FMC 032: The Lost Boys Directed by Joel Schumacher

Full Episode Transcript
This episode of Filmmaker Commentary Joel Schumacher's 1987 vampire film "The Lost Boys," offering insights from the director's commentary, analysing its production, and exploring its special features.

Opening Discussion & Recent Watches
Reginald Titus Jr.: Filmmaker Commentary, episode 32.
Reginald Titus Jr.: Welcome to Filmmaker Commentary, where we give you insights from our favorite filmmaker commentaries. These commentaries can be heard on your DVD and Blu-rays of your favorite movies. We'll show you how you can use these commentaries and apply them to improve your video production and filmmaking techniques. All of this here on Filmmaker Commentary. I'm your host, Reginald Titus Jr.
Reginald Titus Jr.: Welcome to Filmmaker Commentary. I'm Reginald Titus Jr. I'm joined with...
Casey G. Smith: Casey G. Smith.
Reginald Titus Jr.: Welcome back, sir.
Casey G. Smith: Good to be back, sir.
Reginald Titus Jr.: And today, we are going to go over the film "The Lost Boys," 1987, directed by Joel Schumacher. If this is your first time listening to Filmmaker Commentary, we listen to the commentaries on Blu-rays and DVDs of our favorite movies, so that we can take gems from that and pass it on to you so you don't have to listen to them.
Casey G. Smith: And please note, there will be spoilers. Always spoilers.
Reginald Titus Jr.: This film, at the box office, made 32.2 million domestically. And according to Wikipedia and TheNumbers.com, the budget was about 8.5 million. That's definitely a win.
Casey G. Smith.: Absolutely, yes. A good win, not just at the box office, but it went on to be one of Warner Brothers', at least by the year 2004, one of their, maybe the fourth highest-selling home video.
Reginald Titus Jr.: Ah, I can see that.
Casey G. Smith.: That they had in terms of release. So, yeah, this was a nice little cash cow for, for Warner Brothers.
Reginald Titus Jr.: It's funny how, like for like some of the early, early '80s stuff, a lot of numbers weren't really available. Like now they kind of throw numbers out for marketing purposes, like, yeah, we spent 100 million or we spent 500 whatever. But they were kind of secretive about their numbers, which makes sense. Like for your business, a privately owned business, like you wouldn't want to just give your numbers out just for, just because.
Casey G. Smith.: That's true. And, and most of the general, honestly, a casual moviegoer, let me put it that way. Movie fans would be interested. A casual moviegoer's like, whatever. They show up to the theater and like, what's showing?
Reginald Titus Jr.: Yeah.
Casey G. Smith.: Movie fans are like, I already got my tickets in advance. I've been waiting for this and I'm ready to, to go.
Reginald Titus Jr.: Right.
Casey G. Smith.: So, yeah, they were more secretive back in the day for sure.
Reginald Titus Jr.: Cause I'm thinking about "The Last Dragon", you know, how it was difficult for us to find numbers on that, even though like on the commentary he said, you know, like 10 million or whatever, but far as like how much they made and stuff like that, it was like, maybe because they were still getting away with a lot of their accounting practices and kind of writing things off or kind of stashing money.
Casey G. Smith.: Right, or, or avoiding the payout for, for points, you know, if it's after expenses. Oh, they were just some unexpected expenses. So, your payout won't be as much.
Reginald Titus Jr.: Cause I think about this, this film, it's, I got it at the, for five dollars, it's on Blu-ray now, out of Walmart, you know. So, this was in 1987.
Casey G. Smith.: Hmm.
Reginald Titus Jr.: Still making money.
Casey G. Smith.: You know, there's something about like this particular series of Blu-rays I've noticed, cause even when I got "300" and noticing the, the user interface screen when you go to the extras, it's a static screen that just has all the special features there. And it's a lot of them. But again, "300" was the, is the same way, that same format. I don't know if that's a specific thing for Walmart or, or other places, because yeah, I've, I've noticed that kind of format, or obviously it might be two or three movies together. But when you go to special features, it's just one static screen with all these features put together. "Batman" also, a, a, uh, 1989 Batman Blu-ray.
Reginald Titus Jr.: Really?
Casey G. Smith.: Same thing, same format. Yep, you go to special features, it's all lumped together. It's a lot of features and it's, yeah, obviously it's something from the '80s as well. So, I find that format fascinating.
Reginald Titus Jr.: I wonder if maybe you have to go through the, the credits and then at the very end of the credits before it closes out, usually it shows who did the like menu authoring and stuff.
Casey G. Smith.: Oh. Well, where would I find that though, because that won't be on the movie itself.
Reginald Titus Jr.: No, it won't be on the actual credits. It's like a, almost like how when you put a movie in and all the trailers kind of automatically play. Sure. At the very end of a movie, if you watch the credits all the way to the very, very end, usually whoever authored the movie, their stuff will show up.
Casey G. Smith.: Even on an older movie like this, because this features seem like they were done in '04. A lot of stuff seem to be captured then.
Reginald Titus Jr.: Yeah. So it's, it's not part of the, it's not necessarily part of the features. It's almost like they, they plug it in whenever they authored the DVD.
Casey G. Smith.: And then they plug in those credits for those who, who did that as well.
Reginald Titus Jr.: Yeah.
Casey G. Smith.: Interesting. Yeah, I'm curious now, because again, that format, I've seen, I've seen now several times, specifically from Blu-rays, from Walmart, that are inexpensive.
Reginald Titus Jr.: And the reason I'm like interested in that stuff is because, you know, we're in the process of authoring our own DVD and Blu-ray. And so, it's like, do you, and there's not that many, there's not that much software anymore that supports like authoring your own DVD and your Blu-ray in where it's like super sophisticated.
Casey G. Smith.: Sure.
Reginald Titus Jr.: It's like either you just pop it in and it automatically plays or you just have this like old looking menu system.
Casey G. Smith.: Right.
Reginald Titus Jr.: You have companies out there like, for example, like disc makers, you can send their, send it off to them, your Blu-ray, your DVD or whatever, and they'll do a DVD Blu-ray menu, but, you know, they're like charging like 600 bucks or, um, if you want it sophisticated, if you want like, you know, it's like a couple hundred bucks or something like that. But, there's houses that, like this is all they do, is just author menus.
Casey G. Smith.: Wow.
Reginald Titus Jr.: So, I don't know, I wonder if they do it internally, you know, for Warner Brothers, or if they send it off somewhere.
Casey G. Smith.: You know what that, you know what? That's, now that I'm thinking about it, all three of these films we're talking about are all Warner Brothers productions.
Reginald Titus Jr.: Oh.
Casey G. Smith.: "300," "Batman," and this. So, maybe that's a Warner Brothers things, a Warner Brothers thing in terms of releasing certain Blu-rays after a period of time, after that maybe maybe their initial run and now they're, they're kind of discounted. All right, let's bring down the price, let's simplify the menu authoring and, and then put it out there. I'm glad. Yeah, that just crossed my mind, it's all Warner Brothers.
Reginald Titus Jr.: We cracked the code, ladies and gentlemen.
Reginald Titus Jr.: All right, so here is a synopsis of "The Lost Boys."
Reginald Titus Jr.: Financial troubles force a recent divorcee and her teenage sons, Mike and Sam, to settle down with her father in the California town of Santa Carla. At first, Sam laughs off rumors he hears about vampires who inhabit the small town. But after Mike meets a beautiful girl at the local amusement park, he begins to exhibit the classic signs of vampirism. Fearing for his own safety, Sam recruits two young vampire hunters to save his brother by finding and destroying the head vampire. "The Lost Boys."
Reginald Titus Jr.: Before we dive into this film, let's talk about movies we watched this past week.
Reginald Titus Jr.: So, what movies did you watch this past week?
Casey G. Smith.: So, I watched on Netflix, uh, the Susan Johnson film, "To All the Boys I've Loved Before." I saw a review on Collider Review Talk and they spoke pretty highly of the film. And just right now, as of the recording of this podcast, you know, "Crazy Rich Asians" is doing great at the box office, two weeks in a row at number one. This particular film also has, uh, an Asian actress in the lead, uh, Lana Condor. And basically, basically this film is a John Hughes coming-of-age film for 2018. Those classic teenage tropes, but it, it mixes in, it mixes in diversity in a way that just feels so organic. Uh, it, it, it works. Uh, this young lead actress really, she carries the film. The other supporting actors, the, the young, uh, actress that plays her younger sister is great. Yeah, it's a film that the end you can't help but smile, it gives you those same kind of feels if you grew up watching John Hughes in the, in the '80s or, or the '90s. You get that vibe, but it's, it, it takes the nice, natural progression of it for a 2018 crowd and, and those kind of sensibilities. So, yeah, I recommend it. "To All the Boys I've Loved Before," streaming now on Netflix.
Reginald Titus Jr.: Okay. And is it a Netflix Original?
Casey G. Smith.: It is a Netflix Original.
Reginald Titus Jr.: All right. All right. Any other movies?
Casey G. Smith.: No, just a couple of, uh, a couple of shows that I kind of been picking up here and there that are on Netflix. But, um, yeah, but no other, no other films that I can recall right now. How about you?
Reginald Titus Jr.: This week, I just been watching snippets and stuff. So, I've just been going on Netflix, because I'm like studying certain scenes. So, like the last scene I watched was, uh, "Kill Bill", uh, the first one, like the fight scene between her and, uh, Vivica Fox.
Casey G. Smith.: Oh, nice, in the kitchen.
Reginald Titus Jr.: Yeah, just like seeing how the sound design like really sells everything in there. Like when she throws a knife at Vivica, it's like. I was like, oh man, this is...
Casey G. Smith.: You got me wanting to watch "Kill Bill" now. Love that movie.
Reginald Titus Jr.: So, yeah, and there's like parts of it, like you got the comedy in there. So, she was like, uh, let's do a knife fight, you know, let's do a knife fight, we could do, you know, just blades or whatever like that. And then, uh, you know, she's asking, who's the lady, Uma is playing, what's her name, The Bride. They call her The Bride, right?
Casey G. Smith.: Right.
Reginald Titus Jr.: She says, depends on when you want to die.
Casey G. Smith.: Oh man.
Reginald Titus Jr.: Tomorrow? She was like, tomorrow, the day after night, then Vivica said, how about tonight, b? She was like, splendid. So, I'm like, okay, yeah.
Casey G. Smith.: I'm going to be watching "Kill Bill" this weekend now. I'm going to, I'm going to, it's, it's been a little while, I'm going to, I'm about to pop that in. Man, Tarantino, why don't you do commentary?
Reginald Titus Jr.: I know.
Casey G. Smith.: I'm raging right now.
Reginald Titus Jr.: Uh, so I was watching that scene and then, I don't know why I had Thor, Thor on again, Ragnarok, you know, it's on Netflix, one of the few Marvel movies on there. And not watching the whole thing, but just kind of just skimming, just, just kind of skimming through it. I did notice some mistakes on the green screen, but uh, I won't tell.
Casey G. Smith.: The critical eye.
Reginald Titus Jr.: Yes. I'm like, I'm right now I'm digging like the, like, uh, a movie that series, I'm digging the comedy in between, you know, action films.
Casey G. Smith.: Getting those beats in.
Reginald Titus Jr.: Yeah, I'm, I'm liking that right now.
Casey G. Smith.: If you get a chance, uh, since, I don't know if you've seen any other Taika Waititi films?
Reginald Titus Jr.: Mm-mm.
Casey G. Smith.: Uh, he has a film, it's, it's, it's, uh, it should still be, if it's not on Netflix, uh, Amazon Prime has it. Uh, it's a "What We Do in the Shadows."
Reginald Titus Jr.: Okay.
Casey G. Smith.: Now that one, it, it, it is pretty much a straight comedy, but you're also doing vampire research. It's a vampire comedy. Three, three vampires from three different periods of time. Just it's silly, almost, yeah, it's silly, almost it has, it has a little more of a, somewhat of a, British kind of Monty Python-esque humor to it at times. It's, it's, it's different, yeah, but uh, yeah, a lot of people swear by that film and I've, I've seen a good chunk of it, but yeah, just to add that to your research and, and some Taika Waititi action, so.
Reginald Titus Jr.: Yeah. So certain scenes, like in the, in the Thor one, he, when he's going to find his, uh, his father, and then, you know, Loki's like, I've been falling for 30 minutes! It's like the, like the actors just pulled it off. They, they, it's, you're just, however they're delivering it, you know, whenever they pull it off, they land, it's like, man, you really believe them.
Casey G. Smith.: Oh yeah. Just, and seeing Thor interact with Doctor Strange, just being, you know, inside of the Sanctum Sanctorum, and, oh man, he's like, he's like, waiting for his hammer to come in, you can hear things just breaking inside the house and he's like, sorry. Yeah. I, I, yeah. I just do, I dig the fact that they play Stephen Strange as a, as a jerk. Yeah. In every film, he, he's a jerk.
Reginald Titus Jr.: True.
Casey G. Smith.: He, he's like, he's not a, a nice guy, he's sarcastic and he's just, if I do this for you, will you leave? He's like, your bedside manner is atrocious, Doctor.
Reginald Titus Jr.: And that's just who he was before. So, it's like perfect. It's just, just playing.
Casey G. Smith.: He's like, got some sparkly fingers and some magic powers and a levitating cape.
Reginald Titus Jr.: Whoa, those sparkles? Oh, sparkle fingers. Oh, at any rate. So, yeah, so good film, but, you know, I, I was just going back just kind of finding like some of my favorite scenes out of that and just revisiting.
Casey G. Smith.: Did you catch any clips of anything else?
Reginald Titus Jr.: No, I think that was it. That's all I had time for.
Casey G. Smith.: All right.

Film Overview and Production Insights
Reginald Titus Jr.: So, let's head back to "The Lost Boys." Okay. So, "The Lost Boys," 1987, directed by Joel Schumacher. The DP, what's his name? Michael is it Chapman or Chappman?
Casey G. Smith.: Chapman.
Reginald Titus Jr.: Chapman. Apparently, always wanted to do a vampire film.
Casey G. Smith.: Yes, but this is a renowned DP. I mean, "Taxi Driver," "Raging Bull." That's a beautifully shot film, man. "Raging Bull" is beautiful. People swore by that film and finally when I saw it, I was like, oh, yeah. Okay.
Reginald Titus Jr.: Yeah.
Casey G. Smith.: The fact they pulled him off for a film like this, that's, that's a win.
Reginald Titus Jr.: He wanted to do a vampire. Always wanted to do a vampire. It was like, that's, you never know unless you ask everybody.
Casey G. Smith.: There you go.
Reginald Titus Jr.: The commentary, it, it felt like, uh, Joel, he introduces himself, has a great intro. Uh, he seems like excited. You know, he's excited to announce it. At the time, he said it was his fourth film. And he just finished his 19th film, so this is probably around the year 2000, 2002, something around that time.
Casey G. Smith.: Well, most of these features were done in '04.
Reginald Titus Jr.: Oh.
Casey G. Smith.: Um, so I was looking at the, the behind-the-scenes things and when they were kind of getting them out there. And so, obviously, the as we discussed before, VHS does not have commentary disc. Tape two for the commentary.
Reginald Titus Jr.: Right.
Casey G. Smith.: That wasn't really a thing in the, uh, prior to, to DVD. So,
Reginald Titus Jr.: Laserdisc.
Casey G. Smith.: Oh, yeah, they did have laserdisc. That's true. Hmm. That's that's a that's an interesting caveat. I I'd be curious to see like what laserdiscs have, uh, commentary tracks. That might have been the pioneer, that's an interesting thing. Nonetheless, um, but I'm, I'm going to bet since he's saying 19 films in, that's some time in between. So, I'm going to bet that '04,
Reginald Titus Jr.: And I was counting. I was on IMDb. I was like, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19. Look at that.
Casey G. Smith.: I did that. Fidelity.
Reginald Titus Jr.: Research. Hey, you know. But at least we could say it's early 2000s at least.
Casey G. Smith.: Sure.
Reginald Titus Jr.: Yeah, he seems like pretty excited about this film.
Casey G. Smith.: And just, I mean, he says that this opened up doors for him that were previously closed. And the film itself was a, was a risk and the fact that it paid off so well helped launch quite a few careers. As we'll get into, this cast is, uh, there's some familiar faces.
Reginald Titus Jr.: Yes.
Casey G. Smith.: Yes.
Reginald Titus Jr.: Let's talk about the Blu-ray special features. Like I talked about earlier, you know, I bought this for five bucks in the bin. Like you think about like these films, you spend millions of dollars on these movies and it ends up in a five-buck bin somewhere in some random town.
Casey G. Smith.: But you know what? It it's one of those things where you, when you think about the, the whole pie, if you can get, you know, millions of people spending five bucks,
Reginald Titus Jr.: You do have a point.
Casey G. Smith.: You're doing all right. You're, you're doing all right. If you can get that, that level of distribution at a Walmart, um, and it gets, like you said, all these years later, yeah, this, this, this one's, uh,
Reginald Titus Jr.: It looks good too. Like the key art, I don't know if they changed it since it came out, but, uh, it pops.
Casey G. Smith.: It does pop. I kept, I kept finding myself looking back at it and like, yeah. But you know, I got to say, you know, I've, I've seen, there's, obviously there's a lot of actors and most actors are good-looking. But the, the lead actor in this film, he's got a, he's got a look to him that just, that just works, man. He's, he's a, a good-looking guy, but he's really talented and, and deep. He's just got, he's got the right look, totally '80s. And then him and Kiefer Sutherland.
Reginald Titus Jr.: Kiefer.
Casey G. Smith.: Kiefer Sutherland, those two back-to-back. This is, this is again, like that iconic look for Kiefer, uh, in this film, yeah, he just stands, stands out. And even that image on the back of the key art of, of him, that look is iconic.
Reginald Titus Jr.: Iconic. So, quickly, I'm, I'm gonna read out the special features and you can talk a little bit more about those. So, of course, there's on the Blu-ray, you know, you have the commentary, of course. Then you have a retrospective documentary called "The Lost Boys." All right, so you have "The Lost Boys: A Retrospective Documentary." Then you have "The Return of Sam and the Frog Brothers," "The Two Coreys and Jamison Newlander," which is like a multi-angle video commentary. And then you have another special feature called "Vamping Out: The Undead Creations of Greg Cannom." Then you have "Inside the Vampires' Cave," which is four featurettes and it has "The Vampires' Photo Gallery." Then you have "Lou Gramm: Lost in the Shadows" music video. And then you have "A World of Vampires" interactive map. And then a theatrical trailer.
Casey G. Smith.: All right, how, how many of the features did you have a chance to, to go through?
Reginald Titus Jr.: I only watched "The Lost Boys: A Retrospective Documentary."
Casey G. Smith.: Okay. And that was, that was nice. That was nice to, uh, to hear from, uh, the two Coreys as well as, uh, Richard Donner, who was originally up to actually direct the film, but he, he was working on it in pre-production. He says he has this thing where if he is on pre-production too long on a film, he's, he's made it so many times in his mind that he loses interest.
Reginald Titus Jr.: I can see that. I can understand that.
Casey G. Smith.: Yeah. And so that's where he was. And his wife, who is, um, oh, what kind of role does she have? She's either a,
Reginald Titus Jr.: Art director?
Casey G. Smith.: Production designer. I think maybe a production designer. She, she's the one that recommended Schumacher. And she said, he's got to be the, they worked on a film together. And so, it was great to hear from him, cause I, I, I, after watching my Superman Blu-ray and, and listening to Richard Donner, I, yeah, I really, I, I, I like what he has to say. He's, he's a sharp dude. Nonetheless, and of course he did "Goonies" and all that good stuff, he's just a, you know, great filmmaker.
Reginald Titus Jr.: Classic. Top 20.
Casey G. Smith.: Yes, yes, which is of course, how Corey Feldman got involved in the film was through Donner.
Reginald Titus Jr.: I see.
Casey G. Smith.: Uh, so, yeah, it was great to hear in the retrospect and in, in where these, these people are at now later in life. Even Kiefer Sutherland, uh, Sutherland, excuse me, able to, to go back and, and talk about how people always recognize him from the film and, uh, what it's done for him. Yeah. And then Joel Schumacher. I thought the whole time, he just, he just, he's so grateful about how this film went and that people still recognize it and, uh, yeah, he comes across very, very humble.
Reginald Titus Jr.: And then "The Return of Sam and the Frog Brothers," did you watch that one?
Casey G. Smith.: That one, the two Coreys?
Reginald Titus Jr.: Yeah.
Casey G. Smith.: Yeah, that, yeah, to me, the way that's worded, it almost seems like there's like two. I thought the return of Frog Brothers were going to be a separate feature, cause the Frog Brothers are, are, are one of the Coreys and, and the other actor. But nonetheless,
Reginald Titus Jr.: Maybe it was. Maybe you're right.
Casey G. Smith.: Well, I tried, I tried to, there was nothing to select. It was just like, it's like, it's like a weird titling.
Reginald Titus Jr.: Yes. Yeah.
Casey G. Smith.: So, but yeah, that was cool to watch, because obviously, this, so this movie was the start of the Corey and Corey films.
Reginald Titus Jr.: Right.
Casey G. Smith.: This is the first time they acted together. And interesting enough, um, Feldman says that Corey Haim had actually auditioned for the part of Mouth in "Goonies." He didn't know it at the time and he'd find out later on. But yeah, Haim had actually auditioned for that role, but obviously Feldman got it. And he didn't, he didn't know who Haim was. He would see him pop up in some of the teen magazines. He'd be looking for himself. He's like, who's this other kid with my name?
Reginald Titus Jr.: Huh.
Casey G. Smith.: And it turns out that his, his, his best friend, who was a girl, was actually dating Corey Haim. And she was like, well, you know, Corey Haim says this. He's like, I don't want to hear about Corey Haim. He was like, he was got to get pissed about it. And so then when he got this role and found out that Haim was on the project too, Haim called him up and they, and he was like, and like, and they, they, they met up and they just kind of clicked and they did about seven to nine, maybe like nine features together.
Reginald Titus Jr.: Really?
Casey G. Smith.: Yeah. Because it's not just the, obviously, you know, "License to Drive" and the "Dream a Little Dream" with me and, uh, there was a, there was another movie they did where they were both high school students, um, and they were in a band.
Reginald Titus Jr.: I, I sometimes I get them mixed up. Uh, Corey Haim, which one's Corey Haim?
Casey G. Smith.: He's the younger one with the squeaky, squeakier voice.
Reginald Titus Jr.: Which one passed away?
Casey G. Smith.: That must have been Haim. I think Feldman's still alive. So Feldman was the one that, who was looking like Michael Jackson for a while. That's, that's, that's Feldman. And then Haim,
Reginald Titus Jr.: Corey Haim. Okay. Yeah.
Casey G. Smith.: Yeah. He was the one who was the, the lead in, in, uh, "License to Drive."
Reginald Titus Jr.: Yeah. I remember that one. Okay. I didn't watch all those films. Like, I didn't watch them.
Casey G. Smith.: I didn't watch them.
Reginald Titus Jr.: I remember "License to Drive" because like that's everybody's dream, you know. When you're a kid, you're like, I, yeah, I want to drive. When is my turn?
Casey G. Smith.: Right. That was, that was a, that's a fun movie. That's a fun, fun movie. But, um, but yeah, so that's, it's, it's a good feature just kind of hearing them talk about their respective times and, and in growing, growing up. And, yeah, they kind of tell they kind of drifted, drifted apart, but they said they're like family that they, you know, they come back together. And they knew when they got to that like seventh or ninth film, that they knew it was time like, hey, that's a lot of films. Yeah, that we need to kind of branch off and do our own thing and, and, and create our, our own, uh,
Reginald Titus Jr.: Especially you got one guy turning into Michael Jackson, you're like, I think we should scale out.
Casey G. Smith.: Yeah. Yeah, so.
Reginald Titus Jr.: Hey, Michael Jackson was a strong influence, you know. King of Pop.
Casey G. Smith.: Absolutely. Yes, sir.

Vampire Lore and Character Analysis
Reginald Titus Jr.: Okay. So, inside, there was another one called "Vamping Out: The Undead Creations of Greg Cannom."
Casey G. Smith.: Yeah, that was, that was nice because he really goes in depth, obviously, with the, uh, the visual look of, of the characters and how he pulled it off and how Schumacher wanted an aerodynamic look. Just how he went about applying that makeup. But also talks about the, the, the, uh, yeah. And kind of aging up Kiefer to make him look a little bit older because again, these actors, you know,
Reginald Titus Jr.: Bowl head.
Casey G. Smith.: They did look old. Like even though they're 18, they look like, I'm a man. Yeah. Exactly. They were eating.
Reginald Titus Jr.: They were eating their Wheaties. Yeah. But Jason Patrick and Kiefer look older, but, but they, yeah, they did something with Kiefer's forehead to make him look older because at the very end of the film, when he's dead and you see him there, he looks, he looks younger, he looks more innocent. Um, at least that's what I thought when I saw him like, oh, even the way they lit him, he looks, he looks younger. But Jason Patrick, yeah, he looks like a grown man. He's, he's, but he's 18 at the time. But he just also carries himself. He's kind of an older soul as, as is. But the contacts that they used in the film, which gives, you know, obviously these vampires such an iconic look, they're the, they're they're like these glass, you know, there's like glass, these, these are hard glass contacts. They were actually invented by,
Reginald Titus Jr.: Horrible.
Casey G. Smith.: They, may have been, invented over in Britain. And they were used by paratroopers so they, they could use them in place of wearing goggles, it would, would protect their eyes from the wind. So you could jump out and, and paratroop in these things and it would protect your eyes. That's why they are so thick and uncomfortable. Um, but they could only wear them for like maybe four minutes at a time. So when they were doing these scenes where they were hanging upside down, it takes a while to get them upside down. Then they had to, you know, be on the contacts. Then after about four or five minutes, they got to take them down and then take these, these lenses out of their eyes. But,
Reginald Titus Jr.: You know what? They look awesome though.
Casey G. Smith.: They do. The effect, the effect stands out. And they, but they cover, um,
Reginald Titus Jr.: The outer part of you.
Casey G. Smith.: Yeah, like it covers a lot. And they were used by, uh, paratroopers. So they could, they could jump out and, and paratroop in these things and it would protect your eyes. That's why they are so thick and uncomfortable. Um, but they could only wear them for like maybe four minutes at a time. So when they were doing these scenes where they were hanging upside down, it takes a while to get them upside down. Then they had to, you know, be on the contacts. Then after about four or five minutes, they got to take them down and then take these, these lenses out of their eyes. But,
Reginald Titus Jr.: The, the one shot when he started crying, I thought like he was just like on point with it, but, you know, the director says that, you know, because of the contacts, it's like irritating the eye, the, your eye's just leaking.
Casey G. Smith.: Yeah. Just leave them open for a while. Okay. I was like, oh, that was a, that was a pretty good scene. Yeah.
Reginald Titus Jr.: He's like, no, I'm really hurting.
Casey G. Smith.: Um, but yeah, they are able to utilize, uh, those effects and, yeah, he was able to, to create a, a really organic look to the vampires that, uh, it still retained their attractiveness, but, you know, still monstrous. So it wasn't, it wasn't over the top.
Reginald Titus Jr.: So there's another feature called "Inside the Vampires' Cave." What is that about?
Casey G. Smith.: So that's basically going through and, uh, showing how they, how they handled basically the set and the settings of, of using a combination of on-location shots in the, uh, the town of, obviously Santa, uh, of, of Santa Cruz. And they of course forced them to change the name and use a fictional, fictional city, Santa Carla, because they didn't want Santa Cruz affiliated with, with teen violence. And the only thing they could use, the boardwalk, because they used a fictional name. But also the actual cave, uh, or, or where, where the Lost Boys hung out, that's actually a, uh, soundstage, um, on Warner Brothers' lot, it's a huge, huge soundstage.
Reginald Titus Jr.: I wonder how many people went to that cave like, I wonder what it looks like in there. The set's not there.
Casey G. Smith.: Yeah, nothing there at all. And, and so they, yeah, and it was a series of, uh, I forgot how Schumacher described it, but a series of flats. There we go. That they would just kind of rotate and move and, and cut around. So, yeah, it was kind of just diving into the location and the, the locations where they, where they shot and the sound stages.
Reginald Titus Jr.: Pretty nice. And then there's a Lou Gramm "Lost in the Shadows" music video. Did you watch that?
Casey G. Smith.: Did not watch the music video.
Reginald Titus Jr.: You didn't want to get lost in the shadows?
Casey G. Smith.: I was like, this is not going to add anything to it. Skip. Yeah. I didn't do the multi-camera thing with the, with the Coreys. I didn't, I didn't do that one either. I was like, I feel like that would take a while, so I, I skipped that one too.
Reginald Titus Jr.: And then there's a last feature, "A World of Vampires," an interactive map.
Casey G. Smith.: This was arguably maybe my favorite feature, um, on the disc. It gives you an interactive map and it shows obviously the, the world. And it has dots on about six to seven different locations. Uh, Russia/Eastern Europe, um, London/the UK, um, India, Asia, South America, Australia, and maybe one other location. And as you click on each one, it's a nice little video production. And, and each one is about maybe three to five minutes. And they're just talking about just different vampire lore. So, of course, I started with, with Eastern Europe and in, um, Russia where they, of course, they, they mentioned obviously, uh, Vlad the Impaler. But they also mentioned somebody new and Schumacher mentioned, uh, this person as well during the commentary. He mentioned, uh, someone called the, the Blood Countess.
Reginald Titus Jr.: Oh, the lady?
Casey G. Smith.: Yes. In, uh, there's a, uh, the movie "Hostel," "Hostel." Did you ever see any of the "Hostel" movies?
Reginald Titus Jr.: I saw the first one.
Casey G. Smith.: In, spoiler alert, in the second "Hostel," a lady strings up one of the girls, strings her up and cuts her throat.
Reginald Titus Jr.: You know what? I've saw the second one then. I know, I know the exact scene you're talking about.
Casey G. Smith.: And she bathes in it. And I think Eli Roth brings up the Countess.
Reginald Titus Jr.: He mentions that. Okay. And that's exactly what she was doing. She was, initially she was taking peasant girls and, and specifically virgins. Somehow she got the, the thought and belief that if she, if she bathed in the blood of virgins, it would enhance her appearance. Uh, and she would even drink the blood at times. But then after a while, after not seeing results, she got that idea that I may need a higher class of blood and began to go after higher class people in society, women and virgins. And they said, by the time she was actually taken away and, and captured, that she had, she had slaughtered about 600 women.
Reginald Titus Jr.: Whoa.
Casey G. Smith.: Yeah. 600. And they said they locked her away. She was locked away in a, uh, a room with, with no, with no windows.
Reginald Titus Jr.: Oh, man.
Casey G. Smith.: And they said within two years, she, she passed away, she died. I was just like, what? So that's just one of, of, of many, uh, stories and lores. And, and some, some deal with real people in some of these countries. Some deal with just different, uh, creatures of the night, like the Chupacabra, um, in, in, in South America. Um, and just, it's very fascinating to hear, but you, but through this, you begin to see now when we see our kind of modern day vampires, some of the rules that Schumacher talks about. Obviously, a lot comes from Bram Stoker's Dracula and, and Vlad the Impaler, but we get, we, we, we begin to hear about different things and, and, yeah, either by ways to kill them, or things that they can't do, or, you know, sleeping in certain places, or coming out at night, or vulnerability to, to, to light or the sun, or garlic affecting them, or ways that people become vampires. Oh, they were, they were bitten. Oh, they sucked their blood. Oh, they, they committed suicide. A lot, a lot of these are tied to women who had trouble bearing children, or people who committed suicide, like, like a lot of times like they were tied into, to like your, like, your behavior, uh, and, and sometimes tied into religious, uh, activity as far as, you know, what kind of life you led, whether or not you would be susceptible or become one of these creatures of the night. That's interesting.
Reginald Titus Jr.: After, uh, going through Bram Stoker's Dracula and going through all that, it was like, I felt a little bit more informed.
Casey G. Smith.: Yeah, this will, you watch that feature, I think you'll, you'll feel even, even more informed. It's very fascinating. And, and, and honestly, seeing, especially like some of the ones that it were in Asia, I'm interested in seeing if there are movies. There, there have to be. They, they come from these cultures. I'm interested in seeing some movies about some of these other characters, um, because they're, they're, they're kind of interesting. They're kind of interesting. Maybe we've seen versions of them in some movies, but I didn't realize their origins.
Reginald Titus Jr.: Okay.
Reginald Titus Jr.: Yeah, I think this film , it, it's like perfect from, you know, we, we saw the, you know, "Last Dragon" on the East Coast.
Casey G. Smith.: Yeah.
Reginald Titus Jr.: It's in Brooklyn, East Coast, black folks, different kind of music. Then you go to the West Coast, you got the rock thing going on, different kind of music, white folks. So, it's like, it's like the exact opposite almost.
Casey G. Smith.: That's a, that is a, that's a good point. Yes, they are very different worlds.
Reginald Titus Jr.: Anti-hero, superhero or, you know, whatever, or hero.
Casey G. Smith.: Yeah. And it's, yeah, different side of, different side of the world, but still, same time period roughly.
Reginald Titus Jr.: Yeah.
Casey G. Smith.: Right? '86, '87.
Reginald Titus Jr.: Yep. I think it was the same year, isn't it? '87, '88, I don't know. But yeah.
Casey G. Smith.: Yeah, yeah. But, just different, yeah, very different vibe. Very, very different vibe. But, you know, both films, you know, one being a martial arts film, incorporating humor and some different, you know, different ways at different times. And this being a horror film, almost a horror comedy, really walking that line very finely and doing a pretty good job of it. Of, of, yeah, sharing those two genres. And even during the, the filmmaking, people were asking Schumacher, what, what kind of film are you making? The executives are getting nervous, because they couldn't quite tell. Obviously, it all worked out.
Reginald Titus Jr.: It did.
Reginald Titus Jr.: Themes. I have a couple, uh, missing children is a theme, father figures, um, and like a search for like completing a family unit, was some of the themes I pulled away.
Casey G. Smith.: Yeah, I saw some of those, those same things, especially just thinking of, in the name alone, "Lost Boys." And thinking of Peter Pan, um, and themes of, I'd almost want to say immortality, but these, yeah, but these vampires, to me, this is kind of one of the first vampire films that I saw where the vampires were young. Like it, it doesn't seem like they had been vampires very long. Maybe they just adapted with the times, but, but yeah, but they all seem like young vampires. Like they're recent and they're, yeah, like they had been turned recently in that town that they were teenagers and, and somehow this guy came in and he turned them. Young vampires, like that was kind of a, a new thing aside from the virgins you would see in, in Dracula films. These were young, yeah, hey, we're young '80s sexy vampire dudes. That was kind of a first, but, yeah, so that was, that was different. That, that different take on, on immortality. And there's always, you know, the hint of the, the, the love story, uh, that, that's in the mix, but it's, it's his relationship with her is, is, is interesting. It's not, it's not that flushed out.
Reginald Titus Jr.: No. No. It's all, because she was trying to trap him, right? Basically. Yeah.
Casey G. Smith.: Yeah, she really was trying to trap him. There's, there's some deleted scenes. That's what we, there were some deleted scenes. About 17 minutes worth of deleted scenes. That actually are worth, are worth watching as well, I think. I, I see why they cut them out. The film still works without them, but it flushes out a little bit, just a little bit more of the characters, but they were able to take those scenes, delete them, and just use really like one word of dialogue to kind of encapsulate. Like with Michael mentioning him not going back to, maybe not going back to school. But then they have a whole scene where he actually has gotten a job and is like helping pick trash off of the beach and actually takes some of the money from that day, takes it to his mom at the video store and says, here, this is some money to help out with the, you know, with the bills. And she's like, no, you're going to hold on to that for when you go back to school. So, just like small things like that. Even, like his first initial conversations with, uh, Star, like they have an expanded conversation at the carnival when he runs into her for the first time. And, yeah, so, some of the things are flushed out a little bit more, but,
Reginald Titus Jr.: Okay. Yeah, but they're able to work around that.
Reginald Titus Jr.: Yeah, originally, he seemed kind of like gullible. Like, let me just do this thing. Like,
Casey G. Smith.: Yeah. How far are you willing to go?
Reginald Titus Jr.: Like, well, not that far. But,
Casey G. Smith.: Drink this. What? And why would you stick, I'm sorry, I'm like, why would you stick around once somebody has handed you some rice and then said you're eating maggots. And you look down and you see maggots. And you, and you, you spit it out and you look again and it's not. And then they say, you know, these noodles are worms and then they're not, like it's time to go. It's time to go. Now it's time to say goodbye to all my vampire friends. And you get up and get the heck out of Dodge.
Reginald Titus Jr.: Right.
Casey G. Smith.: I'm sorry, Star, it's not going to work. It's not going to work.
Reginald Titus Jr.: Yeah. I think she probably should have been more of the person that's seducing him, you know, in order to get him to do, in my opinion, you know, if that's who he's after, he's like, okay, and drink it. I could see that more, but,
Casey G. Smith.: Well, I guess there, there also is that, you know, peer pressure.
Reginald Titus Jr.: Yeah.
Casey G. Smith.: Right? Because these, these are the cool, the cool guys. And he's trying to prove, he's trying to prove he's macho enough in front of them because that's her, her crew. He thinks that's what he has to do. I got to show I'm tough enough. I got to show they're not fazing me and especially against this guy. I got to show that I'm not scared.
Reginald Titus Jr.: Me and you, one-on-one.
Casey G. Smith.: One-on-one, right now. So, I'll, I'll drink whatever, I'll eat whatever, just to show her that I'm bad.
Reginald Titus Jr.: Around this time, there were a lot of films that were out, you know, you had "Fright Night" that came out, you had, uh, "The Monster Squad", um, and some of these kind of played that little comedy kind of trope kind of like they were playing, so, I think this, this has the perfect tone of, like just enough comedy, but not enough to make it over the top. Like it was just like a little, just under the radar a little bit.
Casey G. Smith.: Well, you know, one of the reasons why I think it worked also is that when Schumacher had, um, the Frog Brothers, he told Corey Haim, or excuse me, Corey Feldman, and, uh, the other actor alongside him, he told them that they were, that Jason, uh, Jameson Newlander, he told them that that they were, they were marines, they were G.I. Joes, and they were very serious in their role.
Reginald Titus Jr.: They're role. You remind me of Rambo. Like before, I heard, uh, Schumacher say it, you know, he's got the red bandanna on and the way he's talking, I was like, okay, he just watched Rambo too many times. That's what I thought.
Casey G. Smith.: Oh, yeah. Oh yeah. And but they, they played their role seriously. They didn't know. They didn't realize until maybe like halfway through or towards the end that, oh, this is going to be played up like, it's going to come across comedic. They, they didn't, they didn't realize it. So, the fact that they were so committed,
Reginald Titus Jr.: It, it helped. It worked even more.
Casey G. Smith.: You kill your brother, you'll feel better. You know, it's just like,
Reginald Titus Jr.: Well, that's, yeah, when I saw, I don't know how I, I'm trying to remember when I was younger, how did I view this film? Did I see it as a scary film? Maybe a little bit, you know, maybe the like the theme music with the little kid singing, that was just a little bit creepy. Whatever they were saying. And, uh, so some of that stuff it was a little bit scary, but then seeing the Coreys and how they were acting and like, it was like, it's just no big deal. Kind of takes the edge off. Yeah, it did. So, I didn't really know how to take this film as a kid. I remember watching it also when I was younger, I think it may have come on, again, once again, HBO probably, uh, is when I saw it. My dad may have rented it from somewhere. But, yeah, I, I always remember Kiefer, Kiefer Sutherland's face. Um, and yeah, we did so much to scare me because I was into, to vampire films. But the part with the maggots, that always stood out to me. That scene stuck with me for, cause I, I'd watched the movie since then, honestly. But that scene always stuck out to me, like, man, he made this dude like, just did like a, you know, vampire mind trick. Yeah. And got him to see what he wanted him to see. Uh, I think he knows something about it. How could a billion Chinese people be wrong? Right, right, right, right. And he has, and Kiefer has so few lines, but just owns it, owns the screen, eats up the scenery, every, every time he's, he's in the mix.
Reginald Titus Jr.: So, I, I don't know how I took it as a child. It wasn't, even though, you know, Feldman was familiar from "The Goonies" and all that stuff. It wasn't really my top choice film.
Casey G. Smith.: Hmm.
Reginald Titus Jr.: Yeah. Like in retrospect. But now that, now looking back at it, I can appreciate it more for what it is.
Casey G. Smith.: You know, I'd almost forgotten there were so much, I had forgotten there were so much humor in it. I, I was thinking it was more straight horror. So, when I was watching it, rewatching it, I was getting a little annoyed by, by some of the humor. Yeah, initially, I was like, there's a lot of yuck yuck going on, you know. Like, come on, where's the action, where's, I, I remember this being a little more intense. But then about, about, you know, after you get maybe like a third of the way in, it, it becomes more intense. Yeah. And I'm like, okay, there it is. And that's when I saw, that's when I saw the balance. Okay. All right. Because once he, once he starts hanging with them and like, okay.
Reginald Titus Jr.: Once you get the bite, when he bites the dude on top of his bald head and the juice squirts out and you're like, here we are. I'm like, oh, this is.
Casey G. Smith.: Welcome. Vampire. Yeah, I started questioning, why is this rated R? You know? I'm like, why, this is, you know, this is light. Yeah, it really. I mean that, and really those, those scenes, well, no, the, the end, the end scenes, that's really where it earns its, its rating. Cause like, not, cause for whatever reason, I, I, I, as a kid, I thought, you know, when, when sex things would pop up, you know, as a kid, your parents would, you know, cover their eyes or whatever. So, I thought it was something maybe way more intense. But no, that scene didn't show, there was, there was nothing there. That was a PG.
Reginald Titus Jr.: Was that Dracula? Bram Stoker's Dracula?
Casey G. Smith.: Oh no. Oh no. By, by no stretch. By no stretch at all. Uh, yeah, that was super, it was super tame. It was just, you know, two people kissing, basically, just making out. So, very mild. It, it earns the R rating later on. But I see that, that, that balance came about.

Filmmaking Lessons and Themes
Reginald Titus Jr.: So, the style and look, um, practical effects, you know, they only had like one green screen that, which was actually real noticeable. But, um, , I like that he stuck with just practical effects, um, because they hold up longer. Now that we're used to seeing green screens and technology and software and stuff, it, green screens really stick out. When you look in the '80s, it's, it's, it's not, it's not good.
Casey G. Smith.: Oh, yeah. And luckily in this one they, they, literally they're, they're used twice. And actually the first one, the first one I didn't, I didn't catch when, when he kinda meeting in the air, but the, the latter one where, where it's Kiefer and, uh, Jason Patrick, that one, yeah, that one stands out. But it, but they're both relatively quick. Like it's a couple of frames and then, and then you're out. But yeah, the rest being practical, really does help hold up.
Reginald Titus Jr.: Yeah. And then also, of course, the DP, the way he's lighting things, it's just, it looks grounded, it has a style, it has a feel, it feels dark. Um, you feel like you're in the world of vampires, you know, by the way this thing is lit. What do you think your top, um, cause it made me think about vampire films, you know, you're like, what are, what are the top ones? I got a few, "Interview with the Vampire."
Casey G. Smith.: Yeah.
Reginald Titus Jr.: "Fright Night," the remake.
Casey G. Smith.: With, uh, Colin Farrell?
Reginald Titus Jr.: Yeah. Surprisingly good.
Casey G. Smith.: Man, you know, I remember seeing the previews for that a couple years ago and I thought, this looks kind of good. I didn't get a chance to see it though.
Reginald Titus Jr.: It is. And it has like the comedy in there a little bit. Colin Farrell, he's like a straight creeper in it, the whole way. But the, the guys that are in high school, they kind of play up the little, a little bit of the comedy, especially with the guy that played McLovin in the, what movie was that, "Superbad"? "Superbad."
Casey G. Smith.: McLovin.
Reginald Titus Jr.: McLovin. What did I say?
Casey G. Smith.: McGuffin.
Reginald Titus Jr.: McGuffin. So, uh, oh, yeah, when he, yeah, any-hoo, you got to check that one out. That's a good one.
Casey G. Smith.: Okay, I'll look for that. Maybe, maybe a good one.
Reginald Titus Jr.: But I don't want to spoil that one. That one's a good one. Um, "Fright Night," "Interview with the Vampire," "Blade." That was just a couple I can think of. "Blade 1" and "2."
Casey G. Smith.: Um, for me, I always, I mean, I've just been revisiting Bram Stoker's Dracula. That shot up pretty high on my list.
Reginald Titus Jr.: Yeah, now it's, yeah, it's on my list now. After watching that one.
Casey G. Smith.: That one shot up real high. Um, as far as other vampire movies that just stood out to me. I'll be honest, watching this made me want to, want to watch "True Blood." Go back and watch "True Blood" again. It, it really did. I'm like, man, this is making me want to watch "True Blood." Like season one of "True Blood." Yeah, it really did. And there's, I don't know, something, something about this that made me think about that, because you're kind of in a secluded, smaller, smaller town and you got new people that have come in and these different horror elements. And it's like kind of attractive, attractive vampires that are kind of, they're not, these vampires are still kind of hidden. But like in plain sight. And even, you know, the main vampire, he is running a business. He's running a video store. Honestly, I, I, I see influences that True Blood drew from, from this.
Reginald Titus Jr.: Okay.
Casey G. Smith.: After watching, I'm like, huh, there are some tropes that are, that are in "True Blood" that come from this. And again, the idea of the attractive young vampires, yeah, "True Blood" takes, I think, a decent amount of those things from this. But yeah, this makes me want to watch season one of "True Blood" again.
Reginald Titus Jr.: Okay. Okay. So, tips for you filmmakers out there. Here's a couple tips that you can take home. Legal, when you, you know, run into legal issues, they ran into an issue with, um, it was not necessarily legal, it's just more political and that's, uh, changing the name from Santa Cruz to Santa Carla.
Casey G. Smith.: Yes.
Reginald Titus Jr.: Because they didn't want to show the teen, teenage violence and all that stuff. Cause, you know, if they were going to do that, they was like, well, you can't use our boardwalk.
Casey G. Smith.: Which plays a pretty, you know, prominent, prominent role in a lot of the, the shots and aerial shots is in the, in the film itself. So, you know, being ready to make those compromises is, is important. But also I think that that tunes it into the kind of communication you want to have, um, in getting clearances to shoot at different places, especially within a specific city. Cause I, how would you know if you hadn't have had that, that communication? They could have shut, shut them down. And then they're like, well, where do we go next? We had planned for all this. Where do we go next? So, yeah, having your people make sure you get all that scored away in advance, they're pretty key.
Reginald Titus Jr.: Low budget can cause creative solutions. So, when you have a low budget, you can be like, you know what, we can't spend a lot of money on special effects. Or we're going to wait to put money on special effects. Um, and one thing, um, is showing instead of showing the actual vampires flying, you know, just getting the shots from the perspective of somebody flying and kind of veering down on the prey.
Casey G. Smith.: Which, you know, worked, worked well in this film. We, Bram Stoker's also used that in, in the pixel shots as well as the, the mist, mist wise. But, yeah, I think it, it works, it works well in the film and there's only a few shots of them actually flying. And, yeah, the, the practical shots, the in-camera work, definitely pays off and holds up better.
Reginald Titus Jr.: He said, what you don't see can be scarier than what you do see. That's Hitchcock. Hitchcock style. Casting a nice guy, you can cast a nice guy, so you can flip the switch on the audience later. And that was his reason for casting Edward Herrmann, who, who's playing like the lead vampire. Because you don't suspect him to be the guy. You suspect him, you think, oh, he's just the boyfriend or whatever. Um, but then later on, sure enough, you know, people thought that it was the grandpa that was might have been the leader. But instead, it was, was this guy the whole time.
Casey G. Smith.: Well, I, I think it's so, I actually, I think it's pretty brilliant how they, they suspect Max. Yeah. Then, you know, the 13-year-old has figured out literally the plot of the film. Yeah. And then they throw you off by having him, number one, get Michael to invite him in so cleverly. Yeah. That was so well done. That was smart.
Reginald Titus Jr.: Oh, yeah.
Casey G. Smith.: And I like the, you know, we always talk about the rules when it comes to vampires. I like how different directors, different stories will put their different spin and takes on that. Can they walk, can they walk during the day? Can they not? Can they transform into other monsters? Can they not? Do they have a, a different form or true form? Do they not? When you're invited in, do you then are able to overcome the stereotypical vampire weaknesses, which apparently this guy does. The garlic doesn't faze him. He has a reflection. You know, whatever water they spilled on him, which I'm assuming was holy water, no effect. I'm like, that is another, that's next level. Yeah. Um, but here's the interesting thing, the stake, the, it doesn't stop with a stake through the heart though. Because at the end, he does, he, he gets staked and, and it does have effect. Yeah, you can't win them all. But, yeah, the, but the, the kind of, you know, less trivial things he's able to overcome because of the invitation. That's a, that's a, I hadn't, I hadn't seen that before.
Reginald Titus Jr.: And which leads into the next, you know, point is, you know, when you're doing a vampire movie, you know, this director said, stick to the rules. Whatever the rules are going to be, stick to those rules. Um, you have to have rules. I like the film, I like films that have the rules, so I know what world we're in. Like, yeah. And I like for somebody to lay that out for me. Like,
Casey G. Smith.: Yes. And they do a clever job through, through comic books. The fact that, you know, um, Corey Haim's character is, Sam is constantly reading comic books. And he even gets introduced to the Frog Brothers who introduced him to the horror comics, which he's like, oh, I'm not really into horror comics. He's like, consider it like a survival guide. Yeah. And as he's reading through, you know, discovering different things. And even the whole hounds of, of hell aspect. I hadn't really heard that before, uh, previously in the, in the, in the vampire lore. But, uh, but yeah, they, they use that to, to really good effect earlier, earlier on. And that would make sense to kind of protect and guard a vampire if he, if he's in his coffin during the day, to have some beast outside.
Reginald Titus Jr.: People, um, so he talks about like directors that say, he says directors are lying if they say they've helped create a performance. Yeah. He says, people either have talent or they don't. Mm. How real is that?
Casey G. Smith.: That is, uh, like I, I give Schumacher a lot of props on this commentary. He's, again, he's very humble, he's very down-to-earth, he's grateful, and he gives a lot of praise to his actors. And this cast, man, this cast is, kind of similar to, I think, like "The Outsiders," where you had, uh, you cast a bunch of future superstars. Um, there are, there are faces here of actors who, some who hit some major, major notoriety, especially within later on within the '80s. And some, some whose faces are just like staples. Uh, Jason Patrick, you know, I don't know if you ever saw the movie "Rush," but he's,
Reginald Titus Jr.: Is that the one by Ron Howard?
Casey G. Smith.: Uh, I don't know if, if, uh, no, this one came out in the '90s. And I think he plays an undercover police officer.
Reginald Titus Jr.: Oh, okay. No.
Casey G. Smith.: Man, amazing performance, uh, in, in the movie "Rush." Obviously, the both of the Coreys known for a lot of their, uh, comedies and films throughout the '80s. But also, Jami Gertz. She is someone that throughout the '80s and I think like even early '90s, you see her in so many films. Her face is just, you see like, oh, okay, I've seen her in, in this or that or this or that. But, you know, she always gives a, a solid, you know, solid performances throughout. And her even being on in the film was because of, of Jason. He had made the recommendation of her, plus, and this, this, watching this helped me, helped me figure out and, and find a film that I've been looking for for years.
Reginald Titus Jr.: Oh, wow, a film?
Casey G. Smith.: For years.
Reginald Titus Jr.: Even with Google, you couldn't find this movie?
Casey G. Smith.: I, I didn't know the name of it. I, I didn't know the name of the film and because of, of this commentary, uh, Schumacher mentioning that, you know, that they had previously done a film together. And sure enough, I, I was like, I, I looked her up and it was this film called, um, "Solarbabies." Yeah, weird name. I get it. "Solarbabies." But it's kind of one of those post-apocalyptic, this is like '80, this is '85 or '86. "Solarbabies." And I remember watching it on, on HBO as a kid and it was just so fascinating. It's post-apocalyptic. And yeah, and then there's just a small group of like diverse kids and they, they, they leave from the place where they've been raised at and, uh, there's this scene where there's this chasm they have to cross and they've got on these rollerblades and one person like holds this rope or clothing and, and like spins around while the others build momentum and then they use the momentum and then jettison across the, the chasm. And it's just a cool scene. Um, with all kind of stuff that's, you know, takes place in between. But I, I'm just, I just remember glimpses of this as a kid. I didn't know the name, but I haven't seen a poster or anything for it since.
Reginald Titus Jr.: Like old memory, it's like a memory. Yeah. Like I'm starting to appreciate these movies more because I might have seen them, you know, in passing. Like, I think "Lost Boys" is one of those movies where I saw it in passing. Like it was just, flip through the channel like, oh, what's this? Oh, it's a vampire movie. Yeah. And it's just in your brain. It's just there, you know, it doesn't resurface. The memory doesn't resurface until you see the movie again.
Casey G. Smith.: Yeah. As soon as I popped, as, as soon as I popped in "The Lost Boys," and once I saw Max, I'm like, oh yeah, he's the main guy at the end. He's, he's, he's, he's the leader of the vamp. Like, instantly it came back to me and I'm like, whoa, I hadn't thought about this in over 20 years. Which is that. That's what it took. That and music, cause I do remember the little creepy theme song of "The Lost Boys." I remember that. And it, it's interesting how music can just, uh, trigger memory again. And, and for me, since I was dialed into, when we were talking about "The Last Dragon," I was really dialed into that movie how that music can make you feel good. Oh, yeah. Cause, you know, as a kid, like everything's like awesome. So, that music just turns that back on. Oh, yeah. Oh, yeah. But this, these actors, again, he, Schumacher says that Jason Patrick, as an actor, he said like they, they auditioned hundreds, or however many, a lot of people. But he said he, he could not find another actor who had not only Jason's look, but also his talent. Yeah. And being 18 at the time, it's like, that's a very short list.
Reginald Titus Jr.: Sure. But he looks like he's, you know, he looks like a seasoned actor, like he's in his 20s. Sure. And also, initially, he thought he was older. Yeah. I, I, so did I. And initially he didn't want to do the film. He's such a, such a serious actor that he thought this would be maybe detrimental to his career and or thought thought it would be more of a, like a B-movie in terms of the, the horror aspect. And like, I think, like, I think Schumacher said, maybe like a six, six-week period and met every week with him and his agent and they, they had to really convince him to do it. But it's also important to mention that this script, the original version of the script for "The Lost Boys," literally dealt, was, was a script made for children. Yeah. This was a rated G film where the Frog Brothers were literally going to be two boy scouts, uh, who, you know, were, were going after vampires and like, these, these are going to be kids, you know, maybe ages 8 to 12, maybe, maybe 13 Max. These are going to be kids. And, uh, good thing they didn't make that. No, man. You know, kudos to Schumacher for having a vision to, to, to bring this thing up to another level and to bring in the, the talent to, to make this work. Because these are, you know, all the way around pretty solid performances. And, and when I saw the, uh, Billy Worth, no, Alex Winter, there we go. When I saw Alex Winter, I couldn't place who, I was like, I've seen this guy's face before. Who is this guy? Who is this guy?
Reginald Titus Jr.: Oh, he looks so sinister.
Casey G. Smith.: Yeah, but once, yeah, Schumacher said that, oh, yeah, I was like, what is that? He has such a distinct look, man. He does, that's what I was trying to drive me. I was like, I know this dude's face. Where's this? He's not American. He's, I forgot where he's actually from. So, he doesn't even have American face. He just looks different. Yeah, he does. But once Schumacher said, I'm like, duh. Okay. All right. Yeah. Bill and Ted.
Reginald Titus Jr.: You just like, like when he comes in, he just smiling. His ears sticking out.
Casey G. Smith.: His eyes. Yeah. Yeah. Yeah. But he was like fresh out of film school. Dude's like a good director now. Yeah. That's what he does. I like it. He mentioned like why vampires, you know, why people, you know, like these movies so much. And he says, it's one of the few like monster movies, vampires because they're reason why people like them because they're sexy. It's one of the few monsters that are sexy. Most of the monsters are gross.
Reginald Titus Jr.: What are the monsters that are sexy? Huh? What other monsters are sexy?
Casey G. Smith.: No, no, no, that's what he's saying. Is that, right. I get it. So, but, but like so, vampires being sexy. What else? What, what other monsters are sexy and or seductive? Again, he goes through, you know, obviously not Frankenstein. Not Wolfman, not Creature from the Black Lagoon, not the Blob.
Reginald Titus Jr.: Maybe the, uh, um, like the real mermaids?
Casey G. Smith.: Whoa, yeah. Or the sirens that lure, lure sailors out to sea and, yeah. Oh, yeah. Like real, yeah, like if mermaid, the lore of, of, of the real mermaid. That's creepy. That is. That was, that'd be real, real creepy. You know, it's not splash. Like, maybe splash of blood. Oh, man. Your final splash. But, yeah, like, you know, yeah. Under the sea permanently. No, thank you. No, thank you. But, yeah, yeah, vampires. Again, every vampire movie, film, show, yeah, there's always this total sex appeal. And, and Schumacher mentions especially again, coming out of the Bram Stoker, Bram Stoker's Dracula, out of the book, is that having this figure that emerges and goes into, presents himself to the woman in her bedroom, sneaks in to drain fluid consecutive evenings. Drain fluids from her body, consecutive evenings at a time until she succumbs to him. That's crazy. Right? And Schumacher said that he thinks it, uh, Schumacher says he thinks that it, it, it was a, uh, maybe a metaphor for, uh, felatio.
Reginald Titus Jr.: Oh, man.
Casey G. Smith.: Yeah. Hey, there we go. There we go.
Reginald Titus Jr.: I think Schumacher is just a freak. And so, I don't know. But again, but again, everything, both films that we've seen that deal with vampires. It's, it's all, there's, there's a lot, it's all, there's this sexual overtones throughout. Yeah. It is, because, you know, you're dealing with suck, literally sucking on people's necks and there's a transfusion, there's a exchange of fluids. Exchange of fluids. So, yeah. Even, you remember that, um, "Once Bitten"? Jim Carrey. 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Jim Carrey's Jim Carrey's Jim Carrey's Jim Carrey's Jim Carrey's Jim Carrey's Jim Carrey's Mike Camp, who's a really good friend of ours from New Zealand. He runs a business called Kinematics. Okay, which is like a production company based in New Zealand. And he's working on some films of his own, some shorts and some other content. And he had asked a question to us where he was like, hey, what do you think is a difference between a production company in a studio, because for him he's running a production company right now. And like he's looking at like, you know, what's, what's a studio going to do for me that a production company wouldn't do.
Casey G. Smith: Hmm.
Reginald Titus Jr.: You know, so that was, that was a good question. So that's the whole discussion that we're going to talk about today. What do you think is the main difference?
Casey G. Smith.: I mean, I think it starts off with how much money they have. Um, just the sheer scale. A studio has the money to fund projects to either distribute to other production companies who maybe produce the film for them, but they're backing the money to get it made, to get it out there. Where a production company is a film that they are producing that they may have to pitch to a studio to get it picked up. So that they can then distribute it in mass scale throughout the world.
Reginald Titus Jr.: So you say financing, so then you, like for example, if you say Netflix, like Netflix is more of a studio rather than a production company, because they're making all their original content.
Casey G. Smith.: Exactly. Yeah. And it's on a grand scale. Um, a film like "Bright," that's, that's Netflix's film. They produced that. They had the money to produce that and get that out there. They could have outsourced it. They could have maybe had a production company that may have had the story and then they came to Netflix and said, hey, we got this script. We want to shoot it. And then Netflix had the money to back it. But then Netflix decided, you know, we have our own facilities, we have our own people. We're going to put our Netflix stamp on it, and we're just going to do it ourselves. Um, that would make it a studio.
Reginald Titus Jr.: So, to me, studios, like if you're looking at Marvel, Marvel is a production company owned by Disney Studios.
Casey G. Smith.: Right. And Disney is the one who has the money, has the assets. So, when people talk about the Disney Vault, they literally have a vault for the actual films to hold on to. That's, that's Disney's money. Disney's, Disney's, uh, assets. So, it's just, it's the scale, it's the sheer size, it's the money. Yeah. It's the resources. Mhm. Yeah. That's what differentiates a studio from a production company. Production companies are there to make, a studio is there to sell.
Reginald Titus Jr.: So, that's what, that's the discussion that we're going to, we're going to have with you guys. And hopefully you guys learn something from that. All right. Thank you guys for tuning in, and we'll catch you next week. Peace.