yeah but yeah check out our podcast on phantasmagoria go for it karen's in both
• 57:28
  but don't let that put you off all right guys take care and next up is the life
• 57:36
  of chuck take care of yourselves.
• 57:41
  Music.