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Let's Talk - Movies
A true movie lovers podcast celebrating great films worth revisiting or seeing for the first time. Host: Jason Connell, award-winning documentary producer & film/tv expert.
Let's Talk - Movies
Interview - John Kapelos (Actor - Sixteen Candles, The Breakfast Club, Roxanne)
Let's Talk - Movies
Episode 13: Interview - John Kapelos (Actor - Sixteen Candles, The Breakfast Club, Roxanne)
Jason Connell shares an archived interview with actor John Kapelos (Sixteen Candles, The Breakfast Club, Roxanne) in which they discuss his early roles in some classic movies from the '80s and much more.
Original Episode: S01E13
Recorded: 01-14-22 & 02-14-14
Studio: Just Curious Media
https://www.JustCuriousMedia.com/
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Welcome to Just curious media. This is let's talk movies. And I'm Jason Connell, on the shoulder day. It's kind of a special treat an archived interview from the best. So in 2012, I met act of John capillus. You may know him from movies like 16 candles, The Breakfast Club Roxane, so many more. I met him at the Newport Beach Film Festival, and I invited him to an LA film premiere, just two nights later, which was May 3 2012. Now, the film premiere, I invited him to my very own documentary, below the story of the gorgeous ladies of wrestling. Now, it's a great doc, very proud of it. But it also went on to become the inspiration for the Netflix series that was really popular until the pandemic kind of shut it down, unfortunately, rest in peace. But that evening, in particular, it was part of my very own Los Angeles United Film Festival. And that screening was at the Los Felice three cinema, so many great screenings there. And we had a sellout crowd. I mean, it was crazy. We had a q&a, they had 20 Plus glow girls on stage with myself and Sal Rodriguez, who was helping me host the event. It was a spectacle, an epic night that had everybody leave the festival and go down to the Dresden down the street, the famous bar that was in the classic film swingers. And it was just an amazing night, a great way to wrap up the festival. And also get to know John Campbell, a little bit. Very cool, loved his time there. And so this led to me reconnecting with him in 2014 and interviewing John. And I went and met him at his LA office, which was the same building as the famous Wiltern theater venue in Los Angeles. And we discussed a lot of classic 80s movies he was in. Now the interview has not been altered, it's intact. It even has movie clips as transitions in there, which I love that at the time. I don't do that now. But hey, it was a different time podcasting was different. But it worked really well. We use movie clips to get in and out of what he's talking about. I think it's really fun. So I didn't want to touch that. And this unlike the first recording, which I'll talk about in a second, the first archived recording. I actually had a Zoom recorder this time and two mics, so the quality was a little bit better. I mean, I was a very inexperienced, but ambitious interviewer at that point in time. And you'll even hear me referencing the United films podcast. Now. What is the United films podcast you may ask? Well, it had two episodes total. It had this one with John capitalists, and it had one with Dabney Coleman, which I released last week on Let's Talk movies. And that was it. And the reason for that was because I ended the United film festivals in 2014. After 12 glorious years of doing the festival, I ran it in Los Angeles, San Francisco, Chicago, New York, London and my hometown and Tulsa, Oklahoma 12 years long time to run a film festival. But great memories, but it ended and so with it, the United films podcast, and so I really wanted to dust off these two archived interviews and give them a second life. And I did so last week with Dabney Coleman. That's on Let's Talk movies. You can check it out tons of fun, and now you have junk Apalis. And that's the end of the end of films, archived interviews. In regards to the one that came out last week. Dabney Coleman, I was visiting the VISTA website and I pulled the year it says 2011. And that's when we honored him with handprints and we played On Golden Pond and gave him a Lifetime Achievement Award. But then I thought that doesn't feel right. So I went back through my own archives, and I was right, my suspicions were right, it was actually April 26 2012. So we honored him in 2012. And then my interview with Dabney Coleman was in 2014, much like John capitalists. So lastly, those watching on YouTube Live, unfortunately, you're going to have to download the podcast version to hear my interview with John capillus. I didn't have the means to insert it here. So this is more of a setup just for you guys, and then come over download it. It's well worth your time. I promise you. He's fantastic. So please enjoy my conversation with John capitalists. And we're back here for another installment of our United films pie. had cast and we're with great legendary character actor John capillus.
John Kapelos:Perfect.
Jason Connell:Nailed it. Right. All right, so I want to start off John with some of your early movies on It's impressive that your first four film roles were in Michael Mann SPIEF, Sydney Pollack's Tootsie, as well as Dr. Detroit and class which launch Rob Lowe and Andrew McCarthy. Now, your role is varied from mechanic number three to accurate the party. So were you in a background actor or an extra or.
John Kapelos:No, I was an actor. I mean, I was always an actor. It's just that the parts were so minuscule. You know, picture this, if you will. A door is about to close. That's a partner movie and I just wedged my pinky in the bottom of the door. Can I get in the movies? I was seen by Lynn stone master and Tony Howard casting people in 1981. And they really liked me and they said, you know we're doing this movie with Sydney Pollack, if you fly to New York under your own dime, if you stay at Friends places, we will provide you with three four lines in the movie in a party sequence. I said, Sure. You know what the frig frag am I gonna do? So I did that. Unfortunately, the scene was cut down so drastically, and I improvise a scene with Terry gar, which was horrible and still is in the movie. And I'm not pretty much enamored with frankly. And then they did not give me screen credit which I had to fight for at least my sag residuals from the movie. I didn't find it a particularly pleasant experience that one thief was another one, which was weird. Michael Mann, Jim Belushi and James Caan, I was doing this thing called the numbers where we're under the car during the year your mama does this, your mama does that so much. She does this and there was this sort of topping game that you play in prison, that I had no idea what they were doing. So we were improvising this thing, which was shot sort of on a tracking shot, where James Caan is going by or Jim Belushi is going by or somebody. And it was again, a nothing part. Just this is the long answer. If you don't mind.
Jason Connell:No, take your time.
John Kapelos:And then the doctor Detroit, Michael Pressman, you know, a really silly, almost embarrassing part. And but I got to be in front of the screen. It was a movie, I was dressed in this elaborate costume. I had lines. It was fun. And I saw Michael recently because he was directing justified, and we had a good laugh over it. And again, that was a fun experience. Of the first three we've mentioned, the first two weren't. And then the last one was one class class, I was absolutely excited about when on the set, shot this part, go to the screening, I was totally cut out, not in the movie in the credits, and I get some residual from it. So those first four movies, you know, if you want to, and I think this is a very good app to beginning to for the interview. We're in my opinion, tootsies, a wonderful movie. Thief, people Revere, right love it, you know, Tangerine Dream soundtrack, Michael Mann in a sort of COP rock, the seeds of my advice, etc. You know, and I did to get to do a Miami Vice and I liked Michael Mann, you know, these people keep on working. You know, he's phenomenal. But for me, you know, personal experience as an actor Sydney Pollack was great to see an action with his DP Owen Reisman, it was interesting to watch Dustin and Bill Murray work the crowd. These are early experiences that you learn to sort of separate. You know, the results on one way or the other are interesting, but that's the long answer.
Jason Connell:Next, he made a huge splash and 80s movie history by being part of three classic films by John Hughes 16 candles, The Breakfast Club, and weird science
John Kapelos:right?
Jason Connell:In those films. You had such memorable characters and quotable lines as well as a great laugh. Did you meet John Hughes? How did you get in the first one which subsequently launched you in the other three?
John Kapelos:Well, of course, I met John at the my first audition for 16 candles. Jackie birch was casting it. It was a memorable audition. Apparently for them. It certainly was for me, and I did Rudy Riis check as a result the first sequence I shot in 16 Candles was the wedding sequence the first shot first day was I guess those people thought we had to get married feel pretty stupid right about now how Padre that line and like just to get that freaking line out.
Media:She just had a cramp Please be quiet. We don't want to announce to everyone that she has her area. says guys we thought we had to get married feel pretty stupid right about now.
John Kapelos:I just remember having to beat that through my head. Saying it doing it on camera. Probably a bit rushed a bit nervous, but I did it. I was full of energy. And you know, welcome to John Hughes movies. That was a fun, phenomenal experience to work on that movie because then we shot other sequences like scenes where we're in the restaurant, and we improvised. What John I learned like to do is we shoot five Six Seven takes of what he'd written maybe even more, he had a very high what they call shooting ratio. So you know, he'd shoot 1215 takes to one. And then if he had actors that he hired, could improvise. And then he said, Okay, and then he would sort of fudge it up a bit you try this add a little bit of this there and you know, and then that's where lines like you do shots will fit come on will fit and, you know, sensitive on the way I button, that whole scene was all improvised that scene where were the parents are all first meeting.
Media:All it really matters is kids are happy together. As long as my beautiful boy remembers that night, this one means he's out of the girl of the Month Club. Wait a minute, I can still look. This can't touch. Right?
John Kapelos:Breakfast Club, we improvised a lot. A lot. There was this whole sequence where I improvised where they're gonna be all 2030 years from now like today, you know, you're going to be in a, you're going to be driving a suburban you know, you're gonna have five kids, you're gonna have stretch marks as long as the you know, the Erie Canal. You know, you appointed Michael Anthony Hall, you get to make big money, you're gonna be a big lawyer, you're gonna be a big jag off, you're gonna have a big heart attack, debt of 36 boom, and boom, boom, boom. And it was groovy for me to improvise this to use an old term but and it was fun. And John really enjoyed it. And, of course, as you know, when it's on the film, when I went to loop the movie, do ADR at the Alfred Hitchcock screening room. There's a great DDL in the editor who edited Bonnie and Clyde and, and, you know, can I name another movie of hers? Yeah, several other films. I mean, Kramer vs. Kramer. Things like that. Big movies. She puts her arm around me, which is uncharacteristic. She's not. She's recently passed away too. But you know, she sort of wasn't you know, chummy, chummy. She was John. When I cut Gene Hackman out of Bonnie and Clyde and went, well, well, well, wait, wait, what do you mean, when you cut Gene Hackman out of Bonnie and Clyde? What are you saying? Well, that sequence where you tell the kids where they're gonna be 1520 years from now? That's gone. That's gone. Now all this stuff that I improvised a lot of stuff. The stuff that remains in breakfast club that I improvised his stuff, like when I was a kid, I wanted to be John Lennon. My line.
Media:What did you want to be when you were young? I was a kid. I wanted to be John Lennon. Crowd. Don't be a goof.
Jason Connell:And your big monologue to them ends with the clock. That's such a great
John Kapelos:yeah. By the way that clocks 1520 minutes. I believe that's in the script. But the other one that I improvised was small but mighty beat where I say 50 bucks to Paul Gleeson. Now Carl is 50 bucks. What do you want? You know, 50 bucks. And after they yield cut, Paul wasn't too happy about that.
Media:I would really appreciate it if this would be something that you and I could could keep between us. They can do for me, man. What would you like? 50 bucks. 50 bucks.
Jason Connell:Carl was such a great character. I always felt he deserved more screen time to hear that you did these amazing scenes. Where's that footage?
John Kapelos:You know, I don't know where that stuff is. You know if it's out there. I'm sure it's never gonna come out. I'm sure his family is just as tight lipped about stuff as he was.
Jason Connell:I always wanted the Kevin Costner footage from Big Chill to see that surface and good luck.
Unknown:Well, you know, the fact of the matter is a good movie with proper guidance. And the right people really takes the shape of what it's supposed to take the shape of. And like there was a whole sequence where the kids in the Breakfast Club in the guys were running around. And there was this sort of MILF group of women doing aerobics in the gym. And like they were pressed up against the glass looking at, you know, what they're looking at. Some hot, some not women doing aerobics, sweating and whatever. And what happens in high school on a Saturday, but it kept on coming back to them, the kids, people in the room. So my, you know, little monologue was extraneous. So be it.
Jason Connell:Yeah, absolutely. I mean, we recognize that from editing, doing so many documentaries. You just keep whittling it down to what the story needs to be you do have to let things go and I get that side
Unknown:and there's a really great book I mean, I don't know how nerdy your your audience is, but called when the shooting stops at cutting begins by Ralph Rosenbloom, which is I had read, probably around the time I did the Breakfast Club, maybe as it came out in the 80s. But he edited a lot of Woody Allen's early movies. He's a big editor in the 60s and 70s. And he talks about cutting an actor out of a movie, so I had sort of, not that I was emotionally prepared for it, but I'd heard that it had happened actors, it's part of the terrain. You can't always get what you want. When you step in front of the camera. You know, you're doing your thing and that's what you can control or do. But beyond that, I've learned, you know, brace yourself because like this podcast, you can cut it up any way you want. So,
Jason Connell:yeah, John, you might be cut back guys got me out of this podcast.
John Kapelos:I dare you.
Media:You guys think I'm just something touchable peasant sir. Peon. Maybe so, fall in a broom around after shitheads like you for the last eight years, I've learned a couple of things. I look through your letters. Look through your lockers. I listened to your conversations, you don't know that but I do. I am the eyes and ears of this institution, my friends, by the way, their clocks 20 minutes fast.
John Kapelos:Breakfast Club, you know, when I did it, you know, there was a lot of import and people were excited about John Hughes 16 candles, there's a lot of excitement as to who he was as a director and Ned tan and the producer in Paramount. The studio you got you got the sense that there's, you're kind of on a wave and, and you're like surfing and you're like, Whoa, this feels good, man. I'm part of something that is all going in the same direction. The thing is, when you work in a situation like that, you don't realize if this is going to last or not, or if it's going to be good. You cannot be concerned with those things, but leaders later, I think the reason why the Breakfast Club resonates for me, is there as an honesty and directness to the film. It's not trying to be too hip for the room, which by the way, is the name of my next album. And also you never can tell what's going to last over 2030 years, you know, some films become huge hits. I don't know the movie Crash is going to be remembered 1015 years from now.
Jason Connell:How many times can you watch certain movies Shawshank works for a reason?
John Kapelos:It's a channel stopper for me. Yeah, I wish it weren't on TV so much. Because I'd stop and watch it
Jason Connell:Goodfellas. The same way these movies got incredible characters and story and they hook you I was curious, mere take of the Breakfast Club. I was younger, it really spoke to that kind of Brat Pack generation. Not that you're much older than me. But did you identify with it? Did you see that it had some legs to it.
John Kapelos:You know, first of all, I'm much older than you. Second of all, I was not a brat packer and never not even invited to the group meeting. I had no idea that it was going to be put in the same category in terms of longevity as James Dean Rebel Without a Cause. There are movies that are what they call game changers. So I guess it was a game changer, you know, in film or linguistics a seminal moment in film history. Right? What wow, this really, you know, 2001 game changer. You know, Mean Streets game changer. You know, Godfather game changer. People started making movies differently after that.
Jason Connell:So this leads me to the next film of the John Hughes trilogy that you did Weird Science, which is probably one of my favorite John Hughes films.
Media:Once a beautiful bride like you're doing with a Malacca like this, it's purely sexual.
Jason Connell:Scenes at the candy bar are very memorable. I think you even deserved to be in the big party blowout at the end at gearing why it sounds because other characters from the candy bar were there.
John Kapelos:Yeah, well, they you know, it really wasn't much beyond that. It was a small, you're the Greek owner of a black bar. And it was really the woman like do you think with a Malacca like this? Now Malacca in Greek means jagoff. Right? Or in the common terms? masturbator. So like all my Greek family and friends, friends are one thing but my mother was none too pleased that I use that in the movies and said Why Why did you have to popularize such a term like that? You know, but that's my lot in life.
Media:She sent him a lock is Dino.
John Kapelos:I actually did another movie after that. I was in Ferris Bueller. But I was cut out. And that was my, the end of my working with John. Not for any bad reasons. It's just that was the cab driver that drove them around all downtown. And that whole sequence was kind of the movie. They didn't like anything I did, apparently. That's the kick in the pants at the end of it. You know, the thing about acting, and I hear this from a lot of other actors is like, good things happen and memorable things happen. But sometimes, it's not necessarily negated. But there's you know, when there's a yang there's a Yang, you know, it's like, Oh, don't enjoy it too much, because then we're gonna do this to you.
Jason Connell:Leaving the John Hughes movies, you're in a screwball comedy off B as well as nothing in common the heartfelt father and son movie with Tom Hanks and Jackie Gleason. Any thoughts or insight on either one of
Unknown:those? Well, offbeat, unfortunately did not do well as a movie. The fact has nothing in common though, was a much different experience because the film was directed by Garry Marshall and Tom Hanks was driving this movie. I remember the first day I worked with him at the end of that day, I had sort of I remember going home, look in the mirror going, that guy is good. You got to put on your tracksuit and start working out. It was an exhilarating experience working with Tom, because he's so damn good. He really brought up my game. This whole sequence, we improvise at the end of the movie with Gary Marshall said, you Yeah, he's his father's sick, he's coming to shoot a commercial, you're upset. He's upset, but he has to be going back to the hospital and you tell them it's okay. We'll take care of things improvise something funny. So, what's in the movie is what we improvise. But it was a great experience, Gary, you know, Gary's an inimitable director.
Media:Let's problem I'm sorry, I had a real bad night last night, I'm sorry. Nothing like that. To talk to my old man.
John Kapelos:That ruin the films that I got to do in the 80s. It was just phenomenal. And Roxanne was one of those experiences where the experience of making the movie which was incredible match what I believe is a product which is incredible. I think film still stands up.
Jason Connell:Roxanne holds up today and maybe 20 years from now.
Media:It's hypnotic, isn't it? Enormous, it's gigantic. They said it was big, but I didn't expect it to be big. Finally had a sense of humor about your nose.
John Kapelos:Fred Skeps, he the director. We were shooting in Nelson, British Columbia. And he said, you guys to the cast are all allowed. And it's not mandatory. But I'd love it if you came and watch the dailies. And they had an old movie house in town. And thank goodness we did because we all sort of got on the same page as what sort of movie we were making. And the movie was obviously, you know, centered around the character of CD bales and, and there was a I remember watching the first day of dailies, and they were just shooting this stuff of Steve Martin walking down the street and flipping his head up in the air and it Fred's guest. He's a great director, and not only is a great director, he sort of eased into the shooting of the movie. So there was a lot of nice, pleasant solo stuff of Steve that he shot to give us the thing of like the the chaplain asked quality of it. And the gentleness to his character.
Jason Connell:That's a good comparison. Actually, the chaplain ask,
John Kapelos:that's what I thought initially, there was sort of the way he walked down the street with his hat and his nose. And it's like, oh, yeah, there's that that is reminiscent of cinematically reminisce and and, and good directors, good writers can tap into cinematic history, the stuff that we're all sort of ingrained with, oh, that's evocative of, you know, that's why the Coen brothers are so great, is because they get it. You know, when they do Oh, Brother, Where Art Thou? It's tapping into such a zeitgeist of American cinematic history, great filmmakers can evoke that Fred's QFC also knew that when you do a comedy, and I experienced this and other comedies that are uneven, did a movie called Head Office. That was an interesting comedy, but it seemed like everybody was acting in a different movie. And that's why when you get to see the dailies you go oh, that's the tenor of the movie. And Fred was is, you know, continues to be a major director for us.
Jason Connell:What was such a silly premise this big nose and they didn't play for the laughs everything was kind of understated and real, and it was a beautiful blend. I'm going to take a step outside of the 80s to talk about another cult classic that year in which we've recently played at our United Film Festival in Los Angeles. Chicago, illegally blonde, no, not not Legally Blonde.
Unknown:I always was wondering, I know what to call class.
Jason Connell:the craft.
John Kapelos:of the craft.
Jason Connell:that movie still has a huge following Believe it or not, now you show it at we play classics at our festivals and the craft has been requested more than once.
John Kapelos:Well, it doesn't surprise me but that's on the rise I guess.
Jason Connell:In the craft your character Ray was killed by one of the witches.
John Kapelos:Oh, yeah.
Jason Connell:What was dying on screen like and have you done it before sense.
John Kapelos:Well first of all, I went home that day and then my whole frickin left side after shooting that thing was like because I had done so much muscle tensing. And you know, and I literally throw myself into it throw myself into it.
Media:Father, thank God the Father is the one who paid his 50 bucks for quick bang in the back seat don't do.
John Kapelos:My father died of a heart attack. So it's it's a fear that I'm trying to avoid by constant exercise and but the fact of the matter is, I just don't like dying on screen and I do it far too often. Or they say dying is easy, but comedy is difficult. It's not easy.
Jason Connell:So What projects are you most proud of?
John Kapelos:I love the movie internal affairs. I think that that Movie and working with Mike figgus and Richard Gere, like Tom Hanks was a revelation to work with. Like, he's one of these guys. You go well, there's probably he probably, you know, he's not acting. But you know when a guy is like Daniel Day Lewis, you know, you can see in Meryl Streep, they're in phenomenal actors no doubt, Anthony Hopkins phenomenal. But when a guy is playing so close sometimes to himself, where he's almost like they say in musical terms, just a little bit out of phase in internal affairs man, he was playing this guy that was copying off the Richard Gere persona. But he was bad. That sequence where he kills Billy Baldwin and strangles him, that was frightening. In that was bad cop. And the movie works because Michael figgus knows how to take literally the words when we improvise that scene, and we shot at the Roseville hotel where he's feeling my wife up under the table and I'm asking him to kill my parents.
Media:I want you to kill my mother, father. 37 15,000
John Kapelos:I watched that scene and even I believe, you know, even I'm sort of taken out of the moment. But John Alonso great DP who worked on nothing in common who shot Chinatown. You know, I'm working at the top of my game, and Mike Figgis man. I have not worked with him since but I adore his work. And I adore his process. read a great book on digital filmmaking, which should be in everybody's bookshelf.
Jason Connell:I'm a big fan of Mike Vegas. And I'm really glad we talked about this movie.
John Kapelos:It's a film noir shot and color, of course, but the notion of film noir not doesn't have to adhere only to black and white movies. But it's that have that sort of genre. Laurie Metcalf great in it. I mean, Andy Garcia is great in it. And I'm very proud of course of Breakfast Club. I adore Roxanne, not only because I adored working on the movie, and Steve and Rick Ross KOVITCH and Fred Willard, who I got to meet on that movie, and I'm still friends with today. And Mary Willard, his wife, and but also the fact that it was my mother's favorite movie. And she's passed away. And so I'm glad she got to see that.
Jason Connell:You are a very busy actor looking at your IMDB, you're in so many shows. So many movies. What do you pass up?
John Kapelos:Oh, I say no to things. John Candy was in my mentor before I even got into Second City. And as I got into second city, he was a great teacher. And he said to me, said, Well, if you're going to be an actor, do everything, you know, you do everything. Dot, dot dot within reason. And you know, I remember once I said, Hey, you know, we'd love you to do this part. It's really very funny. Yeah, the lead in this whole thing. It's wonderful. You play a guy who's a photographer, you take pictures of kids, you know, but you really take pictures of kids. And I'm going no, I'm not going to play a child pornographer not going to happen. When I started acting in the late 70s, early 80s. I remember my producer from Second City, Bernie Sahlins. Although he always thought like this, would say to me, I'd say why is so and so a great second city alumni doing such a piece of shit. And he goes for the money, you idiot. You gotta make a living. And I think you learn from everything we learn from every shot.
Jason Connell:What projects are you excited about? And what's a typical day like for you?
John Kapelos:I'm supposed to read for a musical. I mean, I sing and I've got an album that I'm gonna be doing. The reason why I have this place where I work is to generate projects. I did a short film a few years ago with a fella that's coming in soon, who we wrote and did this short film together called commentary, which is going to be up on Netflix later this year. I got a film that I want to direct called shuffle mode that I'm just finishing a draft and a screenplay and a film I want to direct and being called Palmerston Avenue, which I probably Megan Toronto. You know, I'm ambitious. And age is just a state of mind. At least that's what my mother would tell me.
Jason Connell:Well, John, thank you so much for taking the time. I've been a big fan of yours from the beginning. And I just love having you on our podcast, man.
John Kapelos:Thank you so much, and I really appreciate your knowledge and also just you know your sense of humor.
Jason Connell:Can you give me this one Good Dino laugh
John Kapelos:tell me pretty woman. What's a beautiful woman like you're doing with a Malacca like this?
Jason Connell:So thank you so much for listening. And please be sure to subscribe to the let's talk movies podcast, as well as the let's talk movies YouTube Live Channel. You can also really help us by giving the show a five star rating on Apple podcast. And for all your lists. Here's that enjoy sharing your thoughts you can leave us a review on Apple podcast send us a direct message or post a comment on any let's talk movies social media platform we also highly recommend checking out our other podcast and visiting just curious media.com
