Let's Talk - Movies
Episode 06: Risky Business (1983) - Scene-By-Scene Breakdown
Jason Connell and Bryan Beasley break down the classic movie and talk about visiting Chicago, meeting Rebecca De Mornay, and not having sex on a real train.
Synopsis: A Chicago teenager is looking for fun at home while his parents are away, but the situation quickly gets out of hand.
Director: Paul Brickman
Writer: Paul Brickman
Cinematographer: Bruce Surtees, Reynaldo Villalobos
Cast: Tom Cruise, Rebecca De Mornay, Joe Pantoliano, Bronson Pinchot, Curtis Armstrong
Composer: Tangerine Dream
Original Episode: S01E06
Recorded: 07-27-20
Studio: Just Curious Media
https://www.JustCuriousMedia.com/
Listen:
https://LetsTalkMovies.buzzsprout.com/
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#justcuriousmedia #letstalkmovies #mrjasonconnell #salvadorlosangeles #cinema #classicmovies #movies #moviereviews #film #filmreviews #studios #producers #directors #writers #actors #moviestars #boxoffice #riskybusiness #paulbrickman
Let's Talk - Movies
Episode 06: Risky Business (1983) - Scene-By-Scene Breakdown
Jason Connell and Bryan Beasley break down the classic movie and talk about visiting Chicago, meeting Rebecca De Mornay, and not having sex on a real train.
Synopsis: A Chicago teenager is looking for fun at home while his parents are away, but the situation quickly gets out of hand.
Director: Paul Brickman
Writer: Paul Brickman
Cinematographer: Bruce Surtees, Reynaldo Villalobos
Cast: Tom Cruise, Rebecca De Mornay, Joe Pantoliano, Bronson Pinchot, Curtis Armstrong
Composer: Tangerine Dream
Original Episode: S01E06
Recorded: 07-27-20
Studio: Just Curious Media
https://www.JustCuriousMedia.com/
Listen:
https://LetsTalkMovies.buzzsprout.com/
Watch:
https://www.youtube.com/channel/UCmKGDMnZ6x-ej7LR00QXwiA/
Follow:
https://www.facebook.com/LetsTalkMoviesPodcast/
https://www.instagram.com/LetsTalkMoviesPodcast/
Host:
https://www.instagram.com/MrJasonConnell/
Special Guest:
https://www.instagram.com/BryanBeasleyPhoto/
#justcuriousmedia #letstalkmovies #mrjasonconnell #salvadorlosangeles #cinema #classicmovies #movies #moviereviews #film #filmreviews #studios #producers #directors #writers #actors #moviestars #boxoffice #riskybusiness #paulbrickman
Welcome to Just curious media. This is let's talk movies. And I'm Jason Connell on the show today I'm joined by special guest, Brian Beasley.
Bryan Beasley:Hey, Jason. Glad to be here. My friend like super excited to talk about this film.
Jason Connell:Awesome, man. It's super great to have you We always talk movies, Brian, and what better way to explore a film together than have you on this podcast?
Bryan Beasley:Oh, thanks, man. Yeah, I'm a big fan. So both of the film and the podcast. Let's do it.
Jason Connell:All right, Episode Six. Here we go. And I just want to say quickly that Brian is a fellow filmmaker, documentary filmmaker. We met at one of the festivals my festivals back in the day United Film Festival, played one of your great shorts and we even we made
Bryan Beasley:a movie together.
Jason Connell:Together. I was getting to the big so the drumroll we made a ton the movie Brian, we did
Bryan Beasley:not such a bad guy. Conversations with Dabney Coleman produced by Jason Connell and directed by Brian Beasley. That is correct.
Jason Connell:On prime it is on Amazon Prime, please watch it. I had met Dabney Coleman years prior at the festival and then mentioned I'd like to do a bio doc doc on him. He agreed to greenlight it and I was like, I don't want to direct I haven't directed and so long I much prefer producing it and getting the right director to, you know, helped me along the way and you were the guy and it was a perfect fit. And we did it and I couldn't be more thrilled.
Bryan Beasley:Yeah. It was a wonderful project and it was really great working with you on it, honestly.
Jason Connell:Awesome. And to fellow Oklahomans who knew that's right.
Bryan Beasley:That's right. Tulsa, Oklahoma City represented here. All right, today,
Jason Connell:Brian, we are talking about risky business, the 1983 film written and directed by Paul Brickman. IMDB hazard as a comedy crime drama. I guess there's a little bit of crime in there a little bit. Yeah, you know. And I always do the ratings with all of the films. So unless you want to guess
Bryan Beasley:I'm gonna go hice high sevens. I
Jason Connell:wish high sevens is a good guess should be IMDb is a little tougher. It's 6.8 on IMDb. It's true, which is still good. It's good. It's good. It's a harder curve. It's a much different thing. Now, guess what the Rotten Tomatoes score is?
Bryan Beasley:It will be higher because of the critics. I'm going to say low eights. 92 na 92. Even better, because this is a great movie. And classic film is a great film.
Jason Connell:It was released August 5 1983, which would have put me at the fresh age of 12. Nice. The 12 year old me wasn't going to see this No way wasn't allowed to see theater. So I saw it later on VHS in the eighth. Yeah. How about yours?
Bryan Beasley:I think I would have caught it on HBO. We had HBO was when I was little. I feel like this played quite a bit. Probably I don't know late late 80s When I was old enough to sneak it and it would have been one of those ones. I still would have had a sneak Yes. Yeah.
Jason Connell:Oh yeah. I think one of my friends had it on VHS had rented it was like yeah, it was never going to be allowed my house and no,
Bryan Beasley:I mean, just the just the the poster the cover of the car. Like not allowed.
Jason Connell:Totally. So now the budget for this film $6.2 million.
Bryan Beasley:They did they use every
Jason Connell:penny. It seems like yeah, it seems like it's not a lot of money. But then back in the day, a lot more. But now Brian, just guess what the US Gross was?
Bryan Beasley:Well, you know, this is the movie that launched Tom Cruise. Like there's no top gun without this movie. So I want to say this was a pretty big hit. How much money did it 50 million. How much money did it 63 and a half million? Yeah. 10 times what it cost?
Jason Connell:That is a good ROI. Wow. I'm surprised it wasn't more risky businesses. Like Tom Cruise has so many franchises. Wait,
Bryan Beasley:I'm sure we'll get into this later about the director but I'm sure that had a lot to do with him not wanting to he did not have a very good experience on this apparently
Jason Connell:you're absolutely right with that. I think that had a lot to do with it was probably Bregman probably said over my dead body. Are we doing a sequel to this? But you're absolutely right. And we're gonna get into lots of different things in this film as to what we do on this podcast. And so now let's get into the cast. We kind of already talked about Tom Cruise who plays Joe Goodson or Joel good son. I picked that up too. Really? Yeah, I like that a lot. And of course he was coming off of taps the outsiders filmed in Oklahoma Tulsa Oklahoma to be exact. And there were days where I believe Coppola and his crew came to our restaurant that we own a downtown Tulsa ladle restaurant I was at school but my dad would tell me these tales like Yeah, a couple of them came in here. It's like what are you kidding me? So Tom Cruise was in that he had a bid role that they played to bid of all things and, and then he did all the right moves like the same year this movie launch into stardom and all the right moves comes out and then you're absolutely right Top Gun happens and he's the guy he's looking back megastar. Yeah he goes straight megastar. And that's it and such a megastar that he goes on years later to be nominated for three Oscars. Nominated for six Golden Globes one for this role, by the way, one for this role he says nominated for Risky Business born on Fourth of July A Few Good Men Jerry Maguire Magnolia, The Last Samurai Tropic Thunder, and he has two wins, born a fourth of July and Jerry Maguire. Now I didn't say the movies from the Oscars because they were the same films. A lot of them but yeah, obviously look, I mean, he's in how many franchises? Is he holding up Mission Impossible, or are they going on eight now or something like that? Yeah, it's amazing. And then Jack Reacher's have become a franchise and say what you will about him, but he usually does really good films, and the guy does all of his own stunts now, which is a whole other thing he knows how to make. He knows how to make a movie. Now his leading lady was of course, Rebecca de Mornay. Played Lana. This was her first film and her launching point, but Backdraft The Hand That Rocks the Cradle Wedding Crashers. And Brian, I'll be damned if I didn't meet her at a party in Los Angeles one night, and I was cool as a cucumber. I was like, oh, no, it's nice to me, internally, like they'll 12 year old me was freaking out. And I couldn't wait to text all my friends like you're never gonna believe was chatting with at a party. She was really cool and gracious and a real pro. But it was still one of those moments. And she's
Bryan Beasley:amazing in this movie. Like, I mean, obviously, she's drop dead gorgeous. But she brings like a real depth. And there is a mystery to her character even to the end. Like you just don't really know what she's thinking. And she really brought a sophistication to the role that I think a lot of other actresses may not have brought. She crushed it.
Jason Connell:I totally agree. She probably doesn't get enough credit. She brings like this street smarts to her because she's actually the same age but but she feels like she's a decade old.
Bryan Beasley:Julie does. And in reality, she was only three years older than Tom Cruise. So I could not agree more with you. She feels like she's 30 Because of how sophisticated she comes off within the role.
Jason Connell:Absolutely. Yeah, it's really a dark movie. I mean, she's a you know, a prostitute. I mean it right? They're out of the gate. It's like they're not holding back. This is like
Bryan Beasley:we're dealing with real dark themes. And there's threats of violence against women. And there is this the you know, the director talk, I've read some articles and he talks about like, messing with tones where he would bring these like comedy aspects with the with, with Tom Cruise's buddies, the high school buddies, and just how quickly they get in over their head. It never goes super dark. Like we never feel like Tom Cruise is in any real real danger. It's more still kind of the teen movie danger of his parents are going to catch him by Joey pan. So I guess we can move on to him as the next actor.
Jason Connell:Yeah, I mean, Guido does pull a gun out, but he doesn't really point out he reveals a gun. Right? Right. The threat of the gun is there he is essential. Yes.
Bryan Beasley:Joey pants. Yes. As he's no joy pants. You gotta say.
Jason Connell:Of course. He was in films such as bound the matrix Memento and really great on The Sopranos as well. I might add, he's amazing. And without that guy there, he was the heavy but it didn't really hate him because he was funny and smarmy at the same time. But yet threatening. Yeah, so it was and he wasn't even that much older to be honest. Right? I mean, look, I mean, looking at him, he looks so young to us, but he's got that voice. Yeah, you know, and it just like the casting was spot on. They crushed it. They really did. And that leads me to the next two kind of main ish characters in the film, which is of course Bronson. Pinch out who's amazing as Barry you've ever Beverly Hills Cop True Romance and outdoors palki from perfect strangers. Because of that, he he's amazing at it. And he has like an innocence about him. And you believe that he's in high school, although they've none of them really look like high schoolers other than Tom Cruise, but you go with it. And then I'd be remiss if I didn't mention Curtis Armstrong, who I always loved. Yeah, burger burger from revenge the nerves plays miles. And of course, he was also better off dead One Crazy Summer to John Kuzak films.
Bryan Beasley:He crushed the 80s I mean, he's the cool guy.
Jason Connell:He became cool, sophisticated guy. He's,
Bryan Beasley:he has the line. Sometimes you gotta say what the fuck? Yeah, exactly. Exactly. He's the one who puts everything in motion.
Jason Connell:You're absolutely right. I think I even wrote that in my notes. He does put it in motion. And he was going into Harvard he's got his future lined up he's the smart guy he's got all the answers Yeah, it was it was good to have him and Barry kind of balance out and there's a bit players but that's really that's our cast. His mother and father. We'll get to I kind of get to them in the notes, but But that covers the cast. I like to quickly talk about the crew before we get into the beats of the film, sir. But of course Paul Brickman writer director, he also wrote the bad news bears in breaking training, which is I guess like a secondary sequels one of the sequels. He also wrote deal the century, which was directed by William Friedkin, a comedy that didn't fare so well. No, I saw this movie when it first came out, but it's been so long. And then he also here it's horrible, terrible ratings freakin is not fond of it. And he's a director that he wrote true crime, which is a Clint Eastwood film. He also wrote in direct men don't leave,
Bryan Beasley:but a very different film from a very different. In fact,
Jason Connell:this was kind of Britain's not his personal story, but a story that was so personal to him that he always wanted to tell, like his opus, and he made it and it's like, I'm with you. I would have loved to see more, because anybody could hit these notes. Obviously, he's a very, very talented filmmaker, but it just didn't happen. The things I read were, he was offered a ton of things after the success of this movie and shied away from it all. Yeah, he
Bryan Beasley:he's very open about just not this movie was such a hit. Tom Cruise was becoming such a phenomenon. This, this film really does capture this dark side that we've already talked about, but also this comedy and it mixes them perfectly. I mean, Roger Ebert loved this film, he called it the modern day graduate and 80s. And that's like that. Well said praise. Yes, it is high praise. And he was living in Chicago moved to LA as soon as this movie came out. He didn't meld well with the whole, you know, Hollywood scene. I mean, he was offered Rain Man, he turned it down. He was offered Forrest Gump, he turned it down. And you know what he doesn't, in the interviews that I've read from like the late 2000s, he doesn't seem to have any regrets.
Jason Connell:I don't think he does either. I don't get that. It's just like that could have happened. It could have been that. But some guys, like you said, it was a very tumultuous experience for him. Some people don't want to stay in there and have those battles. He wrote more than he directed. And that was probably easier for
Bryan Beasley:him. And he even mentions about taking it personally when other directors would take his scripts and change them. So when they you know, and I'm sure we'll get to this when we get to the end like they there's a different he has a different Oh, yes, we will definitely get to that. I think I think he I think he wears his bruises very openly. And I think you're right. I just don't think that he wanted to take on these bigger projects like of Rain Man or something like that, knowing that he was gonna have to relinquish control of how he saw the project, ending up on screen.
Jason Connell:Let's just help you still cash in those risky business checks.
Bryan Beasley:I mean, he is from last night when I clicked on it. Exactly. Congrats, and hopefully
Jason Connell:us talking about it more more for Paul Brickman because this is one of my top faves. And I also in your kind of made a note of this a minute ago, which I love that you did, but Britain credited Berto Bertolucci's, the conformist, the 1970 film as a huge influence on the film. He said, I thought, why can't you present that as a film for a youth and aspire to that kind of style and still have the humor in it? That was the test to meld a darker form of filmmaking with humor. Tone is what I wanted to play with. And he achieved that. I mean, he hit his vision dead square, and I always say like a film is, it's not just the director is so many things coming together. I mean, you had Tom Cruise at the right time. As we've talked about, you had Rebecca de Mornay. At the right time, you know, the producers had a big role as well to let him chase his vision because they didn't find him on the alt ending. That was the studio like Steve Tisch was one of the tissues co owner of the New York Giants. He's won two Super Bowls and an Oscar for Forrest Gump. Hey, I wonder if that was the tie in for fallen short. It was I'm sure it was. And then you had John Adnet, another producer who did films like Black Swan and the Mighty Ducks. And of course you had this music mogul behind it as well. David Geffen. This movie has an incredible soundtrack, let alone a score, which I'm sure Geffen helped and helped probably fund this. So he had the right team around him. And then he had a cinematographer. Actually two cinematographers. One was Bruce Surtees, rest in peace. He did films like Dirty Harry escaped from Alcatraz big Wednesday, Beverly Hills Cop. And then he had this other cinematographer, which I don't really know what they both did, but they both worked out. I don't know their relation. Maybe they brought one on later. Not sure. But his name's Well, I don't want to butcher this but it's Ronaldo valla Globus. Okay, and he did films like The China Syndrome, the Running Man, Major League love basketball. So these are two very astute cinematographers. And this film just looks the part bees it just looks incredible.
Bryan Beasley:It's actually very skillfully directed. I do feel that Paul Bergman and who whichever DP was working with they had a they came with a very clear understanding of how they wanted to bring the story across
Jason Connell:and then We have to mention it because they've both been in the trenches in editing films. Richard Chu was the editor who won an Oscar for Star Wars and was nominated for editing One Flew Over the Cuckoo's Nest. So as if the crew wasn't strong enough, you've got this guy assembling the movie, and it is cut so well,
Bryan Beasley:there's no fat, there's no, no, it's just flies by it does. It's a very tight film. Of course,
Jason Connell:as I just mentioned, it's one of the first soundtracks Brian that I recall that was just so impactful. And honestly, to this day, it is my favorite soundtrack because of what Tangerine Dream. Let's say you're be really late. This is how I became a Tangerine Dream fan. But the other tracks include Bob Seger Muddy Waters, Jeff, Franz Collins, you know, and there's even like three other films. I'm sorry, there's only three other songs in the movie, I think the talking heads Bruce Springsteen, but Tangerine Dream, I mean, love on a real train the risky business song unbelievable. And there are four or five other tracks, but to this day, they still work. They it really took the movie, it's hard to know what element took it to that level, but I'm telling you, it had a huge part of it
Bryan Beasley:totally did and there's an aspect of it's, even though it was written in 83, very modern, like you could fall it very easily could have fallen into some weird 80s pop sound. And instead, it's so modern and forward thinking it still works to this day, like the score could be used in a movie today without changing a note and it would not feel dated.
Jason Connell:Absolutely. I remember reading what Steve Tisch said that this is not a teenage movie for teenagers. It's a teenage movie for adults. Yeah. And we saw we were young kids, but even if you had been like 25, or even 35, and his movie came out, it would have resonated with you. Because it wasn't another teen movie. It wasn't it wasn't Porky's, and much like a movie, what we just did on the podcast, the previous episode was Fast Times at Ridgemont High. There's really not that many adults in this film, his parents kind of play such a small role, that the teenagers are kind of left to be adults and figure things out on their own and make mistakes and deal with consequences. And really, that's why this movie is so mature.
Bryan Beasley:Yeah. And they're not they don't mock them. And they are dealing with real world problems of sex. And like we said earlier, prostitution, you know, what's funny is Guido, the, you know, there's the whole aspect of when I was watching, it was like, there's like this ferris bueller thing that I feel that comes out of this, where this is the darker drama, while Ferris Bueller is the light comedy. Yes. I mean, because the parents, the parents are gone. There's the car play. There's the suburbs versus the city of Chicago. And then they both both movies in with a race before the parents come
Jason Connell:here, right. I'm sure John Hughes was influenced by this film
Bryan Beasley:either saw this and was pissed because Ferris Bueller, or he was in Flint. He definitely was influence because there's a lot of little things. Of course, they're very different. Oh, yeah.
Jason Connell:Well, that's like the light version of it. Yeah, that's the comedic version of it and take out the crime and the drama. And then you have it and
Bryan Beasley:in fact, I think one of the IMDB trivia thing said the cameras house is right around the corner. I was about to say that. Yeah. I mean, that's one thing that Chicago which I'm sure he was loved is that it's the tale of two cities, right? The gritty Chicago Crime and then the the suburb aspect of, of these white kids living by the lake, and they're connected by what trains which is a major major prop throughout the film. Well, I
Jason Connell:always say that Chicago is the quintessential Midwestern city because it has those beautiful neighborhoods, trees, luscious, I mean, when I'm there, I have gone by the Home Alone house and those neighborhoods and it's just stunning. You know, thinking back to movies like weird science and breakfast clubs, it candles, all those backdrops and you're right, it's got the beautiful city with the lake and then it has the suburb so I love seeing things shot there. And John Hughes obviously was a mainstay, but so as Paul Brickman Yeah, no, it was their muse. Yeah, it was their muse. Well said. Alright, so without further ado, we're jumping into the movies, the scenes, the beats the whole bit, and just break it down for our audience. And so we opened with Tangerine Dream. The track is called the dream is always the same. And we have shots of Chicago's L train, as you said, which is that main player in this film, its own character. And then this leaves do a teenager angst, dream sequence.
Bryan Beasley:It encompasses the entire film, honestly, it is. I mean, I can remember watching, watching it, you know, probably some in one of the rooms of my parents house very quietly and you're like, oh my god, we're just opening on a shower scene immediately. And he we have this beautiful naked girl and he opens the shower door and he's late for his college board exam. And it There's nothing sexy about it. It's pure dread. And it lays the baseline for who Joel Goodson is that part of him, wants to experience this more adults vices of sex and whatever. And in reality, he's just, he thinks he's gonna fuck up his life because the very next scene is what him playing poker with his buddies and telling them a story about, he could have gotten hooked up with his girl. But they all know that he didn't exactly.
Jason Connell:I think when parents and his parents at that very waspy parents have the one child all the pressure on the world is bestowed upon you.
Bryan Beasley:That is a great point. I hadn't thought about though the single child your total, like all the dreams and hopes are he's carrying on their DNA forever. That's a very, very good point, because he doesn't have an older brother trying to get him in trouble now
Jason Connell:that he feels that angst for I'm not this guy, but I can't mess up. He's playing not to lose. And it's a tough way to go through life.
Bryan Beasley:True. What were your thoughts at that opening scene? Yeah,
Jason Connell:that raised the stakes. I mean, here I am a kid. I'm thinking I've not seen a movie. I don't recall the movie started this way. I mean, they could woman in a movie when you're a teen was just like, whoa, you know? Yeah. And if my parents around that I'm playing it off, and I'm acting like I'm doing other things, because it's embarrassing. But this leads us to this great poker game. I love you look around the table and you see all Milwaukee and Schlitz and I think I saw a tab and an old coke. And they're using terms like whacked off, which is like real, that's a very 80s term. But But you're right. He's telling the story of not the dream, but he had he had a girl he was kind of making the moves on and, you know, he's trying to play it off. And they all see right through him. And you kind of get a sense of who Joel is right there. I mean, right. Friends are, who his friends are. Some of them are more experienced, and it's got a tight group of friends. I like that they play poker and smoke very mature for their age.
Bryan Beasley:Yeah, vices are throughout this film. Yeah. Everyone is either smoking or drinking coffee or drinking a beer. Yeah, totally having sex or having like college students within that, and that's part of the thing. They're pretending to be college. They all think they're smarter than they are right.
Jason Connell:And then miles walks Joel outside, I guess there's saying goodbye. And he drops on him. Sometimes you gotta say, What the fuck make your move on to the movie? Yes, exactly. And your parents are going out of town. These are these are great. This is good writing, Brian, as you said, there's no fat, the fair to set the nuggets out. And we're just knocking them out, your parents are going out of town, good chance for you to, you know, take advantage. Okay, that's in motion. And it boom, I love this cut. Now we see the parents and we have this great little song playing. And they're so classic waspy 80s single child parents and kind of reminds me not as dark in tone, Brian. But I don't know if you've seen the movie ordinary people or seen it recently. It's also got very dark tones because they lost a child and Timothy Hutton is the only child but when that family unit was working like that family looks very similar to this family. You have young Donald Sutherland and Mary Tyler Moore. And it's like, wow, that's, you know, they live in a big house in the suburbs. And they're well to do and that's who these people are. And again, like we've already talked about, Joe has to live up to that. Yeah, you've got to get into the good school, you need the good career, you're gonna marry this type of girl, blah, blah, blah, his whole future has been laid out like a tiger mom and the Asian culture. This is the waspy mom and she's laid it all out the track and the father.
Bryan Beasley:My favorite part about this scene is that it's all through the POV of Joel, the parents pottering directly to camera as if we're the kid. And the reason that is, is because anyone who is in their mid 20s, or 30s, or any adult has had, oh my god, like when he when his dad walks him into the stereo and it goes has someone touched the tuner? And is there too much bass? And I was like, yes, my equalizer equalizer. Yeah, I got in trouble for doing the exact same thing. And there's even these wonderful throwaway lines. It's so well written. He's like, Well, you hear the mother off screen like Did you pack my mace? Yes.
Jason Connell:Did you pack my mace so perfect.
Bryan Beasley:We never know where they're going. I think you may not go into
Jason Connell:Ecuador. They're just gonna go visit their Aunt Millie who threw her hip out like what are they do it but it's
Bryan Beasley:it's so well done. And it's it's and we stay in the POV all the way to the end the drive to the airport and in the airport. And it's can like I said, continually talking directly to us.
Jason Connell:I know that I'm working with a fellow filmmaker because you went right to the POV on my notes. But of course you nailed it. And yeah, he's talking to us. He's talking to the camera. He's talking to the audience. We've all been in that situation. So us as the viewer are just like, Oh yeah, I'm used to this. It was a really smart move. Woof, rather than doing like two cuts or wides and we're going to see it now Tom Cruise it was really smart. I got to just quickly talk about the parents because they also embody these roles so perfectly for the time that they are on screen. You have Janet Carol, rest in peace. We lost her. Unfortunately, she was in Murphy Brown married with children. And Nicholas Pryor. He was the quintessential waspy father from less than zero Beverly Hills. No, no to Oh, no, he played the chancellor. He was also in mortgage stewards coming home he always played this type of guy. And it because it was just so perfect. Yeah,
Bryan Beasley:I really enjoyed the parents are totally right. Again, perfectly cast as as everyone was in this film. And you really get even get to see their relationship. I mean, later on, when Joel has one scene alone with his dad, you kind of like you get you really get to see that his parents love him. You know, I'm saying like they can they can be ball busters in their own right. But you know, they are they're good parents. You know, going back real quick to the to the POV scene to the house. I just thought they were really smart. Again, smart directing smart writing. They land on the egg. Last leg. But yeah, they just phrase there's not in an any lesser movie, there is a monologue from the mom about how that egg was handed down by grandma. And like, This egg is the most priceless thing. They don't even talk about it, they just show it to and if you're not paying attention, when it becomes like a huge thing. You wouldn't even know what they were talking about. But that's when you know, you have a short handed director. We're gonna like, I'm not going to spoon feed my audience. Like, here it is this this thing looks weird. I'm only going to show it to you. And then it's gonna become a major, major thing of the film. I totally
Jason Connell:agree. We've seen the movie 100 times now. So we pick up on it. But that first watch, and I am so glad they didn't break that exposition out. You know, thank you for not doing that. Paul recommend Yes, it was all we needed was enough. We fact, we never learned the history of this and we don't and that's fine. Yeah. You know.
Bryan Beasley:It's, it is it's it's the Holy Grail. That's all we need to know. It's super special to her. And that means the world. Right,
Jason Connell:exactly. And I just want to point out I don't talk about the parents who say they're bad parents. They're raising him with love and discipline. And it's what they know. And they're probably get and they've created a great child, a great kids a great human. So kudos to them. It's just the house that he's under. Yeah, it's
Bryan Beasley:like I think me and you as White Men of a Certain Age like those were my
Jason Connell:parents. Yeah, we can relate totally can relate. Yeah, I also love as we POV all the way to the airport, and this is back pre 911. So he could go all the way to the seeing them off. And then we finally see how many he's got the classic white collar shirt, red sweater, blue jeans and Darksiders. Like that outfit works today, but especially worked in the
Bryan Beasley:80s the young Republican, they're young,
Jason Connell:Republican. And on the way there like you said they're spouting off Sats are being talked about Princeton meeting, emergency funds, your chores used to stationwagon not the Porsche like there's this inundating him with rules. I mean, this is Joe's world, which I just thought was so funny. And then poof, they're gone. No parents, Joel, we've raised you well know good luck. How are you going to handle this situation? We trust you. We trust you use your judgment as she says and I love seeing him as a part. He looks so tiny like a little kid and we're off and running. And so big man in charge Brian his first meal alone. What is Joe make for himself?
Bryan Beasley:It's a TV dinner if
Jason Connell:I recall right and uncooked, frozen which
Bryan Beasley:he never really gets down does he like
Jason Connell:really? figures that out? And then he has a whiskey coke heavy on the whiskey light on the coat.
Bryan Beasley:We're leading into it see my scene, but it's like, it's baby steps. You know? I'm saying yes. Oh, yeah. What like most films would just jump to him with a with a hooker in bed? No, we are taking baby steps. And that's called character development. And it's the reason why this movie works exact.
Jason Connell:It's a strong foundation. So this leads us into you know, I'd probably say if people think about this movie, and they they've lost touch. They haven't seen it a long time. And hopefully this podcast corrects that. And makes you want to watch it again or show it to someone who's never seen it back, Brian. A few years ago, when I was doing my outdoor movie screenings at my house. I played this movie to a bunch of friends. And some of them had never seen it before. And we did trivia before and played it. And even if they had seen it, they hadn't seen it since the 80s. And everybody afterwards was like this movie still works. I had no idea. So you and I are aware of this. If you are our one scene that always stands out is this next scene. It's the scenes iconic it's kind of a throwaway scene to me now but yet it's the baby steps getting him or he needs to go and it is a fun scene and why don't you explain I mean, to our audience what the scene is? Well, it
Bryan Beasley:is it is the star making scene honestly, like Todd, there's, there's no top gun if Tom Cruise doesn't slide into the living room, and his tighty whities, and his pink Oxford buttoned down, like it's the scene that got him on, you know, Good Morning America and all the talk shows when this movie came out, and you're right, it's going back to those baby steps. The first shot of the scene is in going over equalizer and pushing all the dials straight to the top. You know, what's interesting is my wife was watching it with me last night, and she had seen the movie, I guess, you know, but not a long time. And the scene is actually quite short. You know, it really is the scene is so famous that she's watching it and when it's over, because they cut outside and you see him dancing through the window. And she's like, what, why is that even? What's that scene even in the movie, and I had the same discussion we just had to? Well, it's baby steps like him just dancing in his underwear around the house is a big deal for him. But just to talk about the importance of the scene, I can remember watching Saturday Night Live, which would have probably been down here and wrong. Who was
Jason Connell:Ron Reagan? I remember, I remember then they had the silhouette going. Yeah, the White House. Yes. I remember it vividly. I always liked him. And I liked that scene. I'll never forget it. That was a great parody. And you're right. It was huge. But I mean, now watch it to me that scene is it's lost its impact because it worked. He became a stone. Yeah. And now it's like, Okay, here's there's this scene. Yeah, yeah, cuz I've seen it so many times. I'm getting to the, the scenes that I find more engaging as, as an adult.
Bryan Beasley:And I can imagine that the studio, that scene is a teen movie scene. You take it out of the context of what what's happening in the movie. And it's simply, oh, look at this sexy kid dancing around this house and his tighty whities. And they probably promoted the crap out of that just to get people in the seats and it works.
Jason Connell:Oh, yeah. I remember seeing it on TV all the time. He flips the collar. Dent antenna, little Bob Seger is old time rock and roll and I've read that it was fully improvised by Tom Cruise the dancing anyway. And yeah, I mean, it doesn't look like it's that choreographed. But he did a great job. He goes for it. And that is it. Like he's rebelling one beat at a time. I had some Jack and Coke. I had whiskey and coke I had. I mess with the equalizer again. I wonder if he's done this before. Yeah. And
Bryan Beasley:he's playing rock and roll when his dad was listening to it. He was listening to classical music, you know, usual tropes of a teenager. Yeah.
Jason Connell:Which is weird, Brian, because we're probably his dad's age now. 100%. Right, which is just bizarre. And we still relate. Sorry, I had to bring it around. So now we're having lunch with friends. And classic seen here. This to me is very Reaganomics. We're talking about annual salaries, miles, just gotten to Harvard. And I just love this little setup. That's what this whole crew is worried about.
Bryan Beasley:Yeah, you know, yeah. I mean, basically, it's showing these kids like, what their problems are, so that when we introduce Rebecca Domaine and her friends that they live in two completely different worlds. So their problems are very, very different. And so you have to kind of set this up. And it also just kind of shows like when they get into this other world, and they get in over their head, just how naive they really aren't. Yeah.
Jason Connell:I mean, we're dealing with Ivy League schools here, a lot of talk of Harvard, he's meeting with Princeton. So yeah, these are very rich, white people problems, right. Yeah. You know, and so but it's all relative, you know, sure. As a good guy. It's what they're dealing with. It's their problems.
Bryan Beasley:The scene also shows a little bit of like, how Joel is like, Well, don't we want to like do something good in the world or help change the world and or, Oh, man,
Jason Connell:yeah, they're all like shot. All right, yeah. But that segues us into the future enterprisers class, which I love this. I love this whole sequence of that him and Barry are taking this to try to get ahead and of course it fits perfectly with the script. He's a business minded guy. Yep. And so it leads this forward and this quick scene takes us to Joe's house. And they're working on the Do you remember the name of it, Brian with
Bryan Beasley:the memo key? Something about memo? The memo mind memo minder, that's it. This device good name, honestly,
Jason Connell:it beeps if you leave flashes, flashes and then and then it beeps memo memo if you're you know if it's for your dad to refuel you really important. I love it varies broken it down. He's got parts and Joe's gonna do sales and they're having their meeting and then Glenn brings a lady Glenn a fellow friend hears that Joel's parents are gone. And pop spy because Glenn's more of a ladies man Brian. He's not you know, guns experienced. He's experienced. He's got a girl here girl there. And I liked that. his lady friend is wearing basically Joe's outfit. She is you told me to red sweater on.
Bryan Beasley:She's kind of a drogyn and she has she Short hair. I mean, she's super cute, but you're totally right. They're wearing the same clothes. They all look like they walked out of the Vampire Weekend music video.
Jason Connell:J Crew cattle. Yeah. So maybe explain what Glenn what his plan is when he pops by Brian.
Bryan Beasley:Basically he just wants to get laid. Because even the girl when she comes in, she has, we have no place to go. And you can just tell how dejected drill was he's like, You can take my room. Exactly.
Jason Connell:So they're there to hook up. They're using his room and this leads to him and Barry, they gotta get out clear the air. You know, Glenn, Grant twice if you hear us if you lock the door, and that was pretty fun. There's a little humor throughout the film. And that was a funny little little moment. So now Joel, taken another baby step Brian. He's taken out dad's Porsche, even when told not to car, use your mother's car, the station wagon. Now, you may or may not know this bit of trivia, I'm going to put it up here early as opposed to save it for later. So when they get in the car, I love the way they fired up and then the music starts and then the car stalls and the music stops always a nice little touch. But did you know that that was not Bronson pincho in the passenger seat it is Oscar winning actor and wonderful director and talented person in all things is Sean Penn. His co star from taps. Yep, he was coming to set to visit he came to set to visit Tom Cruise. And they kind of joke like hey, yeah, you know, you want you to get in a Porsche with him and so he is in these things that you can't really tell anytime it's a tight shot it Bronson's in the car, but he is in some scenes driving around, which is pretty cool. I really liked this scene as well. I mean, these are two very insecure routines as they're driving around in this amazing vehicle. Way beyond their means. Yep, very chill. Very similar. Neither one of you guys have been laid. Yeah, are very thanks BAFTA and getting fucked are two different things, which is hilarious, right? I'm not sure what he thinks BAFTA is but as they drive by these pretty women at this one st he's like subline breast cellblock brass. These guys, these guys these guys are so cool. And they're driving around it leads to some pretty funny scenes. I guess there's like a racing spirit horse. What are those guys say when they pull up?
Bryan Beasley:They're like, Oh, your call you and daddy's car? Huh? Exactly.
Jason Connell:Punch it like Barry tells him to like hit it. Yeah, these guys are out Joy Ride and you know that's cool.
Bryan Beasley:Yeah. doughnuts in the parking lot backwards. Yeah, they're taking.
Jason Connell:Yeah, I like the scenes and a cut to the Jeff Beck song. And I think it's really artistic. It's all night, you know, nights very cinematic. And there's something really cool about the sequence that I've always liked. This leads us to Myles again, who are a guy that already set things in motion and you gotta push it further. Now he's got to push it just a little further. Joel Goodson is doing yard work. Parents are gone. But yet Joel is doing his chores. And Miles is what's he doing, Brian? What's he talking about? Well,
Bryan Beasley:I mean, I just love it because it cuts right to him. And he's just like, Okay, great. You've done the car thing. Like now you've got that like he's like, this is fantastic. Like my plan is working to perfection now. Let's call a prospect. Wow, what did shirtless just do it?
Jason Connell:Yeah, this is back in the day when classified ads. You know, this is what you would find. I think he says for a good time in your own home called Jackie 5554875. And he calls and I love it. He quickly calls and rattles off Joe's address 345 Remsen Glencoe Illinois hangs up Now Brian I love the fact that he's rattling this off and like most people think it's a crank call but it actually works first of all it's hilarious like he just calls real quick Joel is freaking out when Miles does this and hangs up really quickly but Brian I guess this is pre star 69
Bryan Beasley:Yeah pre everything
Jason Connell:start seaside did not work because you had to call back and cancel by I only thought was on the radar yet
Bryan Beasley:it was either the person was going to show up or they weren't which is you know, it builds in dread as the scene moves on. He's just like if someone made me start knocking on my door Yeah, so
Jason Connell:we don't even know so miles does that and Joel goes back to yard work and I've got to say Tangerine Dream makes watering the plants and taking the trash out looks so cool. And it's just that moment like it has the water coming out of the the hose and is that little Tangerine Dream like that is just just dropping that in and making it more artistic. Such a good choice. And then this leads to
Bryan Beasley:basically he's sitting at his desk doing homework and you see the headlights as the cab pulls into the driveway or the house and it's, you know, the Knock Knock, knock. And then we have a we have a nice African American transvestite there waiting for
Jason Connell:Josh of all like what a smart move to make it that right and the last thing that Joe Goodson wants to say no, because he's got a special vision, you know, he wants the prototypical young white girl but he gets this and who is Jackie, by the way, has shown up and Jackie's played by Bruce young, a phenomenal actor who has great movies like phenomenon and Basic Instinct, and
Bryan Beasley:just kills this role. He really does. It's a small, small role, but it's actually hilarious. It still is
Jason Connell:every moment he has a screen. And I liked that this great tracking shot you see Joe and he's just coming unglued. And it's following him in circles. He's calling miles going miles you got someone's here and Miles is like too cool for school like it's in motion. Hahaha. The Puppet Masters pulling the strings and I like they they're playing cards without Joel this time though. Yeah,
Bryan Beasley:that's his thing. And I don't even know di is that the same group of friends or does Miles's have like different groups of friends?
Jason Connell:I thought I thought I saw some of the guys in the event but who knows he might be playing with the Harvard kids already but he finally opens the door because Jackie's just like open the door Joe I just love the deep voice and he's got this crazy voice anyway. And then he's so cool about it. Yeah, really
Bryan Beasley:is you know,
Jason Connell:I'm sure we could get along real fine. You don't buy RCA if you want to sell it is just like let's just come to an understanding $75 covers my time cab fare. And then he gives him what
Bryan Beasley:lawn is number and he says something he says this is what all the white boys by the lake want cheese? What all the white, which I think might have been the original title of the script. If I'm not mistaken.
Jason Connell:You're exactly right. Because I thought that was so funny. The original title was white boys off the lake
Bryan Beasley:Risky Business is much better. That's one one studio note I agree with Yeah,
Jason Connell:way better call. So he leaves now Joel is having yet another dream sequence sexual. Another minature dream together misfire gone wrong. And this one has tangerine dreams, no future get off the babysitter track, which is on the nose. Because
Bryan Beasley:what happens he's on the babysitter. And everyone comes along with a bullhorn. Get off the babysitter Joel.
Jason Connell:Who is that? It's my father. So Brian, is she babysitting some kids and Joe pops over? Surely this wasn't Joe's babysitter. I know. We don't get contact. I
Bryan Beasley:don't think we do. But I would go with that as a very cliche dream. For
Jason Connell:a up over here. I'll be babysitting Popeye in the aspect of like,
Bryan Beasley:you know, when you're letting a babysit, you might be you might have a crush on your babysitter. You know, I'm saying like, right, there's just I just love that it's the babysitter. But you know, to set the scene he's making out with a girl that all of a sudden the cops show up outside and his parents show up and they're and the negotiator hands them the the bullhorn is there like trying to negotiate him come out with your
Jason Connell:hands up. Get off a baby. Yeah, the father takes the bull horn. Yeah,
Bryan Beasley:it's just another like, you know, hit over the head of like, if you have sex, you will ruin your life.
Jason Connell:But unlike the first dream sequence, where the beautiful naked woman got further away, at least Joel was making out with this very true.
Bryan Beasley:Now it's true is that the girl from the earlier scene when they're in the restaurant? Classmate, I don't know. Oh, I
Jason Connell:said, You know what I love to do my trivia and I don't know who she is. And I will also look that up later. So good point. And like that frustrates him comes out of his dream sequence. It's been overrun by bull horns and getting in trouble. Yeah, kind of a masturbate in privacy. Yeah, he's home alone. That's how it was headed. Yes, exactly. They're not even there. His parents but they're there. And so he revisits the classified ad. This is miles at work that that guy and I liked that he's he's panning down we see things like I do everything. Twins, short arm, submissive, Sarah, ugly, ugly, ugly. swingers hotline, like this is he's just skimming it, marking things out crossing things circle thing.
Bryan Beasley:It's another great device by the director. As he crosses them out in black. It's like you can see in his face, he's like, I'm trying to do this. But no, this one isn't right. No, this is this is. Right. Yeah. And
Jason Connell:then he takes Jackie's advice. And he calls Lana. And this is another great directing note. I would say that he's in his room. He's super nervous. And he puts that catcher's mask down
Bryan Beasley:in the dark cloud is Yeah, brilliant, really is brilliant. It's brilliant,
Jason Connell:like, I'm gonna hide from self. And if you put a mask on, I can't really see Joe's face like that was really good.
Bryan Beasley:And there's an aspect of like the shame, you know, like he's just looking to cover oh
Jason Connell:yeah for himself. He calls himself what Brian can't even write what does he I forgot
Bryan Beasley:Ralph Ralph.
Jason Connell:Yeah, so he's around. Yeah. That was a nod to rough macho from the outside. Maybe maybe never it was tip of the cap there tip of the mask. But yeah, pretty funny. Has the call. Tells the address. I love it. It's so ambiguous. It's like, I'll be there tonight. She's so laissez faire about it. Like, okay, got the address. I'll get there when I get there. And so then we have the music. He's doing like a very, very, very quick shave. I love it. It's like one spot and then includes a shaver.
Bryan Beasley:And then yeah, there's like this wonderful little montage the Berkman is really good at this too, like, you cut outside and you see a bike up against the wall and the wind blows it over. It's you know, it's total foreshadowing that his whole life is about to come crashing down. Because that's really the only thing that we know that he really owns is that bike, you know, he falls asleep on the couch reading architectural. Great, like the most perfect 80s Magazine and he's still dressed, totally dressed
Jason Connell:up. He's got a sweater on. He's like, it looks like he's gonna go out for the night. But he's just having a lady friend over. And we've already had to Javed sequences in this film. So I love how this love making music is really music kind of a dream signals to music video. And I liked that she lets herself in, which is just like a lot of 2020
Bryan Beasley:trying but in the ADC. You can do that. You can do that. You hear that? You hear the door open and she just walks right in walks right
Jason Connell:in the wind, as you said, blows the door open. You have leaves coming in. And then she says to him. Are you ready for me, Ralph? Which is and then of course, tangerine dream's long,
Bryan Beasley:in full force,
Jason Connell:the name of the track is
Bryan Beasley:long it is it is full music video, and it's sexy as hell is what it is. The scene is
Jason Connell:until you lose your virginity this way. You're never gonna forget it. And I like Brian that the night went so late that
Bryan Beasley:the TV broadcasts another you know, another really beautiful directorial move we they're making love in the chairs, the TV is playing the the sign off, and we pan to the right. And we see pictures of Tom Cruise as an adolescent as a child. And his whole life plan is done like it is off the rails now. He grew up, he's a man now
Jason Connell:he grew up and it was bound to happen. But at some point, you got to let them go. You got to let them go from the nest. You know, he's gonna go to college soon. So he needs to this is going to happen sooner or later. It's happening now. Of course some other things happen which make this a movie. And given the movie. It's apt title. Now the next morning Joel is no longer Ralph immediately about his name. Immediately because I
Bryan Beasley:was in my parents house. The whole thing. Yeah,
Jason Connell:exactly. comes clean. He's got to go to high school. This is his house. I mean, come on. And she's no, you know, she's a smart girl. She is sighs this place up then asked for $300. And Joe may have been expecting, you know, you already paid Jackie 75. Maybe we were in that ballpark. But it's 300. And Brian, he didn't have that kind of money. I know he does not. So what does he have to do to get his
Bryan Beasley:beautiful little banter where he's like, I don't have that kind of money. And she's like, well, what are we going to do about this? He's like, maybe I'll owe you. He's like, Oh, I don't think that's gonna work. So he's like, Well, I have a savings bond. And just like when I grew up, my grandparents gave me Savings Bonds too. And so he he leaves her at the house and he goes to the bank. And there's a wonderful scene of like the old guy opening the safety deposit box and you actually get to see the card that his grandparents wrote like, you know, so here's your $500 savings bond, please, you know, use it for your future basically. And he's going to use it. He's gonna use it for his prostitute.
Jason Connell:Well, you know, I gotta say that the bomb could have been upstairs it could have been in his room and he had to go to the bank to cash it anyway. So that was a great call to make it a secure you know, a security box to make him open it and read the car that was like
Bryan Beasley:something special, you know, saying like it was there to help him when he needed it. And there it was.
Jason Connell:So he comes on$300 in his hand to pay lon I guess he's late for school. And not only is Alana got a mouse, but something else is gone. Something I would say that is priceless. And that would be one crystal egg. So immediately the wonderful euphoric feelings of no longer being a virgin are gone. And he's like, What does he know about this girl? Very little bright. Very little indeed. He's panicking. And he goes and recruits miles to help him find lawn and he does talk to Jackie who,
Bryan Beasley:I guess gave him a tip they go to the Drake hotel in
Jason Connell:Chicago. Yeah, by the way, that place is amazing. Beautiful, very iconic, the Drake inch
Bryan Beasley:I guess that's her playground that's where she picks up her John miles finds out
Jason Connell:you can also get a photo or hot chocolate which which will be like eight $8
Bryan Beasley:or $10 complaining that it's crazy expensive. Yeah,
Jason Connell:this is miles his plans got a ride Now Brian he did not know yet. Dragon does this
Bryan Beasley:at times. I have a trig test tomorrow. What do we do?
Jason Connell:So they spotter lon is there. She's working her angle. She's got a client and you kind of hear him talking like you know that's the best thing I got from business school and I love hearing this little banter. And then mile Cesar it is very impressed. Like oh my gosh, that's her. That's Alana. Wow. And then they leave that was the plan
Bryan Beasley:well, she's she looks up at him. And I mean again, she's so good in this Yes. Like she doesn't even look she's just looks at him. But there's also it's like, there's kind of like because he gives him she gives her this like little wave like yeah, here. I see you. I'm on to you. Yeah, and she just walks away with with the client and he's and they're just like miles is like what what do
Jason Connell:i She's She's real worried Joel that we're on to her. But as they as they go out buy the Porsche course they took the Porsche again Londa comes running after him things start to go on motion. She's like this your car they get in. And then they're followed by Joey pan showy pants, glue that glues shows up. And now we know Alana is kind of in danger. She ran off from her PAMP and you don't have a bunch of guys with him. But he does have a gun. He does show us you know, shows Joel and Alana and taps it on the window. And it's threatening and this leads to a good old fashioned 80s car chasing you better does classic one. And I think he's got the upper hand with the Porsche. In our competitive the Lincoln towncar or whatever. Joey pants is cruising around in his car. Yeah, but he's actually been in this situation before unlike Joel and so they're driving around great sequence. You know a lot is kind of getting a kick out of it. Are you comfortable on the situation. But Miles is panicking. Guido's going down like an alley, his car scraping the side sparks are flying. So he's probably getting more and more pissed that he's having to chase this kid and lawn around town, they finally get away and they pull up in front of Joel's house. And one of the great lines of this film are spoken. And it is Porsche. There is no substitute. I'm sure it didn't help Porsche sales because it was so great.
Bryan Beasley:is so good that in the ray-bans That's like the perfect commercials. And again, that goes back to what we're saying earlier about the Ferris Bueller. It's like, you know, when he gets in the Ferrari if you have the means, and I highly suggest you pick one up or whatever you say, well, it's like there's there's these little commercials for the cars very 80s very in wonderful, really well done and Miles
Jason Connell:is now pushed to his absolute limit. He's like, I'm gonna throw up but I don't want to throw up on you, Joel. I put you in motion. But I wasn't supposed to get on this like dark, crazy.
Bryan Beasley:Rabiu even before they go on that adventure when he goes to get them at the record store before they go into back into Chicago. He's like, he's like, Was everything you were saying? Bullshit. He's like, Yeah, it was bullshit. Totally. Why did you
Jason Connell:listen to me? Yeah. In fact, I think Myles is the one that coined the phrase, Guido, the killer pickup. I got a midterm tomorrow and I'm being chased by Guido the killer app. So yeah, it's total bullshit. But now it's the next morning. And the parents call and they kind of relate to Joel. They're coming in Saturday, United flight 160 to 3:30pm. And, Brian, he really needs the memo, minder at this point in time,
Bryan Beasley:jot that down because he should have written it down. He should have read
Jason Connell:it. Read it out. Remember that audience? And so Alana stayed over again. She's heard in this time for free. And she's left Guido. She won't leave. And she looks darn good. And a Princeton sweatshirt.
Bryan Beasley:She shared us which I think is his dad's shirt. Yes. Because I think I read somewhere that the Father had gone to Princeton so she's wearing the dad shirt. And yeah, he basically is like, Alright, I have to go to high school. You have to leave.
Jason Connell:But he still needs to get the egg back. So they agree to let her stay and work together to get the egg back to get her stuff her stuff back. Yes, exactly. She's locked out. And so now Joe goes to school. And Brian, the exterior of the school probably looks familiar, because yes, it was in 16 candles and weird science, is that right? And that was Niles East High School, which has since been torn down. Oh, really. I also love when he runs in school that the hall monitor gives him like no effort, and we're reprising tangerine dreams. The dream is always the same here. Because Joe is living his dream. He comes into class, and it's like what pop quiz time, right? Yep.
Bryan Beasley:Yep, it's the scene from earlier. He had sex and he almost missed the test and he's completely ill prepared.
Jason Connell:Yeah, well, this is not the stakes aren't that high. This is College Board's but it's still his worlds unraveling, if you will.
Bryan Beasley:He's he's continually looking at the clock, which at one point actually takes backwards and he's losing his mind. And at the same time, we keep cutting back to the house and Alana is completely sizing him up. She is looking through all the cabinets. At one point she takes the Porsche out and she goes to the train station again train Exactly. And she brings brings in her girlfriend who is also a call girl. And yeah, she's made herself right at home and the beginnings of what we learned as soon find out of her plan are underway. She
Jason Connell:doesn't just go to the train station. She dresses up in Joe's mother's dress. And the hat looks a little far has doesn't even have to do it. But does it because why not live the life? Why not? Why does she get this she she plays roles in life. This is her job. She's she's jumping in a portion. She has no care in the world, man. That's completely, you know, yeah, it's he's a mark. And, you know, he has reason to be concerned. But he's not even seeing that he's just focused on ache, you know, very short sighted. I like that. There's a scene where he's kind of in his wrestling miles. And so good. It's like that's the scene also in other movies like 16 candles that are scenes are the wrestling. And he's saying, You know who else you tell it? I'll tell anybody. And of course, he's told people because Miles is like, hey, you know, there's this is going on at Joe's house. And not only is he told people, he took Glen to his house after school and beat Joe there somehow because Glen has gone inside and met Vicki. And Joe's like, get out of the house. What's going on here? And he's kind of concerned. I guess he'd hooked up with Alana. But he hadn't. And so yeah, here's our guy, Glenn. Hey, this guy's already been laid twice in this movie. Yes, at Joe's house at his house. Maybe it is room both times for all we know, probably.
Bryan Beasley:But it also is a great it's a great little scene too, because we immediately see that he cares for Alana, even though he wants her out of his house and of his life. When he sees Glenn and he's like, Oh my god, please tell me you didn't sleep with her. He's a little jealous. And you know, she she wouldn't do that to Joel so
Jason Connell:maybe part of it was because there's some emotional connection there. But it's also 100%. But that's like his first hookup and it's gonna be diminished if Glenn also slept with her. Oh, yeah. So it's even though she's a proxy, even though Yeah, exactly. It was it was still hurt. But Joel steps up and just says you know, he kicks him out. He just has too much. This has pushed it too far. Her and Vicki and so you know, he kicks him out. You gotta go I've got I need some normalcy gets back to what Joel does. He's lifting weights on his bed. And and then he hears some commotion outside. But before we get into sorry, one
Bryan Beasley:one wrinkle. When he walks into the house and meets Vicki she tries to hand him let's write some money which is that and she goes what is the house and percent of the house the house the house always gets paid? Which is the whole con Yes. We don't know what at the time but that is what's about to be late.
Jason Connell:Brian and he wouldn't take it. He would not take it
Bryan Beasley:he just wants them out of his house. Take your dresses and get so
Jason Connell:he's lifting weights and there's commotion outside and what what's going on
Bryan Beasley:Greeno has tracked them down and he is there to get Lorna and Vicky and take them home and this
Jason Connell:is when Joel starts to step up. He's no longer this shy boy he stops Quito from going into his house and then it's actually pretty impressive very much because it this guy pulled a gun the night before Joey pants is such a good actor that he's he's threatening but not too threatening because he's funny he's just charming time in your life hon kid you know he knows he size Joel up as well. Here's a kid out of his element rich kid from the burbs lot is taken cover shirt He's not running these girls. So he's not coming too hot at him. But he stood up for himself. Now he gotta go.
Bryan Beasley:And there's, there's another really great directors moment where the girls poke their head out of the second window yelling at Guido and you look over your shoulder and back on the street or three kids like little kids, and they're watching it. And I think there's an aspect of him like, like, I can't let this get out of hand or all the neighbors, you know, I'm saying like, there's appearances within this neighborhood that he has to keep up. But it's such a great little moment, and it's perfect that it's children and not
Jason Connell:adults. It's just enough to know that there's a little bit more tension here and I got to get this thing done. And that
Bryan Beasley:these three characters Guido Vicki, and Alana are in a different world. They're literally in a diff even these
Jason Connell:little kids recognize something's wrong. Yep. Yeah, they don't belong like that. Quito says, in a sluggish economy. Never ever fuck with another man's livelihood. Yeah.
Bryan Beasley:Which is another you know, jab at, you know, the Reagan administration is actually like, while the economy for the white people here in the suburbs, maybe great. The shit that's happening in the inner city is not fantastic. Yeah. So
Jason Connell:he leaves and now Jolanda and Vicki are having another Frozen unfrozen dinner. And which Joel is becoming very accustomed to, in this reality of no parents.
Bryan Beasley:That's that's his go to meal when he has guests here. Everyone gets frozen TV dinner.
Jason Connell:And the plan is like one night, just one night, we'll get things worked out. We're out of here tomorrow. Bada bing bada, you
Bryan Beasley:said it that shortsightedness. Just give me that AIG and we'll make everything right.
Jason Connell:So as Joel is studying, Alana comes in. And she asked what he's doing. And I liked that he says, free enterprise, which is actually the classes future enterprise, but whatever might was a slip of the tongue. It also kind of be the same thing. But I felt like the same class, but whatever. He explains what it is Ilana, which is so you know, I love that he's thinking about business, and the Harry is is about to be thrust upon a whole new business idea, because Alana will be bringing that to the forefront very soon. But she invites him to go to do what Brian What is she invited to go do?
Bryan Beasley:She basically lays very seductively on the bed. And we're like, Joel, do you want to get high with me and Vicki, and then go get my screen. And again, you know, she has a plan. And this is another baby step for Joel now he's using drugs, which, you know, obviously, in parts of the United States still today, marijuana is illegal. And very much so in 1983. So, man, when she lays on that bed, that's a beautiful, like closeup of her kind of laying into the shadow. It's just like, yeah, I want to go use drugs.
Jason Connell:She was very seductive. And she knew how to use it. Yeah.
Bryan Beasley:And you know, he gets up and he says, Yeah, I want to go get some ice cream. He doesn't say I want to use pot. He's like, I want to go get some ice when he stands up. He kind of like walked by her like, like, she's a shark. Like he doesn't want to get too close to her right. As he as he walks, tried his walk out the room.
Jason Connell:This concept of having pseudo girlfriend for a night or two is very new to Joel. I wouldn't say he's even had a serious relationship yet. So it's just like, oh, you know, he's tiptoeing around it. Literally. Ya know, so, and maybe he's been high before, but I love to see him and Barry Hi there so stone. He can't even like eat his ice cream. And it's it Yeah, he's got
Bryan Beasley:ice cream on his nose. And he looked he's completely out of his own
Jason Connell:and I liked it. Various joined him. So very goes off with Vicki on a walk. Yeah, so they're by the lake. They've taken the Porsche out by the lake Michigan, and, and then Joel and Alana talk. And right here, I mean, Ryan, she lays it out. She wants to commingle their friends for profit. And I'll be your girlfriend for a few days. You know, while this is happening? Yep. So she's basically
Bryan Beasley:like, do they all have savings bonds? Yeah.
Jason Connell:And Joel doesn't come from a place of needing money. So this was not on his radar. I need my egg back. And this is kind of a fun experience. But that's it. That's, you know, I'm thinking about my finals and my, you know, future enterprise class and blah, blah, blah, blah, blah.
Bryan Beasley:It's future, I think about my
Jason Connell:future. And
Bryan Beasley:they're both thinking about their future, right? Oh, yeah. She can make bank with if they're very different futures. They're good. They're on different tracks, and the conversation
Jason Connell:continues Brian. Yeah. And basically,
Bryan Beasley:he rejects it. He's like, No, that's not gonna happen. I just need you to give me the egg. And I need to get my life back to normal. And she's so she's so amazing. This far, Rebecca. She gets rejected, and she just kind of goes into herself. And it's not an emotional thing. What's happening is what's my next move? Yeah, because she's smart. She's the smartest person in the film. And that brings them back. She walks back to the car, she opens the door to get her purse and you kind of think she's leaving. And here's the thing, and this could be this is up for debate. I think that she intentionally when she reaches over to get the purse, she puts the car into neutral because it's the Only thing that you can do is if I can somehow hurt this car, I will put him behind the eight ball. Now it is that way. They definitely
Jason Connell:I will own here, Brian. I don't know I never ever ever thought of it that way but yeah,
Bryan Beasley:and they don't play in no way downplay it like she like stops and looks at it she just reached but she's been rejected on the dock her, her whole plan is in jeopardy. And she does the one thing she can do. And that's to hurt the car. So she puts it in neutral and they go around, they sit on the cover on the front of the car and that and they and they start crashing or like how can we not? It's all yes or knows like she's not giving anything she's very guarded. And he's like, Well, if you're gonna be my girlfriend, you know, basically what he's saying is like, if you're supposed to be my girlfriend, how does houses work? When you don't tell anything? You know everything about me?
Jason Connell:It can be more subtle. He was grilling her pretty hard. How come you're not in school? Like really? Like, talking down to her? Yeah, I
Bryan Beasley:know. Yeah. And and at that moment, we find out, you know, on the doctor, we actually do find out that the same age, she says we're the same age. How do how do your friends have this money? My friends don't have this kind of money. You know, when they're back on their car talking and he's grilling her with questions, we really do kind of come to find out that like, she left her home because her stepdad kept hitting on her. I mean, that's most likely code that she was abused. You know, I'm saying that pushed her into the law. But she was smarter and was like, I can use this to get to a better part of my life, you know? Absolutely. And she doesn't feel sorry for herself. But no, she does not feel
Jason Connell:our circumstances. She just says want him to talk down to her is this new for Joe, he's probably never had a conversation like,
Bryan Beasley:Sure. And he's and he's ever talked to a girl like this. So he's always stepping on minefields with her. And again, she is the smartest character so she's laying them down for him to step on. And reacts perfectly. You know, when you're infatuated with someone, by the way he is. He wants to make her she's
Jason Connell:making the best of her life and future lawn or whatever it is. I could see that she comes out of this and she gets ahead in life because she is smart, and business savvy. But I don't believe that she did that intentionally just so the audience may be aware knocks it out of park into neutral as you just said, but all we see is like her grabbing her purse. I don't think it was on purpose. It's very subtle. Either way.
Bryan Beasley:I mean, it's up for debate. It's up for debate. It's
Jason Connell:a really good point. And if we ever don't play it, they don't play it like she's doing it I've ever talked to Paul brick man, I will definitely pose the question, but I don't think it was but as she walks away, and he gets off the car, the car starts to roll because it's on an incline on a little hill and then there's there's a pier but it starts to roll and he runs over to the car door the driver side door and it's locked. So keys are inside. It's locked.
Bryan Beasley:So let's let's talk about that. Yeah, the door was unlocked when she reached into get her purse. So now the doors are so now the doors locked. So I'm finding my that goes towards my theory of her doing an upper bed. It seems
Jason Connell:so malicious. I think it's a movie thing where it's like car door just locked. I don't think a lot of was coming into play there.
Bryan Beasley:It's only lot for one person. And that's still Yeah,
Jason Connell:yeah. And she just closed it. And it is like it locked itself. But whatever is starting to roll and Joel realizes what's happening. It's actually really well done. He's trying to keep it going course, movie magic. It not just rolls down the hill, it rolls on to this old wooden pier, if you will. And not just that Joel is now on top of the hood. And it begging him to stop begging it to stop and it rolls all the way to the edge of the beer and then finally stops at the end. And he's saved and he's saved. But this is an old pier as I just said, and it buckles to the weight of the car. By this time Joel has gotten off and he's kind of like shimmy his way around the car. And you can kind of tell it's no longer this is pre crews doing all of his own stunts. The guy jumps off and the and the thing just goes down
Bryan Beasley:and yeah, and you can't even tell if the Stunt Car like the car is kind of banged up on the
Jason Connell:but still this is the plot has thickened. Yes
Bryan Beasley:Now he's now he's fuck I am trouble. He like Cameron before him or after him. I should say yes, the car is destroyed. And now he has to figure out how to fix it.
Jason Connell:Again. This is good cuts like you hear like Barry and Vicki like Joel. And we are literally at the car shop. And this guy opens the door and water comes gushing out with three fish and they just go swimming upstream. Hopefully they weren't injured and they seem hilarious. They didn't think they open the door at Lake Michigan when I was pulled out. Now let's get back to the shop. And then we'll get all this water out of here. And I like the guy that runs the place. He's like, who's the U boat commander? Great. That's all he says. And that's all he needs to say. Yep. And Joel is is just sitting there dejected, his friends are trying to console him. And he just obviously, Brian, he's not supposed to drive this car, let alone put it in Lake Michigan. Absolutely
Bryan Beasley:not. And Lorna's plan is complete, like if we know he hasn't he has no way out
Jason Connell:because Joel now has a crisis and needs money. And his bonds have a limit. And I don't know it's not gonna cover this can't fix support. No, he doesn't have enough stock. He's gonna try it and to fix this and we will and we are we
Bryan Beasley:learned earlier from the parents that he was not insured on the car. So it's all coming out of his mouth.
Jason Connell:So now Joel is at school, and he's he's late that made his dream is a reality again, he's missing school and he goes in and there's nurse Bullock. Who, Brian, she is so good in this role as this nurse. Oh, excellent. And never says one word. Nope. It's all facial facial and like gives him the bye bye sign and then he just can't take it because she's writing in unexcused. And that's going to make a male fail some tests. It's gonna throw his GPA. Everything's going down from Joel. Yep. So what does he do? It's already bad enough. He's gonna get incomplete on some classes. But he goes further. He puts
Bryan Beasley:her hands on her,
Jason Connell:grabs her lapel, can't grab a teacher can't grab a nurse. And
Bryan Beasley:Todd's can't do it. He gets
Jason Connell:suspended for five days. What's amazing
Bryan Beasley:is he he he tells her the truth. He goes Hold on. Dude came to my house. I think I put my dad's car in Lake Michigan. I have to get it like he doesn't make up lies. He literally tells her what happens. And she thinks he's lying. Because it's so absurd. It's
Jason Connell:so absurd. And his parents, you know, he knows they're gonna find out about this. Yep. This is this can't be swept under the rug. on both accounts. He's dead man walking. You sure. So he goes outside. He is even more distraught than he was at the body shop. And he needs a bike. And I give him a bike because his bike because for whatever reason, and so glad give us give me a bike. So he takes another bike. Give them your your bike. Glen, come on, dude. You've only been laid twice at his house in the last couple of days. Glen, so he gets on the bike, and he just rides like crazy. And we have tangerine dreams. The first time we hear love on a real train the risky business song. And he's gone so fast, Brian, that the next time we see him. He's getting out of a cab. And he's at his house. Where's the bike? What happened to Glenn's bike?
Bryan Beasley:That's so funny. I didn't really put it together that he wasn't on the bike or so he
Jason Connell:gets there he runs and Brian This is a great shot. When he comes in these views of the city in her apartment. They embrace the cameras going around. I think even see Vicki kind of in the back
Bryan Beasley:stops and she's like leaning up against the doorway. It's really well crafted. Yeah, one of
Jason Connell:the cinematographers are both of them. Props to both of you. Now it's a new day and a new plan. And Lana's idea is going into motion,
Bryan Beasley:we slip into the voiceover of them to sitting at her little breakfast nook. Yeah. And he and I think this is a really important line. He talks about her mind. He's like he's he's he's fallen in love with her body. That was easy. He did that is the moment he saw her. But now he's falling in love with her mind. And the way she thinks and the way you know she's crunching through these numbers and he's just like, oh my god, like we can I can fix everything that's wrong in my life if I just stick with her, not knowing that all the problems are because but I thought that was a really well. A really nice touch both in the script and in the direction to be like I really am falling in love with her, which is what's happening. I fall in love with her body and now I'm falling in love with the whole the whole person. Yeah,
Jason Connell:to see her she's she's street smart. She's out there doing it. He's read about it in school and learned about 100 Church enterprises. It's like here does it work? Wow. She's helping him like take huge steps. Like wow, I do know some stuff too. I have talent like he's gaining confidence by just being around Yes, his life is in shambles but you know what he needed to shake the tree a little bit we needed to shake Joel up just a smidge. It's gonna happen sooner or later and yeah, he sees like wow, this deficit is achievable Plus she's wins you know we could all win here and so yeah, what do we got to do so they go out and I liked that they have to go to a rental shop Mr. Rents is the name of it to go bed shopping. You can't just order beds you've got to go there and test the merchandise to make sure their beds you're gonna need for the brothel and
Bryan Beasley:she she tests them out very well. He's looking on the salesman's looking on she's laying on the bed she's giving Tom Cruise the GM Hey, they're looking the salesman's like, like you nudging him with his shoulder like Dude, you're one lucky son of a bitch kid.
Jason Connell:That guy didn't say anything either. That was just a great moment with him. Yeah, he looked apart. He looks at the girl sighs it seems like they're getting there. He gives that great now, you could have done that so many ways like, ma'am, you're not supposed to lay on the beds, but this this movie is so understated. It says so much to the visuals, so they're getting the bads. She knows what they're gonna need. And, and then we cut to another great shot in the movie a shot that I never grow tired of seeing. But it's the endless supply of ladies arriving as a berry answers the door to the classic Muddy Waters track manager. I'm a man which also just like says it all. And then he opens a door and he's trying to close it like berries. So good in that moment, like or girls come in more girl. So many girls have lost count. So now the stage is set. We've got the beds, we got the ladies and then we see Jill go into sales mode. That's right. You know he is now a different guy. He's done the Ray Bans. He's now got this cool energy about him. He's smoking smoking. Like whatever Miles was at earlier in this movie. He's far surpassed that
Bryan Beasley:he is what miles thought he was. Yes,
Jason Connell:he has gone around. He's talking to guys at restaurants land skinny on them. Like I love that whole sequence by the way. Yeah, he basically
Bryan Beasley:breaks it down. He's like, how much you spend on dinner. And what about tip that? What happened? Um, this other guy? Yeah, exactly. He's like, then I got the solution to all your fry. Got
Jason Connell:it? He goes to the gas station. Where are you going? You're going away to school, college girls consensus, man, you need to be experienced, gotta be experienced. And everyone's like, okay, then he two guys are watching. on a TV like outside an electronic store, comes up, puts his arm on them like he is it man. Joel is at a whole new level.
Bryan Beasley:He's basically Dean at the beginning of the film. We see him with the sunglasses on while he's doing your work. And he has turned into the character he always kind of envisions himself to be
Jason Connell:exactly. So now it's party time. And Joe's house is hopping. It is bumping. I love that the whole neighborhood is just full of cars. If they're coming up on mopeds, they're coming in like this town of Glencoe, or Highland Park or wherever it is. These guys need to get laid. They've also bonds and they need to get laid.
Bryan Beasley:Yeah, they have that scene of of them going through the revolving doors into the bank and then coming back. cash in hand. I
Jason Connell:think she even said that your people have a lot of bonds. It's so good. And now we see Miles is more adult than ever. I believe he's smoking a pipe.
Bryan Beasley:Yes, he's got his pipe. And now he's above it. Now he's above
Jason Connell:above it. I don't have to pay for it. I don't you know,
Bryan Beasley:I get it for free. We get to see that he's he's just as insecure as every other character.
Jason Connell:And Joe handles himself perfectly. It's like, you know, whatever you want to do. It's no big deal. Whatever you want to do. That's right,
Bryan Beasley:whatever you want to do, whatever you want to do.
Jason Connell:Well remember that Princeton meeting that his father put in motion? Should have written it down on the memo, mind memo memo. So who shows up? The dean
Bryan Beasley:of admissions for Princeton shows up in his briefcase and his tie and his moustache? Princeton
Jason Connell:colored tie? No last his prints? Oh, that's
Bryan Beasley:right. They're good. Very good. And the look on his face. It's not a vote. It's not voting well as he makes his way through the house for Joel
Jason Connell:and as we've said all along, Brian is casting has been on point. Yeah, Mr. Bill Rutherford is played by Richard Mouser. I've always loved this actor and he was so good films like the thing and license to drive. He's so good. And every scene I've always loved his voice, his demeanor, and he's just kills it and these in these things. He's so believable
Bryan Beasley:as the day's very deadpan and funny.
Jason Connell:They're having this meeting they're going through with this meeting with all this going on. You know, there's got it berries in there berries, the accountant. He's adding the money up. He's got the pencil sharp, and he's like, very cute. We have the room. So they have this like little it looks like like a den. And they're in this little room. And they're gonna meet and a lot of this keeps coming in and out. You know, cuz then she's got beds. Yeah, she's kind of like a roll away bed. Right? Yeah. And this is why
Bryan Beasley:I will say this is like if this movie ever was at one point within the script, a very straightforward, generic 80s movie. This is the scene that survived that draft. You know, I'm saying I'm like, this is I love this scene. I'm not putting it down at all. It definitely works within the movie. But this is this is the generic 80s trope of having a party in my parents house and the guy who's interviewing me for the college shows is not happy. And he doesn't divert from from that raw honestly, like it is it is a silly scene and we know where it's going. And it's funny
Jason Connell:and I love it. He just runs through just Joel's act. academic history and he hits on all these little things. He's done his grade point average. No mention of the wrestling team though, Brian. He was in the JV tennis club and the varsity track, but no mention of wrestling. And then he says, after taking all of it in, well, Joel, your stats are very respectable. You've done some solid work here. But it's not quite Ivy League now is not quite
Bryan Beasley:I've, you know, it's good. And it's where we knew the scene was heading. And what is so wonderful is, you know, like you like you said, she's coming in and out of the room. She's she's just like, she has his his entire life. That's last week, he starts listing off everything, and the camera sticks on crews looking at her and her looking at Joel. And at the very end of it right before he delivers that line, she walks away and behind her is like a picture of like his freshman year. And it's literally is, if you were to ask the kid in the picture, like what's your life going to be like? He would never in a million years envision that he would be in the room with the guy who might get him into Princeton, with his prostitute girlfriend. Like he's so far away from the world that he should be. It's such a wonderful little piece of direction. And then the funniest line, the movie happens, take it away. And then she comes back and goes, how's it going in here, guys? He pulls out his spray bands. He pulls out his cigarette. And he's like, sometimes you just gotta say what the fuck? And make your move and of course Llano not missing a beat walks in. How's it going in here guys? A stands up with the legendary Tom Cruise smile. Says looks like it's the University of Illinois. And then they just
Jason Connell:hold on. Like he takes Yeah, yeah, he
Bryan Beasley:does like this like head turn. And it's literally every scene of him getting out of a jet and Top Gun is that face you know, I'm saying like, it is the face that like his carried him
Jason Connell:has on Tony Scott said That's my guy. 100% It's my guy back to real quickly. Mallanna was watching him, you could tell that she had a lot of respect for him as well and his own world that he had achieved, you know that she didn't take that route. And although it may not have been Ivy League, Bill Rutherford minute that he did some good work because yeah, Joe, you know, he's in the 80 percentile. And yeah, you know, he's doing stuff he's gonna get to a university, if even if it's this University of Illinois,
Bryan Beasley:within both of their worlds, they have achieved a lot, you know, going different directions, but they definitely have achieved a lot.
Jason Connell:Absolutely. And he's cool with it. And now Hey, I try. I gave Princeton a shot wasn't meant to be, even if this wasn't going on. And it wasn't the one night in my life that this house is a brothel. Princeton interview would have gone the same. Yeah, so
Bryan Beasley:it would have gone it probably would have gone worse, it probably would have gone worse because he would have been so uptight about it, and trying to impress him. And in reality, he's almost as cool as a
Jason Connell:cucumber. Yeah, even when they started the conversation. Yeah, the meeting, there's knocks at the window. Hey, he's from Skokie. He's gotta be home. Can you get a man? He's like, Yeah.
Bryan Beasley:Gotta be home. It's so good. Now
Jason Connell:Joel has resigned to play with his trainset. It's later in the evening. And I always see this movie. And I think it's the attic. But I guess it could be the basement. Whatever it is. There's also like a pool table in the background. Yeah, you hear you heard pool pool is an old rocking horse. And so Joe always had nice toys, but and Lata comes in to kind of cheer him up. And I like the train set. You know, I've never had one. I think it's very cinematic. And as you said earlier, and we both talked about trains have a lot to do in this movie. They're constantly taking us places. And obviously, it's leading us to something the movie started on the train Tangerine Dream wrote song about it. But it's also very controlled environment. And he's sitting there just controlling the thing. He's making the dog go back and forth the person and you know, he's controlling this because right now his life is out of control. And you know, and maybe just maybe he's making enough money to solve one of his big problems. But yeah, he's just kind of in his own world. I mean, this is the Knight of knights. He's the King of kings and lion comes in to cheer him up, which is really nice and thoughtful. And they really have a nice, they have great chemistry, which we haven't really talked about too much, but they really do. I mean, this
Bryan Beasley:thing is the crux of the movie, quite honestly, it's the you know, the train motif. Like, you know, we've mentioned these two characters coming from very different worlds. The only thing that connects these two worlds in the real world is the trains. And there he is playing with was was probably his dad's trains. I think so totally. And, you know, he's playing adult, right. He's pleased this whole time he's playing adult. He immediately is starting to regret maybe an opportunity Need to get into prints and that he just threw away. And she comes in and Joel has, you know, always been somewhat of an open book. So she it's the first time she shows her this, you know, and he asked her point blank, are you my girlfriend? Yes, no, or maybe. And what she does what she does so well, she returns the dialog right back at him. And she says yes. And you're like, and the way she says it, you're like, This is amazing. And then she goes, No, maybe. And she goes over and they start making out and she's literally like, well, then he
Jason Connell:hears dad, Joel. Cuz he's on the phone.
Bryan Beasley:He's on the phone. Yeah, it's so it's
Jason Connell:a great sequence on your right, because we want to see her be Joel's girlfriend. You want to see her change? You know? Because by the way, we should also tell anyone who has not seen this movie and you should see this movie before you listen to this podcast. But Laura was not one of the call girls that night. She was working in our booth. That's right. Bottom of the house, she's not one of them. I mean, Vicki is probably working because we know her a little bit. Sure. But yeah, not her. She's just she's really exclusive with Joel Joel, since she has met him.
Bryan Beasley:And you know, while he's talking to his parents, who are wearing a tuxedo and even gowns, in their hotel, back, wherever, wherever they are. You know, she's whispering in his ear. Have you ever made love on a train? She's putting herself out there with him. Like, this is something I've always wanted to do with someone special and you are that special guy. I want to make love to you on a train. And again, it's crossing all the worlds the parents being on the phone is a brilliant readonly move and a mom getting you know, he's the dads concerned that there's a party and the mom gets on there. The phones, like let me handle this and is like, just use your best judgment. Just use your best
Jason Connell:judgment. What is death? Like? I don't remember giving permission for a party drill. You know, middle of the day? No at all. Also, Brian, just to bring it back to reality. Surely, a neighbor at some point in time, is gonna say to Mr. Mrs. Goodson, why they that was one big party, you guys are back and you know, blah, blah, blah. Like they have no idea that there's hundreds of kids coming, but I'm sure at some point in time, they'll know but it'd be too late. Anyway, it is beautiful. The way it's handled and crafted. And that leads to the party is over and the girls are exhausted. I like that shot. I like three of them just kind of zonked out on each other. And Joelle Alana head out, they first go to banquet on a bun. I guess it's like a fancy hotdog place looks kind of cool. Yes. And then they go to the L train with the iconic Phil Collins track in the air tonight playing you bet. You bet. And so they're on the train and slowly but surely, as they sit there looking at each other waiting with this, this song is one of the greatest songs of all time, first of all, and definitely cinematic is anything so great on Miami Vice, so great on this. It was also great in the hangover. The song is amazing. And so people are slowly exiting the train. And then there's one last person on the train.
Bryan Beasley:And he knows what's up. Yeah, he
Jason Connell:know he ain't leave and he's got a front row seat. He's not going anywhere. And so Joe has to help him off the train. And the music fades out and then comes tangerines dreams Opus love on a real train. Risky Business. Yep. And that sets up what happens and if we if we thought their first sex scene was a music radio, well, then this is a whole other Yeah, this is almost a dream sequence. Cray did these in a way they're very dreamy and, and very surreal. And just, I don't even know it's an incredible sequence and seductive.
Bryan Beasley:It's the crescendo of the film. I mean, it's the two worlds completely colliding. And they're, you know, they're on the same they're on the same level, you know, and in the first time in the hole in the film, they're on the same level. They respect each other and you know, you can even dare to say that they're in love with each other in that moment. Yeah,
Jason Connell:I even read that Bregman had initially done this where it is more of a dream and the train is flying in the air and they tried Oh, really wasn't working. And I'm glad whatever was going on, they peel that back because this is says it all.
Bryan Beasley:Yeah, it's a music video without these music videos. Yeah. But you know, a flying train. I don't think that works. Now. We cut
Jason Connell:to Joel driving the Porsche home at two miles an hour. He's picked it up. He's got
Bryan Beasley:it's perfect. And right when he pulls out he wants to get hit by
Jason Connell:areas that he's going so slowly. He's got the hazards on kids or passing him on bikes. Bikes. Yep. Yeah, it's really great. Makes it home. And I love when he comes in his house, Brian, I love it. He's whistle lame in the air tonight.
Bryan Beasley:Yes, it is very meta, honestly. Right? very
Jason Connell:meta. And he's got money in his hands because he's just, he's paid for the car. All's good. All's right? I'm a winner. I got a girlfriend. But Brian, what is revealed?
Bryan Beasley:Guido raises his ugly little head again and Joelle is completely fucked because the entire house, he thinks his egg is missing. Now the entire interior of the house is gone.
Jason Connell:Unbelievable. It's all gone on believable. Like I remember seeing this for the first time and just I was in disbelief. Like, how do you even do that? Yeah, Guido came in with without the help of Vicki or anybody else, I don't know. And put everything in a moving van, like a Ryder truck and held it hostage. Yeah, and drove all the way back to the city. Because Joel starts calling him panicking. And
Bryan Beasley:when he calls he calls llamas apartment and he picks up
Jason Connell:and of course they get into it. And he's starts to cast that name and Iquitos got the upper hand and he doesn't
Bryan Beasley:take it. He holds all the cards. And it's a really funny scene because every time Joel gets upset, he just hangs up on him. And there's nothing he can do. Like there's nothing he can
Jason Connell:do. The stakes are also raised again, you know, the tension, if you will, is because the parents are getting back this day.
Bryan Beasley:Because it cuts to the airport. And they're they're curbside her waiting for Joel to pick them up.
Jason Connell:I suppose. He knows I get it at 330. And it's already 415.
Bryan Beasley:So there's some talk about this online that I guess like he every time he talks about his parents giving back. He says Sunday. Yeah. But when they actually call, they tell him that. He will Saturday he is taken off guard like I mean, it is like, but does he know that they're coming back? I mean, I guess it's he does.
Jason Connell:No, no, no, I think that. So here's what happened. She said Saturday on that first call. After that, on that one phone call where she gets muffled. And they're starting to make out we don't get back into it. We don't talk about this again until they show up. And when they show up and they get to the house. They start talking about the date. They no longer say Friday or Saturday, Sunday, they start saying sixth and fifth, fifth and seventh. So I don't think he I think he knew they were coming home. He wouldn't have been rushing like that. That's very good point. Yeah. So he's, he's mad Dan knows they're coming. And he jumps in the seat. You know, just like that scene and weird science. When the house gets put back together. At the end. The parents walk in that last thing slides up. He jumps in the seat. It's like, oh, hey, guys. He knew they were coming home on Saturday. The fifth? Not Sunday, the sixth. But it was smart in his mind to display it that way. That's how I see it. I think you're right. So everything's gone. And this whole sequence is just hilarious. Yeah, I know it's a bit farcical and over the top of the movie, you know, you got to kind of sum this up somehow.
Bryan Beasley:Well, you basically backs up that Ryder truck like you said, and he's sitting on the gate on the back in a chair and Vicki is bringing every item to the front and and all that money that he earned the night before he has to buy back everything from the house and it's a it's a constant negotiation of like, oh you like music and there's his dad stereo and the the infamous equalizer you know knows
Jason Connell:what he may but he pocketed because he also knows the girls got pay. He didn't take the girls money back. No, he's taking houses money minus the car, which should have been his my arrow kind of reminded me Brian of the old wheel of fortune when they had to buy price. Yes. It's very often I'll take the ceramic dog for $200. And I'll take the Yeah, he'll take everything and it just adds another moment of stall tactics. tension building.
Bryan Beasley:Yep. Because the parents are getting in a cab. They're coming
Jason Connell:out. Yeah, they're in a cab. And I like how just annoy they are like the dads are saying, oh,
Bryan Beasley:there's so annoyed. They're not even worried that their son didn't pick him up from the airport. Like he may be hurt.
Jason Connell:No, he ought Joe obviously messed up a single child. They never could blame anything on anyone else. That's true. Well, you said that earlier. But it's true. And it's like, they're always there. They're always the whipping boy, you know, shows therefore he could have been hijacked. But no, Joel is messed up. Joel has made a mistake. So this leads to this infamous crystal
Bryan Beasley:this way, the last item on the truck. And so what occurs here, you know, basically Greedo is that you know, Vicki Vicki's the one bringing all this up the front. She's like, Oh, we've got this one last thing. A pull up the egg, the thing that he's been chasing the entire time, and he's only got 50 bucks. And he goes, he is I can't let it go for that. Joel So how about I get he goes 340 Because I know he goes you'll owe me 300 Alright, here's how about you owe me 300, which is, if you remember, he never actually paid Lorna, the 300 in the beginning because she left the house when he goes to do the bonds. Right. Okay, so, so Guido is getting his 300 Like he's getting like it all goes back to back and Joel is getting the
Jason Connell:the egg back this whole time. That's correct was never Brian back.
Bryan Beasley:Going back to what I was talking about earlier about Vicki being in the background, there's this wonderful shot, they're standing outside the truck negotiating, she's holding the bag and she she's up in the truck and she like, kneels down and she's perfectly between them. And it's kind of like a you know, they're negotiating over the egg. But in reality, they're negotiating over sex. I mean, this is what the whole movie has been about. And there she is. The prostitute with the egg. You get to keep your world like I will give you Vicki, just give me the egg back and I will keep my world and you can keep yours. And she and they come to this deal. And then she tosses it like a goddamn football across. Yes, she does her
Jason Connell:events down like flings it and I have all things to do. I mean, yes, why do that Vicki's cool, but it just adds to the scene. Oh, it's the drama. No, he's running. He's jumping over furniture. Stepping on the piano. He's going he's pulling out some all the right moves here. Brian, he really is a good point. Yeah, he really he was a linebacker in that movie. But still he's showing us his football IQ and he makes a miraculous very Julian Edelman type catch because he's a short white guy. Good job. But he catches it and it doesn't even know what's out west. Welcome
Bryan Beasley:as welcome another Oklahoma Texas checker.
Jason Connell:That's right. I love how Guido calls it the artsy fartsy thing. That's it.
Bryan Beasley:I can't let the artsy fartsy thing go for
Jason Connell:you go for it. Okay, so I love that. And I also like actually makes the catch. Guido's sitting on a chair in the back of the Ryder transit drives away with a beer and driving away now Surely he's not going to stay there. But what a great effect that is. Just to leave just to drive a little bit out of frame was amazing.
Bryan Beasley:Yeah, and yeah, he you hear the crack of the of the banner. And you and you know there's that's a whole running thing throughout this you people you're they're smoking every time she launched she's got a couple she's got like a coffee cup winner is constantly drinking coffee. All the outside characters ever drill are constantly doing some kind of vise Yeah. Yeah, as he drives away, he cracked. It's like Miller time for him. Yeah. And he got every cent that Joel had. He owes him 300 bucks.
Jason Connell:Yeah. So he's, you know, he has a parting wave and some advice and they're out. And Joel is in full panic mode berries. They're another friend that was at the original diner scene is helping. And they're putting everything inside and going very quick. And I like that berry even takes a moment. Like he kind of wants to redirect the knickknacks or the wrong century, I wouldn't know it has to be the way it is. It can't be the way you want it. And then of course, like all teen movies, the parents arrive and we already talked about, he jumps over the little loveseat or whatever. Sure. And he's just made it he's just pulled it off. Or has he or has he and the mom comes in and you know once he explains things and you know Hey, to get there go out with the luggage. Okay, great. The mom Of course, she goes in Brian and what is the first thing that she does, she turns
Bryan Beasley:on the light underneath the Crystal Lake. And now I am so disappointed in usual
Jason Connell:immediately. Like this meticulous household and she spots this crack this little crack that could be microscopic and she's gonna spot we don't even see it. She never she checks this chrysalis every day, she finds such great joy in it. And of course, there's a crack and he she knows that Joe had company.
Bryan Beasley:How could this have happened? I don't know if it's you keep saying how could this I mean that AIG was it long as
Jason Connell:for a week and then I didn't catch it a
Bryan Beasley:little do they know how the adventures of the A he's just thinking you're
Jason Connell:lucky that eggs even there. But Joe will pay for it? You know, this is? Yeah, this is a single child getting in trouble. It's already been decided. There's even
Bryan Beasley:a nice little moment with the Father. As she walks up. The mom walks up the stairs. Should be okay. Yeah, sure. Yeah, he kind of kind of like listen to me, she'll be okay. You'll just have to beef up your lawn work, which basically means I'm just gonna go fucking buy another one of these stupid eggs and we'll just we'll figure it out. Don't worry about it. So Joe
Jason Connell:goes back to doing yard work. But this time, he has a little bit more swagger to him. And what happens
Bryan Beasley:is dad comes out and he think he's about to get in trouble that the cats on well because he also smoked a cigarette. Oh yeah, he lights up. Yeah. He's got the he's got the ray bands on as the leaves blow a really nice cinematic shot as a ditz as we crossed the lawn towards him first close up. And, you know he like he said he's got he's got he's got a swagger like he is. He's the man any and he's pulled it off like cracker no crack, he honestly has pulled it off like he is. He's a completely different person than he was at the beginning of this movie. And as he's putting all the yard tools away, he closes the shed. And there's his dad standing there with this kind of like, he can't really tell if he's upset or if he's happy or what's going on. That
Jason Connell:was a great reveal. By the way,
Bryan Beasley:it really was a good reveal. And it's you know, it's like a scare attack. It's like a horror movie. It's like, oh, shit, he hasn't gotten away with it. And he basically Is there something you should tell me son, you know, that dreaded? Like, it's like, no, I don't think so dad, I was old
Jason Connell:Joel creeping back in there to
Bryan Beasley:kind of was and then you know, we get another one of these amazing lines where it's like, I just got off the phone with the Dean of Admissions. And he said, Princeton can use a guy like Joel. And you know, you see Joe's face and he's just like, why it's yeah, like, had what? Course you know, the audience can fill in the blanks that, you know, the dean of admissions had a really, really good time at that party. And his dad goes in for the hug. And Joel is completely shocked that, you know, no matter you know what road he took, he ended up achieving all of his goals.
Jason Connell:I love it. His dad also said, haven't been telling you every once in a while, you've got to say what the heck and take slash asses. Yeah, his dad's version was a little bit more PG but cleaners but
Bryan Beasley:but it's a wonderful I mean, this is like the second second to last scene in the film and it's a wonderful callback and it really is it's it's a nice father son moment. And it's true like like a Wii once you hear the Father say that to him. You're like, everyone in his life had been telling him that he needed to kind of go he needed to have this transition you know just transformation and he did
Jason Connell:it did it and he's made his daddy's For it is better for is a better man is more prepared, well prepared for the world. And you can see the bond between them is strong. And his mother too. Yeah, she's upset right now and rightfully so. But, but yeah, they love him and they love his achievements. And, and he did it. He achieved the impossible had he not grown and done this. He wasn't getting into Princeton. He was not getting it was not and his dad would have been like, you know what, okay, he didn't live up to the legacy. It's okay. Joe's a great kid. But now he did and his dad's more proud of him than we'll ever know. That hug that long hug says it all. It really does. Now, this is the last and the movie in the highly debated scene with Paul Brickman. But we have Joel and Alana again. And I and I like this same. But it is the next sequence. It's this is kind of a two parter. So Joel and lon are meeting for lunch. And like Moore's adults, Brian, I mean,
Bryan Beasley:100% their contemporaries in the new world, right? Because the you see two other tables, and what are those two other tables business business, there's all these older white gentleman doing business. And the two of them are sitting down, and they're talking through their business.
Jason Connell:And so they're catching up. And this is before he's gonna go off to school. And by the way, let's just set the stage, it's a really nice place, you don't really get a sense of how beautiful it is. Because in the ending that was cut by Paul Bergman's initial ending showed the beautiful shot of the lake and how picturesque it was, but and this ending that's omitted, you just know that they're catching up, they're talking,
Bryan Beasley:and they're talking about their future. I'm talking about where do you think we'll be in 10 years? And and they both kind of are like, Yeah, I think, you know, she says, I think we're gonna be really good. We're gonna make it. You know, he turns the table a little bit and he basically just come flat out acid was this whole thing a setup? Yeah. And, you know, she, she does what she does so wonderfully, where every time he tries to push too, too far, she kind of leans back and just looks out that window. Yeah. And then they start cutting in the future enterprises, you know, the students getting up there and talking about how much money their products made. And it's when it's a wonderfully cut. It's cut between the scene of the restaurant and then going to this kind of like mythical club where everyone's kind of bragging about how their products made so much money.
Jason Connell:What's the real club? That was where he would belong to that?
Bryan Beasley:No, it's a real club, but I don't know if you know that scene seems to be in Joel's head.
Jason Connell:alunos of him and Barry even succeeded at Menlo minder.
Bryan Beasley:Sure. You know, I
Jason Connell:think he actually like that one girl. I made this much everyone's kind of recapping what they made with a shirt they made, how much they made. I think that really happened. It's in his head. And then they're walking through the park. It looks like the same park in which the Porsche goes in Lake Michigan. And they're kind of strolling, and they're being very playful about hanging out that night. But then the VO comes on says my name is Joel It's an ideal on human fulfillment, I grossed over$8,000 in one night, time of your life, how kid?
Bryan Beasley:I mean, your life says it all. It really does. And right before they can, that's when it gets applied. But right before that in the park as they're walking, they repeat the dialogue, negotiating. He's like, and she, but she's the one I only have $50. Like, what are we gonna do about this? And she's like, can I write you a check? And you know, it's kind of showing how the tables are turned. And that's, that is the ending that was forced upon Berkman, to you know, it's kind of a happy ending, because you think, Oh, they actually aren't together. But in the, you know, in the alt ending, it never leaves that restaurant is he powerplays, or like he tells her to come here? And she gets up and sits in the chair next time? And she's like, No, come here. And she like, goes and sits in his lap. And it's very ambiguous. And you're, you think that obviously, they're together. But are they really together? And they never answer the question. If this whole thing was just a con, like it read that even in the Hollywood ending is still kind of ambiguous, you really just don't know.
Jason Connell:You're absolutely right now and in the end that was cut. That's when you pull back and get a high shot of Emma. She's sitting in his lap, and they're embrace Yeah. And again, so you don't get this park sequence. Now. All we've ever known Brian is lovers of this film, as the ending is ending, as we know, and I have no problem at all. With the ending, I see that I
Bryan Beasley:don't see that in me.
Jason Connell:I see them as adults, I've seen that they've grown. I see that they have a respect for each other, but no way, shape or form that I ever think they were going to be together.
Bryan Beasley:Yeah, I agree. I totally agree with you, Jason. I feel like while it may be a little bit more ambiguous with, you know, the restaurant scene with her sitting in the lap, the park scene, doesn't it? It's not like they're holding Hale and or getting married. Like, while it may be a little more romantic comedy, it's still ambiguous. They still come from very different worlds. And once he goes on,
Jason Connell:he's gone to school and she's, she's learned a lot and she she probably has already changed. I can see her you know, maybe she's still an escort or you know, doing jobs but selectively and fight looking for her out. That's what I see. And, and they're playful. They're and that's how they started their report. Yeah.
Bryan Beasley:So it's a call back to the beginning of the match the scene with a father before it does this. So I liked it. I think I did, too.
Jason Connell:I like he probably didn't like it as much, but it's still a pretty damn good ending.
Bryan Beasley:It's, you know, it's not as far off base, as you would think when you when you hear that there's an alternate ending. I watched it on YouTube last time, I was like, Oh, that's really not much different. I
Jason Connell:was the VO and the, it was the VO and
Bryan Beasley:yeah, so the VO vo that you that you read happens when she's sitting in. That's right. That's right, it cuts to that wide shot. And you know, again, in the alternate ending in that wide shot, you see the beautiful Lake Michigan, it's and it's it's the beauty of downtown Chicago, you know, it's not doesn't always have to be as grimy because they've come to this ivory tower. But what's so great is, again, you look at the two tables that their book and it's too old white men on either side having business meetings, and here's this kid with his hot prostitutes sitting in his lap. They're still not, they're not adults yet, you know, saying there's still, you know, and I'm sure that's part of it that doesn't come out in that park walking scene in the original ending, but it's not lost on you know, it's not that far. Like I said, it's not that far off base, and it's still a great movie. And
Jason Connell:if you ever revisited made a sequel, you can see what happened and I'm in life but no way. What I ever say. Yeah, Joe Alana got married. No, Joe went off to Princeton, and probably met someone and Alana is probably thriving running businesses and have a family of our own. That's it. I truly believe they came together. They became better, because they met and they learn from each other. And they went on and had better lives. I mean, this is such a powerful film. We're still talking about a movie from 1983, almost 30 yesterday, and it still works. You know, it's like a great book. Yeah, picking up a classic. I mean, this is a modern day classic for us. But yeah,
Bryan Beasley:I mean, it's like, it's like every movie, you're gonna do a podcast about like, it took an amazing a lot of talented people had to come together to make to make it and I mean, if you look at the code of the poster, you're like, Oh, it's just another young tech. Exactly. It's not what it is. That's not what it is. It is a serious coming of age. It is. It's an 80s version of the graduate, and it's really well done.
Jason Connell:And that's what I like about movies in general, because they are really capturing an era that we'll never see. So to go back and visit this part of 80s the economic landscape with Reagan and yeah, it's just it's amazing just to go put myself in that for an hour and a half and visit it and listen to this day. I still play the soundtrack. And typically now I just play the Tangerine Dream songs and on YouTube. There's even a couple of people have posted tracks it didn't even make it on the soundtrack that are in the movie like the watering the lawn never made it on the soundtrack, but that isn't Our Tangerine Dream Track online, good for creative times when you're looking to go deep into things. So that is it into the trivia very quick, and we'll wrap it up. We've already given one of these away we already talked about my first trivia Which was, the film was originally called white boys out the lake Paul Bregman changed it because the studio said, it sounded like an Off Broadway play.
Bryan Beasley:Yeah, and it does like guys, like
Jason Connell:Nana, it's hilarious. I
Bryan Beasley:mean, I don't even know what that means. I mean, I do know what it means but it's not a good title. That's not a good
Jason Connell:time. I'm always interested to see who could have been in a role I know who passed on it. So Timothy Hutton and Rob Lowe both turned down the role of Joe really,
Bryan Beasley:and and Rob Lowe is an outsider's as an outsider so Tom Cruise had connections Ebola, they both
Jason Connell:could have done it. You know, they have the look. They have the chops, but again, I think Cruise was perfect. Now. Here's what here's others. John cusecs, Nicolas Cage, Michael J. Fox, Tom Hanks and Sean Penn all auditioned for the role. Hmm.
Bryan Beasley:I mean, Sean Penn would have crushed it as well. Tom Hanks, I think it would have been more funny. Like, I mean, he just would have brought a much more funny energy to them like who says who second Fox, but Nicolas Cage would have brought something Oh, he laughed. He would have made up a weird voice. This isn't crazy. Nicolas Cage. This is like Moonstruck Nicolas Cage, you know, like, he would have brought something very dated
Jason Connell:on like a voice like and Peggy Sue Got Married, he would have done something like really high pitch thing. Now Brian backer from Fast Times at Ridgemont High he played Mark rat Ratner. He was actually cast and then replaced Oh, really? So there he went to that stage. Hmm.
Bryan Beasley:So when this when this hit and Tom Cruise became a movie star, he must have been like mother. Yeah.
Jason Connell:It's Tom Cruise. is
Bryan Beasley:sure but you're always like, that was my part and I lost it.
Jason Connell:Sure. Sure. Because I can't name another movie that back. Who was it? Who was fantastic?
Bryan Beasley:Yes, I mean, at least Eric Stoltz rebounded from not being in Back to the Future. That's a tough that's a tough one. Although he also
Jason Connell:wasn't pastimes. But that's a whole other.
Bryan Beasley:Yes, he was all connected by all come. They all come from fast. And so
Jason Connell:next Brooke Shields and Kim Basinger. Both turned down the role of Lana,
Bryan Beasley:which is surprising because Kim Basinger wouldn't have any issues with the nudity now, but she liked the script those when I read that she didn't like the script. I can see reading this off the page in May. It may cause you think again, you're reading a team comedy and you're like, where are the jokes like this? Isn't
Jason Connell:she looks the part where they've actually done they've had the chemistry I don't know. Like that's I think she would have crushed
Bryan Beasley:I think she would have I think she would have crushed it
Jason Connell:on a glide. That was Rebecca de Mornay. She was
Bryan Beasley:really good at like shutting down and just expressing what's going on in her head through her face and without using words. I don't know if Kim Basinger could have pulled that out. I mean, Kim Kim basically would have brought the heat. I don't know if she would have had and it's so funny because I look at Rebecca Dumay like the rest of her career. It's like she hasn't had a bad career but I don't feel like she's ever had a part as good as this you know, I
Jason Connell:agree with you. This was probably her best part. She was really good and Hannah Rocks the Cradle but
Bryan Beasley:I mean yeah, that was like a movie star making role as well. But she didn't have to do what she didn't know.
Jason Connell:Now a little tidbit at the party same Yeah, you see Jason gajic
Bryan Beasley:Yes. To was in the back Yes. Yeah, barely see.
Jason Connell:Oh, yeah, it was crews walks right by and he smiled walks by
Bryan Beasley:him and yeah, but then a girl swishes them away. I didn't know that's exactly who that was iron Eagle iron
Jason Connell:Eagle. And then Megan Mullaly played one of the call girls I'm gonna have to go back and of course she's in Wheeling Grace sure many other things but I'm just quickly throwing this in. Last but not least, Nicolas Cage whoa pastimes
Bryan Beasley:again.
Jason Connell:He's also the party scene. And he's an extra and you see him make a little like a funny little walk and ahead bossy his walk. It's clear as day screengrabs
Bryan Beasley:he I mean it's so funny that Nicolas Cage like he literally just hung out he was just he's in like so many movies in the background before he like became famous. It's crazy. We're
Jason Connell:all buddies and other old buddies friends with Tom Cruise and he was probably for instance Sean pan and let's go visit Tom he's on set making this they also they didn't know what they were making Brian that's very smelly. Oh, you're in Chicago? Yeah, I got this gig is brought pack was just all over and they weren't big yet. Cruise wasn't big yet. Yeah. Pop by say hello. I'll be in Chicago for a couple months. So yeah, it's kind of cool. I love it. I love it. They have the wherewithal this I'll be in that scene. What do I care? Yeah. Carrie is the Ray Ban Wayfarer sunglasses that Tom Cruise wears. Which are amazing and iconic. Brian, as you know, yes. Iconic. Yes. Had a 2,000% increase Released in sales after the movies.
Bryan Beasley:I mean, again, it's on the poster like It's like his eyes and the Ray Ban the Porsche and her laying on top of it like it's all you need, right? It's the poster itself is an ad. I love
Jason Connell:that. Porsche and Ray Bans. Sorry,
Bryan Beasley:it's an ad, right? Like if you have the car if you have the glasses, you can have the girl. That's it. If that isn't the 80s I don't know what yeah. What is that?
Jason Connell:Is it an incredible movie? It was so fun to have you on this podcast. And
Bryan Beasley:oh, man, I really it was it was a real joy. And one last thing for me that I just want to say that film is great. Obviously we've doted on it the last few hours here the the one real sad thing is that is that he didn't make more movies. I mean, that's like it launched cruise even launched, you know, launched all the actors in this movie, they all went on to have great a great decade of success. But Berkman never, he never came close to this. And it really is unfortunate that, again, we said this earlier, it didn't it didn't seem to mind him, but I feel like we've lost something. I feel like we could have had other risky business type movies, we just have to enjoy what he did give us and this one's a great one now.
Jason Connell:And you're so right with that. I used to say that about Kubrick, he had huge gaps. And that was in reading one of his books. That was one of his regrets. Like, I took 12 years there. I didn't make enough movies. Anything we got from Kubrick is amazing. And we'll look at it and examine it forever. But yeah, we're greedy. We want more of that you and I and other film lovers would love to watch five more movies similar in tone it very different topics that Paul Brickman created. Yes, that's the greedy side of us. We'd love to see it because he's capable. Not Yeah, many directors can pull off these types of feats. And the great ones do it a lot.
Bryan Beasley:Yeah, I feel like John Hughes basically took took what maybe he started and had a career with it. You know, he
Jason Connell:told me, You know what, Hey, Brian, maybe Brickman still is true. Yeah, maybe he's got another another oppa send him another great film. Yeah, I hope that I have the luxury to talk to him at some point in time and answer that question about the Yes, go ahead.
Bryan Beasley:Did she put the that she put the portion neutral on purpose or not unlock the door,
Jason Connell:and then lock that door stop. So now you're totally convinced. So thanks so much for listening. And please be sure to subscribe rate and review the show wherever you get your podcast. You can also follow us on social media at let's talk movies, or check out our other shows at just curious media.com. So without further ado, please enjoy Risky Business