Fast Times at Ridgemont High (1982)

All right, this was the first fight I remember. The title song. I believe one of our producers wanted Raised on the Radio by the Ravens, which was going to be a really big hit song. Right. But instead, the go-go's. Yeah. As it should be. Well, it should be. Well, you know, I have to say that it was Amy who said, when she read the book and the script of Fast Times that we should consolidate the action in the mall and that the mall should be the centerpiece of the movie. And I have to say thank you, Amy. You're welcome, Ken. Actually, I'm an agoraphobic. I don't like going outside. So the idea of a bunch of fast food places on a strip outside in fresh air was frightening to me. I was just waiting for malls to be invented. And so I could be on the outside and the inside. By the way, how did you feel when they closed the Sherman Oaks Galleria? Did they close the Sherman Oaks Galleria? They're closing it. Why? I think it's time has passed. Get out. Isn't that sad? That's way sad. Do you remember these old video games? I do. Asteroids? Yes, they're shown. Moment of silence as we regard... The Jordache jeans. The Jordache jeans. Well, you saw a ton of people for this, right? Didn't you see... I have to tell you, I found an old casting sheet in my garage, and I actually saw my agent, and he came in to read for Brad. Wow. Amazing. But you saw all of those people that ended up doing the Hughes movies and other stuff? Yeah, we saw Ally Sheedy, do you remember her? Yeah. And Meg Tilly, and... Oh, who was the karate kid but we couldn't afford him because we didn't have enough money? Ralph Macchio. Ralph Macchio. Matthew Broderick. Matthew... Did we see Matthew Broderick? I seem to remember that. There he is. There's that guy from the stereo store. Don't you think he looks like Richard Gere? Did you see his cute little butt? Okay, you guys. Let's talk about that fox that just walked in. We already were. I'm going to go over there, okay, and change the shakers. Well, this was... Jennifer Jason Leigh worked at this actual Perry's Pizza before we did the movie, right? She was a method actress. She actually got herself a job there. This stuff with kids, we actually had to shoot... The kids were under 18, so... We had to shoot it during the daytime, but we had to shoot the mall overnight, so we had, like, about ten minutes where the mall was still closed, but the kids were allowed to work. You remember this? I do. And the reason I do is because you said, I want the writer on the set, and he should be able to be on the set as much as he wants, so I took you up on that. I was around all the time. You were. We didn't know that writers could sometimes disappear, but... You were there all the time, which was so great, so totally great. Now, unfortunately, when we shot a lot of this stuff, they had been up all night, and so they went from looking like teenagers to looking like 30-year-olds. Yeah. Robert looks like he's been down a long road there. And actually, there were two real-life teenagers in our cast here. One was Phoebe, who was really a teenager. She was 19. And Nicolas Cage, who lied to us and said he was 18, but he was 17. Wow. So we could have gotten in trouble. We may still get in trouble. Get in trouble now. Oops. He was Nicolas Coppola then. Yeah. This guy has gone on to teaching acting, I believe. Really? Yeah. Wow. I saw him in Beverly Hills one day. You look like you could still be in high school. Yeah, I know. Everybody says that. Now, I remember standing... watching the scene getting filmed and thinking they may arrest us when this movie comes out they may actually not be ready for this kind of you know straight ahead sexual behavior we were just got in ever so slightly before the whole reagan backlash although we We sort of had a problem with the nudity, because we implied that the characters were under 18, even though they weren't. And that was a big issue. Well, I remember they sent a memo. Some unsigned memo came from the higher-ups at Universal, and it hit the producer Art Linson's desk early on and said, do not film this movie. It will bring us all down. The entire studio will be over if you make this film about kids doing these things. That having been said, welcome the entrance of Mr. Jeff Spicoli. Yay. Hey, you guys had shirts on when you came in here. Something happened to them. And just for the record, I'd like to point out that he's wearing half of wigs. That was like his taps hair on the top and a wig on the bottom and fake braces and red in his eyes, to sting his eyes, just because Sean needs to feel the pain of being a surfer. I could still smell this mall. Yeah. You know, Sean based that character on somebody he knew in school who hung out at the beach. I never met that guy. It would have been great to have met him. But my whole thing making the movie was I wanted to hear him say, you dick. because I thought that's the key to everything, and he would not do it. He did say you dick, didn't he? He said it when it was time to film. But we'd go out for pizza afterwards, and, you know, I would just try and catch him in a moment of weakness and say, come on, just say dick. I don't even need the U. He wouldn't do it. Until it mattered.

Okay, this is great. This is like, excuse me for being film man, but this is like brilliant Amy Heckerling putting you right in high school. It's just all of a sudden we're seeing it's kids from a kid's point of view as opposed to your mom and dad's vision of being a kid. I just think this is brilliant stuff. I think that's a brilliant gum joke. Hey, man. Well... The legendary Eric Stoltz. This is where I got totally confused. Like, what kind of car should Brad have? Because coming from the Bronx, it was just beyond me that people that were teenagers could afford cars and know how to drive them. How did you pick this car? I don't know. I thought he should have a big hunk of junk. I think this was, you know, you and Carrie Frazier kept saying he should have a really cherry car. And I didn't know what you meant by cherry. The cruising vessel. The cruising vessel. Yeah, that it was like an old car, but it was a cool car. That's great. Oh, yeah. Here comes a famous director. Actually, this is one of my favorite showbiz stories was when we first met Forrest. And he just had to have this one line, which was coming up. We can't have a guy read just don't fuck with it. So I said, just read a monologue, if you know any. And he read something from streamers and he was brilliant. So we just said, OK, you got the part. And I looked out the window later. and he was skipping to his car. Oh, man. It was so cool. It was like he was just so happy. It was his first time reading for a movie, and he got it, and he was so happy. And that's just, like, the most fun when you just are able to, like, say to somebody that really wants to do something, you're doing it. Yeah. I love that. Wow. So great. You want to work at All-American Burger? Yeah, well, um... I can probably get you in there. Just let me talk to Dennis Taylor. He... He slammed his line, you got to say. Forrest drove that line home. He did. He did it. Okay. Amy, do you have a story to tell about this? Oh, I don't know. Should we tell that story? Yeah, let's tell that story. Well, Sean came up to me before we did that, and that was all he had to do all day. And he had a can of soda, but it didn't exactly smell like soda. And he said, do you mind if we do this? And... I realized all he was going to do was fall out of a van and it might actually be helpful. So I said, sure, go ahead. And that's my only story about any substances on this movie. I read interviews with some of these guys that say, yeah, we were partying, making this movie. And I always feel like, you know. We missed it. Alice in Wonderland or something. Where was I? Yeah. Well, now. I remember being crouched behind the camera, courtesy of you, waiting for Sean to come in this room, and all I'm doing is waiting for him to say, you dick. I'm, like, shaking right now. I want to hear it so bad. I didn't know that line meant so much to you. I think it's coming up. just like you wouldn't want me to come to your house some evening and discuss U.S. history on your time, understand? Yes, sir. You originally wanted Fred Gwynn, didn't you, for the part of Mr. Hand, and he didn't want to do the script because there was too much nasty stuff? Well, I forgot all about that, but as it was in the book, he was a big, heavy guy, sort of like the Hawaii Five-0 character. And then when we all met Ray Walston, who everybody loves from something, and... He just seemed so strict, even though he was little. He just seemed just as mean as a big guy would be. Perfect. Now, that's a Sean improv, right? Yeah. That was great. Now, when the camera turned around on Ray, Sean said, you old red-faced motherfucker. Oh, yeah. Yeah, and it freaked out Ray Walston. Ray came up to me. Wait, here comes your dick. Still makes my heart race. Look at that look as he looks away. It's so great. Ray Wilson came up to me and said, you tell that young man that that is not appropriate. Well, because all the extras were like, you know, on TV shows and stuff, and they were just, they were kind of bored with everything. And then we, you know, Sean was smart enough to know that it'd be great to get a reaction. Yeah. So he just... He went for it. Went off on it. Well, he believed that off-camera he should really piss off Ray, and Ray was like, you know, you do it as written, young man. Yeah. So we had two different acting schools going on. Well, I've now come to be Ray Walston myself. But, uh... No, no, no. Improv is good. I don't know about you, but I've seen this routine in a lot of other movies where, you know, they... They're all dressed up as some other current pop star girl. But it all started with our Pat Benatar imitations. Which we need to hail her. Yay, Pat. Yay, Pat. There are like variables that I might not be good at. Like what variables? Like, you know, giving blowjobs. What's the big deal? I never did it. You've never given a blowjob? Never. It stays. There's nothing to it. It's so easy. Okay, now this, of course, I got to say, this, I'm sort of amazed, still amazed that we were able to film this. Well, actually, Art didn't think I did a good job. He was, like, mad. He was like, you should have made this sexy. You should have seen lips with, like, big carrots, like, going in and out and in and out. He really wanted me to go for the whole. I just thought it was kind of matter of fact for these girls. It's fantastic. And it's so real. Which was the point of the book and what you were a real cop about on the movie. Well, the book was... The whole thing was like fast times. It's like too fast. They're too young for all of this. They have to look like little kids. Right. Real. Because all the teenagers on TV looked like 40. Yeah, and Grease, where they were... They were 40. Yeah. And it just had to be, it had to look like it was all beyond them. Like there were children experiencing all this stuff too fast. That's great. Do you know what they do? Have you heard? What? Well, the bodies are dissected. Mr. Vargas pulls out parts of the dead body and holds them up, okay? You mean he reaches in and pulls this stuff out? What, like stomach and tumors or something? We had fun with Vargas. Yeah, baby. You just photograph him and you crack up. Look, I'm a little slow today. I just switched to Sanka, so have a heart. Now, did you feel like Jennifer was... How do you feel about that performance as it was going? Because it's so important in the movie. Well, there was really no backup to Jennifer. I mean, Jennifer was the only person... that looked young enough to pull all this off. Every other actress that came in, even though they were wonderful, like Ally Sheedy, you remember, and Meg Tilly, they were wonderful actresses. They seemed taller, bigger, like they could handle everything. She seemed like a tiny little girl, and everything happening, getting pregnant or drugs or whatever, would just be too much for her. So there was Jennifer. That's what we... I don't know how you felt, but I thought that there was a sort of like a down quality about her. And I was always hoping to sort of perk her up a little more, as everybody else was. And that kind of... colored who we used for Brad, because I had a feeling that the whole Jennifer story with her brother would be really too sad if we had two down people. And the person we were seriously considering, you remember, was Nicolas Cage. And I was just afraid that the two of them together would be very down for the whole middle part of the film. And so we wanted something a little brighter, a little... little more of a pickup which would be more of the flavor of judge reinhold so smart so smart and i remember there was you you had to fight a little bit for that because there were people that thought he might be actually the one that looked a little old he was the oldest looking one he wasn't the oldest character in the movie i don't think he was actually him and brian were about the same age it totally worked though Yeah, although looking back, don't you feel like people go, oh, how come you didn't use Nicolas Cage as the lead? I mean, he was right there. And we kind of were playing with that for a long time. Yeah. So sometimes it's just like how chemistry mixes rather than who you think is the best or the worst or whatever, you know? I'm not sure that Nic Cage, as a guy, was ready to go out there. Maybe from the experience of being on this movie, he went and did Valley Girl, but... He was sort of a shy kid at the outskirts. He was the one that I don't think everybody hung with as much. He was a baby. He was younger than everybody. And if you remember, he made up some very weird improvs because he saw that Bobby Romanis and Sean Penn were doing all these improvs, and he kind of like, me too, me too, I'm going to, and he'd come up with these crazy remarks, and it was like... He was just so young and earnest. Wow. And then when I saw Valley Girl, I thought, oh my God, see, he is a leading guy. Yeah. I screwed up. I don't know, man. I just think the chemistry worked. And Judge, you know. Judge also needed to have that feel that he was the older brother to all these other kids. So in a way, he had to be older.

This was the last day of shooting. And it was actually raining. And we were all huddled in here and telling the guy to, like, you know, do his humping movement more dramatically so we could see it from far. And then the movie was over. And then it was over. Yeah. Thanks a lot. All this dialogue is exactly what's in the book. It's just... From, like, that's a nice jacket to your first sexual experience. She's really good here. Yeah. So... Am I gonna get to first base? I got one word. Softcore. Okay. You know what? I mean, the feeling was like... Are you really 19? We didn't want to make this romantic and glamorized sex. It was supposed to be like bare light bulb, harsh shadows. It's cold. It's, you know, muted colors. Sorry we put the triumphant reprise of somebody's baby over it. Well, we had to put that song in again. Now, this is major. Now, when you're shooting this, are you just thinking, I'm showing it the way it really is? They're going to lynch us? What are you thinking? You know, it's funny because I was trying to make sex seem scary and uncomfortable. Right. And the shot of the light, so it's what she sees and not the idealized version. It's so cool. Well, the graffiti, that was in the book. It was like that was the thing that she was reading, Surf Nazis, as she was losing her virginity. So we were on the same wavelength. Yeah, but you wrote it. Well, I got lucky. Well, we both agreed. This is good. Well, it's powerful. That sort of starts to really send a message, I think. if you're watching that movie, that these people are not doing a nostalgia piece or something. No, this is not like, you know, the summertime and smoke and, you know, it's like, it's the valley and it's your virginity and there it goes. Right. They used to say nobody will come see a movie about young people unless you have it appeal to adults too. And they were saying, like, can't you get some adult characters and have nostalgia in here so it'll be like American graffiti? And that was our whole battle, I remember, is to convince the studio that, you know, young people would actually show up if they had a movie about them. Well, one thing I loved about the book was that teachers and parents, they were not part of their world. It was like there was the world of the teenagers. Right. And you were... like privy to this world and it had nothing to do i mean we had one mother say one line and that almost seems like a violation to me because she's good night stacy and other than that it's like here's that world they function in here's what you grown-ups don't see and that's what was cool about it i need to now put in a plug for amy short getting it over with which i hope somebody puts out in some form, because I remember when we were looking for someone to direct the movie, we saw your short and turned to each other and said, well, this is somebody who understands kids from a kid's point of view. And there was like a lot of the ache and humor in it. Be great to see that again someday. I think the only other serious director that we talked to before we saw that I don't know if you ever knew this or if you heard about this, was David Lynch. And it was Tom Mount's idea. And he said, I just, this guy is really good and I think we should offer him our movie. So we sent the script to David Lynch, who read it in about a day or two and said, well, this is funny, not really my material. And of course, he saw his future laid out before him even then. And then we saw getting it over with. That's funny because I actually, I love David Lynch's movie, Eraserhead. And when I was first starting to meet everybody at the studios, I was going, oh my God, you got to see Eraserhead. This guy is the greatest. I mean, I just, I thought that was like the coolest movie I ever saw. Very cool movie. Yeah. However, I'm so much happier. It'd be interesting. You were here in the All-American Burger filming this scene. It'd be interesting to see the David Lynch version. Yes. Well, with all love to David Lynch, I don't know if we'd be watching it in this form right now. Still, it would be... Now, he's kicking ass here. Ray Walston is just on fire. Oh, I love that. What are you, dope? Yeah. It was passed in 1906... This amendment to our Constitution has a profound impact upon all of our... Where is Jeff Spicoli? I saw him earlier today near the first floor bathrooms. Is he still on campus? This is good. Anyone? Yes, Desmond? Now that's Frank Price's son. Yeah. Ahead of the studio. I love that bring him in. What is this fascination with truancy? This is so good. Well, he has a fascination with Jack Lord in Hawaii Five-0 that's in a little bit in the movie. It's that same, yeah, persona, that same energy. The bagel in the crotch is his. Yeah, that was him. Very symbolic. What's the reason for your truancy? Couldn't make it on time. You mean you couldn't or you wouldn't? It was like a full crowd seeing the food lines. Food will be eaten on your time. Why are you continuously late for this class, Mr. Spicoli? Why do you shamelessly waste my time like this? Oh, no. And I have to admit something that I don't know the long pause before was actually you were still hearing Ray's lines. Oh, really? Yeah, I extended that. Nice work. I didn't really think a long time about it. Nice work. But he's so focused and so concentrating. It's amazing. I remember when Art first told me about this movie, he was just going on and on. It's like, there's this character, he's named Spicoli and he calls everything as Biction. And he's like, and he's a surfer. And he was just so excited about like, it was, you have to do this movie because there's this one character. Wow. And it was like, everybody was so in love with Spicoli. Yeah. It was just a phenomenon. But you... You brought the other characters. He needs to be the spice of other people. Exactly. But how many movies have we seen Spicoli-like characters? I mean, you really created from Wayne's World to, you know, Bill and Ted to God knows what else. I always thought that that guy would be played by a real kid that we found on the beach or at a bus stop who didn't know the joke. Because those guys don't know the joke. Or at least then, all the stoners would just be funny in ways they had no idea they were funny. And so it was really kind of almost a violation when Don Phillips said, we've got this kid coming in from TAPS, and he's supposed to be great. And then it was Sean, who I don't think even read. I don't think he even auditioned. We just hired him. Or we brought him to you, I think, at that point? I think you guys saw him and talked to him and you just were blown away. And then I was going to meet him and he was going to read. Right. And I just remember walking through the casting, the outer office, and he was sitting on the floor and he looked up at me and his intensity. Yeah. And it wasn't like, oh, my God, he's like a stoner character or anything. It was just like the intensity of Sean Penn. Wow. And it was like, wow. And you don't know. And my impression is like, okay, that, whatever that is, that's in the movie. And so I said, well, there's a lot of people that could be stoners. Would you want to read for Brad? And he said, no, I'm only reading for Spicoli. He knew what he wanted to do, and that was it. That was his part. And he read, and if you remember, it wasn't like he blew us away with the reading. That's right. He wasn't Jeff yet. In fact, Eric Stoltz, I'd have to say, gave a better reading. But we just all knew he was Sean, and he was amazing. It was like there was a no-brainer. I also remember that he told us, I'll bring it. I'll bring that guy. Don't worry about it. He'll be there. And then basically the next time we saw him, he was in character, and we called him Jeff the whole movie. Nobody called him Sean. No, he wouldn't allow that. In fact, his answering machine was Jeff. And... He would write me these little notes that was like, you know, aim, you know, costumes went very. Wow. And then when we were going to rehearse, and I had never rehearsed before, so I didn't know what you were supposed to do. And I thought, okay, let's just all go to high school and we'll have a pretend class. Oh, wow. I didn't call it rehearsing, I called it pretending. How great. And so he said, well, okay, but I don't want to be in the class. I want to like, you know, barge in on it. And he decided him and his friends would like disrupt it and they'd bring Chinese food. And that was the only rehearsal we did. That's right. So his thing was he felt the other characters looked at Spicoli a little bit as a nuisance. Yeah. And so he was a nuisance to them. To them. And when we would be going around and hanging around at lunch court in the school, he would just run around trying to, like, pick up, you know, Phoebe's skirt. Yeah. Or bother her or pull their hair or something. So he was just like, they're trying to get into their characters and he's pissing them off. Wow. In fact, there was a nickname going around, Sean De Niro. Yeah. Well, he worshipped De Niro. It all worked out. I love what you said about Spicoli has to be the spice. It's so true. Because people have... I know you've probably been bombarded over the years on people saying, hey, let's do a Spicoli sequel. Just Spicoli. You remember the first day we saw the movie in Westwood, and I guess, who was it from the studio? Was it Tom or Shona? Somebody said, okay, guys, Spicoli goes to college. Yeah, they were just ready to go. They're ready to go. It wouldn't have been the same. Spicoli without Brad. Looking in the big hairy pussy mirror, it's not the same. Now look at this. How can we doubt Judge, the nobility with which he deals with that mirror? Judge was my upstairs neighbor at the time, which made it kind of hard for me to think of him as Brad Hamilton. Yeah. But he really, he got into it. He also can lust for Phoebe from afar, and you know that he really can't ever be cool enough together. Right. And he has that sweet, all-American guy with some sort of neurotic problem underneath going for him. Right. We didn't have that guy without Judge. No. This is a day player that kind of came in and kicked some butt. Oh, no, Dennis Taylor. He's great. Oh, Dennis Taylor, the boss of the burger place. He's just Mr. California manager. Sir, if you just give me a minute, I'll find the forms. This is good. I don't have a minute. You've made me late enough. And there's Nicolas Cage. It says 100% guaranteed, you moron. Mister, if you don't shut up, I'm going to kick 100% of your ass. Love this guy. Sir, can I help you, sir? You bet you have a problem. Your employee here used profanity and threatened me with violence. I'm surprised. I ain't here all the time and usually have good service until today. All I wanted was my money back on this... I was bummed when they turned this into a laundromat or cleaners. This place is a clean... I thought it was a Chinese fast food place now. Oh, really? Okay. Or is it Mexican? I'm not sure. I think it is still a fast food place. For me, when they tore down All-American Burger, something in me died. This is great. It's so real. Now we went a little bit different. Wow. This is the only sort of dream thing in the movie. And we didn't shoot this. This is footage that we bought. Now in the book, it's a fantasy he has about being on the Johnny Carson show. Johnny Carson passed. Tom Snyder then got the offer. I managed to talk to Tom Snyder on the phone on the day he was leaving the Tomorrow Show, and he was depressed and said, I'm going to go get drunk now, but thanks for thinking of me. Oh, my God. And it went to Stu Nahan. But then you wrote this whole scene to go with it, which was really great. And Sean was, it was one of those days when he was really happy because all he had to do was like stand between all these breasts. Right. And we dug a little bit of a hole where he's standing so that his head would be more on a level with them. Now he's reading cue cards here. Because you told me... You told me, let's have it so that he's going to party with the waves. Uh-huh. So we were working on it to the very last minute, getting that whole sense of he's going to party with the waves and all that, which is so great. And then, you know, we had to put it on cue cards for him. And there was something about what he did that day. It just felt like, whoa, this is really good. So I asked for the cue cards, and they're, Oh, wow. These guys are fags. Cue cards are, like, framed in my house. Oh, that's so cool. As a reminder of the highbrow writing. That was great. You really pulled that out at the last second there. That was like... But it was you saying he wants to party with the waves. That was, like, the breakthrough there. Now, this other cheerleader, the dark-haired girl, is Bruce Springsteen's younger sister. Which shows how cool we are. That's right. Oh, and you had an idea for the, we sort of play in our heads about a sequel, the last high school movie while we were making this, and that she would say, you know, she wants to break up, but we'll still be friends, that then the actual ending to that scene would be he'd pull out a gun and shoot her through the head. No, see, we could get that movie made today. Oh, yeah. In fact, it's already been made. I know, a few times by other people who messed it up. We're almost out of school. It's our last year. Sean was a little bit in love with Pamela Springsteen, but he was still, while we were making the movie, in character as Spicoli. But he would talk about her. After hours, he would say, I'm going to ask that girl out. Uh-huh. And he did. You know, it's funny, because one day we were shooting her walking away for a montage and sort of focused on her back. And he was like, that was the first time he was like standing over me to see that I didn't like do anything crude. Like, you know, watch how you shoot my woman's ass, you know? I mean, he didn't say that, but I got the feeling like, you know, I better make sure this is, you know, taste. As you notice, probably there's a lot of dollying. This whole movie, we're sort of just dollying backwards. And this was before they had video playback. So I was always running backwards with the dolly and some of these nights we were working so late and they'd start like riding over my feet because I was just in the way. I was just never in the right place. That was in the pioneer days of filmmaking. What were you thinking watching the dailies on this movie? I was so crazy about all the guys and so worried about how the girls were coming out. I thought the I thought all the boys were, like, amazing, and then I was just really worried about how the females were going to come out. Oh, here's Led Zeppelin. Okay. Now, let me just say, many Led Zeppelin fans feel they are the first to point out to me that Kashmir is not on Led Zeppelin 4. True. Through a publishing snafu of some kind, we were unable to get any music from Led Zeppelin IV, but because I had written about Led Zeppelin for Rolling Stone and been one of the few journalists who just shamelessly loved them, they let us have their music, but they couldn't give us what we wanted, which was something from Led Zeppelin IV. So they offered cashmere, and my feeling was, let's... totally go for Kashmir and you know the rat just didn't have it together he put on physical graffiti instead of Led Zeppelin 4 well I think Kashmir actually works in the scene better because it's so ominous it's so like oh my god I'm on a date do do do do do do and I have to say that nobody does get Led Zeppelin and you know it is because of your relationship with them because I've tried and tried and tried to get Led Zeppelin songs and they always come back with like Nobody gets Led Zeppelin. And then they go, but I got him before. And they go, no, no, no. Nobody gets Led Zeppelin. I really am happy we have Elvis Costello in this movie. I remember we were loving Elvis. You and Early. Incredible Elvis fan. There he is. I love that. But, yeah, it is good to take the opportunity to say, we knew what we were doing when we put Kashmir in that scene, didn't we, Amy? We wanted that all along. That's right. We had hoped that they were paying attention so much so that they would hassle us about this supposed error for ten-odd years. Do you remember what this restaurant was? I think I know it. It's like a big German restaurant, I think, in the valley. Very woodsy-looking and, you know, theme restaurant. Now, I don't know if you remember our situation with our composer who didn't pull through with any compositions, but... we uh we don't have any music composed for this movie so uh the editors and i would go through all the um universal music library and pull out little stings and put them in all like that it's like a monster entrance sting and just put these like little pieces of music from other movies and other tv shows all over the place because nobody composed anything for this movie Once again, Amy comes through. Once again, making it happen. It was one of those situations where a musician sort of screwed us and we had no choice. I love how she delivers this line about the stereo. Had a really nice time tonight. Oh, me too. No, I kept trying to make them look really, really young and little. Oh, that's right. You've got those amazing big chairs to put them in at the restaurant. Anything around them I'd put oversized. I took the cushions off their chairs so they would be really little and made them big, big menus. That's so funny. You know that feeling when you first go on a date and you feel like a kid? Yes, that's okay. You know, you're doing grown-up stuff, but you're still a kid, but you're pretending like you do it normally. So great. I remember you talking about that. It was so right. Now... In our sequel, he would just faint. Yeah. But I got to say, when we started seeing this movie with people... Where are your parents? They started... to flip out right about this point. And they were either cackling at the rat or so nervous for him that you didn't hear a thing. And there was this feeling building. I remember watching this with an audience. And right about here, people were just... really rooting for him to make a move, like audibly rooting in the audience. But then they were violently angry with him for not just jumping on her. And I know that when Brian saw it in the movie theaters, people were cursing at him and yelling at him. And he was like sort of covering himself up like, I hope they don't see it's me here. But they're all screaming, you wuss, you wussy, you, you know, just completely. I know. I love that shot of the shoes. Oh, it's so good. This gives me a stomachache even now. Oh, poor guy. They were like, no, you can't do this. This is too... Right. Sweet. It's wrong. It's like it should be sexy and he should wind up awkwardly twisted up with her and so I was sick and Art did a reshoot and do you remember this? Yes. Where they like, I don't even remember what happened. They were making out and some sort of physical comedy but it just was really awkward and I tried cutting it and cutting it, and then I just said, oh, please, guys, I don't want to use this. Good for you. It wanted to be this. And this shot's amazing. This is weird. Everybody gets mad at him and screams at him. I know, I know. Someone had to lean over to me and say, well, it just means that they're into the movie. Because, of course, they're howling, pussy! Pussy! That's what you do when you're in a movie. That's good, right? That's good. It's good that they're calling him a pussy. Yeah. But that's like, it's so funny to watch this now because that, once again, the sex scenes being handled the way that you handled them is everything. It's everything because it makes it utterly real. And that's what wasn't happening then in movies about a younger group of people. Well, I think that's why we couldn't get into any grown-ups. They would have just... It would have just really made it all so corny. Yeah. I don't even know if they were watching our dailies. No, because they were doing Best Little Whorehouse in Texas, and that was big stars, big money, big problems, big... And we were just sort of flying under the radar. Yeah. Now, I love this little guy. Yeah. Spiccali? He calls him Spiccali. Okay, we got to give that to Sean, right? People on lewd should not drive was his... Oh, it's yours? Yeah. Well, it's my personal philosophy, but... You know, this is like the Holy Grail. I now discover that people on lewd should not drive was Amy's. Well, and I love when it rains and they play that as a sound blip on the radio. God, I've been giving Sean credit for that. Well, believe me, Sean gets credit for a lot. He's just amazing. Now, Amy, how do you feel about these big stunts here? You've got a stunt going. I know, and I'm a girl, and I fail the driver's test five times, so cars totally scare me. You know, this is the kind of thing where, like, everything's planned out. The stunt guys come with their little matchbox cars, and it's all storyboarded, and then you just... It's when you really have nothing to do. It's like you sit back, and then it gets accomplished, or not. But they pulled this off. They made this look great. That's good. Now, was the full set of tools yours? I love that. He's got the full set of tools. Don't remember. He's going to kill us. He's going to kill you and he's going to kill me. He's going to kill us. Hey, man, just be glad I had five reflexes. My brother's going to shit. Make up your mind, dude. Is he going to shit or is he going to kill us? First he's going to shit, then he's going to kill us. Relax, all right? My old man, he's a television repairman. I think that was Sean's. Really? Yeah, I think it was just, I can fix it. You can't fix this car, Smacali. My dad's a television repairman. I can fix it. Yeah. That's great. All right, here comes Pam's butt. And that was like, okay, please don't be mad at me, Sean. Hilarious.

Sports humor. I don't get it. I didn't get it either. I don't know where it came from. Where did it come from? I thought you wrote that. I don't know. I don't know what a 14-point spread is, to tell you the truth. It's a mystery. That means one team has to win by more than 14 points to win the money. This dude was interesting. That was, yeah, an actual punk named Walter. I just liked his look, so we put him all over the place. Yeah. Here's where I really screwed up. Why? Well, okay, we went to the high school during a game and we shot all this game footage. And then we went and we shot the actual, you know, our actors, our cheerleaders and Sean and all of that. And we had to shoot the game. And I didn't have any of this, like, heavy-duty, you know, body-crunching stunts and the close-ups of Forrest, you know, making animal noises. That's not me. And the studio... pulled me in and they said, you know, you don't know about football. And I go, no, I don't. And so they planned to reshoot and got the stunt guys and Art and everybody all together and they added a lot of this footage. Flying through the air. Flying and... Although I do love that guy by the sidelines, the blonde guy with the crew cut that goes... Oh, the... That guy was one of the high school kids. Oh, really? That's from the high school footage. But all these stunts were, and all the growling close-ups. It was like, oh, I don't know. It's not my forte. And yet, it kind of works.

Okay, these were your buddies, right? The Martin brothers? Yeah, Doug and Steve Martin. And they're just two six-foot-tall, red-headed, identical twins. And they got a big laugh just on sight. It was a little lesson. I love his outfit. The pirate outfits, our costume designer, Marilyn. She did great stuff for all the fast food things. That was fun. That was great. Okay, I guess we need to talk about this. Well, that's Phoebe. She's a hottie. Wasn't this day two? Didn't you film this on the second day? Oh, yeah. Actually, I had the flu that day. They gave me some antibiotics, and then they made me completely burn. It's like the highlight of their day. Look, maybe we ought to call first. I don't know about dropping... It was a closed set. Oh, the sex scene coming up. Yeah. Phoebe was very afraid people were watching. Oh, from the other houses, that's right. Yeah, from the roofs in the other houses. Do you always climax with that? Yes. I think so. That hat was your idea, wasn't it? On the rat. Love that. She makes him look like, you know, an old Jewish uncle. Now there were... There was just a skeleton crew, really. for all this, and there were people kind of standing at bay in that neighborhood. I believe like an older couple had this house. Not having any idea what was gonna happen in this house, they let us use it, right? Yeah, and as I recall, it had like metallic flower wallpaper before we did it over. And the sun, as you can see, is going in and out and in and out with, you know, the DP and the script woman going insane. And yet... And yet nobody cares. Phoebe on that diving board. Sun or no sun, she's hot. She's hot. And this outfit, you can't go wrong. You can't go wrong. Hello, you have company? It's just Mark and Mike from school. Hi. How you doing? He's so sad here. Hi, Brad. She's trying not to crack up. So good. Mark, could you keep it down? I have some work to do inside. Okay. You're losing the light here. Yep. He's fighting it all the time. Look at that. Generally, any guy I talk to for the next number of years would say, hey, you did Fast Times? Tell me about Phoebe. That's funny, because when you'd walk around with George Reinhold... After the movie came out, people would just make the sort of, you know, masturbation hand movements, like, hey, we know who you are. Like, recognize you from your jerk-off scene. Hi, Brad. You know how cute I always thought you were. It's very easy to make her look good. Oh, my God. And before playback video, we were all sitting in the bathtub while we were shooting this. Right. And here it comes. Now, when Jake was shooting this, he brought a giant dildo with him. So in the scene where she opens the door, he turned around with this giant dildo. And she fell backwards against the wall. She screamed and flew across the room. Unbelievable. There's this shot. The look on her face when she comes in. Judge slams it. That actually might have been the reaction from when he was holding the big dildo on, because that face of hers was just so like... Yeah. But remember we had a hard time thinking of what he should say afterwards? Yeah. Like, how do you end something like that? Doesn't anybody fucking knock anymore? I know, but that sounded almost too self-aware. That was like... I think it's real, but it's almost like, you know, they were driving us crazy to find some big slam-bang joke ending, but we couldn't. But it didn't feel right. It never felt right when we were sort of forced to do that stuff. That's true. I remember seeing... There's Taylor. I remember seeing Judge on the lawn after he shot that scene, the masturbation scene, and people were like, how'd it go, how'd it go? And he said... My first love scene, and it's with myself. I think we actually tried a song underneath it, One is the Loneliest Number, to sort of go with the hand movements. Ray Walston comes to play. Am I hallucinating here? Just what in the hell do you think you are doing? Learning about Cuba, having some food. Mr. Spicoli, you're on dangerous ground here. You are causing a major disturbance on my time. Didn't you have an amazing take where he goes looking about, you know, learning about Cuba, having some za? Za? I forgot that one. They're one of the many... It's one of the many alternate takes that Sean really, really kicked ass on. Sean came to us with an astounding vocabulary. Yeah. You just, you know, he had the slang down and he just brought so much. I had some of that pizza. It looks good. Still does. But, um... I love this shot. It's so great. We're so sad. It's so great. Now here's a scene where an extra comes along and just out of nowhere ruins everything. See? And they're like, what the hell is that? Come on, the sassy extra ruins the scene for you? Gotta give it up for that sassy extra. And then she'll come by and say, you know, I need a bump because I talked. You know, I remember Phoebe Cates knowing that we had seen the dailies of the nude scene and stuff. And she knew that I had seen them and came up to me and said, how was the scene? How was my scene? And I said, wow, it was great. She says, what are they saying about me? And I, you know, this is like my first lesson in how to talk to actors. I thought I was being like the coolest guy, you know. So I said, well, Phoebe, I think people are really, really loving what you're doing. And she said, well, what did they say? I said, well, God, I heard someone say she's really great for a model. Oh, God. And... Her face felt she did not talk to me again for the rest of the movie. And I just felt like, okay, choice of words, important. I don't blame her looking back. I mean, at 19, how do you know if you're a model or an actress or what? I mean, you know, she did modeling, she did acting. She was huge in Japan, I remember. Yeah. Well, she did great. This is great iced tea. Phoebe, you did great for an actress. Can I correct the record now? Oh, here we go. We get our sex in the shack scene. I don't think anybody's really happy with the music that was in that last scene. No. Where did that come from? Well, I had to use a lot of music that I totally, totally hated. Even before I started the film, Art Linson said to me, okay, you're going to be depressed about the music, because I was like hardcore punk, and if you can't use the Dead Kennedys and you have to use the Eagles, it was like, I don't want to do that. But I went along and just fought for a few places where we got our Go-Go's and our Oingo Boingo and our Led Zeppelin. But other than that, it's like a... Oh, boy. You saw the future of rock. You definitely did. Well, the 10 seconds of punk. And Walter, the punk extra. Yeah. And then here it comes again. I think we just have to deal with the fact that you made a movie which has the most complete collection of Southern California singer-songwriter music maybe ever in a soundtrack. That I didn't want to be using. Now, here is the shot where we had full frontal nudity, and they said that will make this an X movie. And I said, how come you can see naked girls and you can never see naked guys? And the rating board said because the male organ is aggressive. Are you kidding me? Yeah. Now, look at that shot where his foot's shaking. My God, that's fantastic. But there was so much more, and they cut it all out. And then they said, look, we fixed it for you because we made it better. Hmm. Oops. Ooh, baby. Anyhow, so here's a naked girl, but you were not allowed to see a naked guy. I don't know. I was upset. Verna Fields said, I'll go to Washington and fight for you. But, um... They were not gonna go for that. Now, Jennifer was like more than a good sport on all those scenes, wasn't she? She was happy as a clam to have her clothes off. Yeah. We got a review from either Siskel or Ebert when the movie came out saying, how dare these filmmakers do that to such a sweet, shy, innocent, mysterious girl like Jennifer Jason Leigh? And I think only years later they realized that we didn't go far enough for Jennifer Jason Leigh. She really wanted it to stay an X-rated movie, and I think she did an interview in the Herald-Examiner at the time. She was behind going, you know, let's pull out all the stops. Yeah. Now, that was the song they wanted me to use for the opening, raised on the radio. Like, that would be a big hit. Thank you for being the warrior queen and saving us. Hey, your buddy Stuart Korenfeld. That's my friend Stuart. I love that outfit. Were you into composition and all that stuff? Did you storyboard? We didn't storyboard any of this. I mean... Not like, you know, we came to each place and had, like, a whole comic book of what it would look like. I mean, we had planned what shots we would be doing and where the camera would be and what we would need when we did the location scouting. Except for, you know, stunt scenes where you've got to have, you know, a really good plan, so. You really want me to put this stuff back on? Yes, I do. Show a little pride. Yes, sir. All right, now we're getting to the cool girl. Yeah, baby. Judge. I think, uh... Well, let's just say it. Nancy Wilson is about to make her appearance. Yep. Is your favorite day player? She's great. She's so cute. This would be my wife in her major motion picture debut, laughing at Judge Reinhold. She had so much fun shooting that shot with you that she She zipped by, picked me up, and we drove around the block. And I just remember all these guys with walkie-talkies yelling and screaming and chasing us into the streets saying, you don't take a show car out of the... And she was giddy. Oh, she did great. That was fun. Here's where the movie takes a serious turn. Your daddy's all right. But just seem a little bit weird. Surrender. Can I talk to you for a sec? Well, now, Stacy, I'm doing business. Call me tonight, all right? No, I got to talk to you now. OK. Don't go away. Look at him. I hope this is important, because I could be blowing a big deal. The movie is different from the book. The movie is sort of a fictional adaptation of the book. And the ticket scalper, in fact, did some different things in real life. But basically, Amy came and kind of took the experience of the book and consolidated it. in really beautiful ways and uh... there are little changes but nothing that really rocks the foundation of what the book was like uh... you know in real life it was the rat that ordered that pizza and it was delivered through the window in a science class i believe but for the movie it felt more like that was Spicoli's move and i think it was correct it was One of those things where you go, that is such a cool thing. That's a thing that Spicoli has to do. Right. Because it's irreverent and it's like, you know, just double my care. And there were so many good characters and good characteristics of all these people in the book that, you know, a guy selling tickets and having his own private holidays to go with different rock stars and being so enamored of music and also the guy that's getting the girl and the guy that thinks he knows everything about women. Yeah. Those were all such good things that we tried to put as much of them together in places where it would make sense. You really added the detail, which I didn't really see in a lot of movies about young people. A little bit of it in Over the Edge, which was a real kind of influence for me, you know, just in wanting to make a movie like this. I really loved Over the Edge. And I don't think enough people have really seen that movie. It's Matt Dillon's first movie. But Amy, you brought details like in the scene with Romanis here where it's people who I owe money to. You know, there's just a ledger that he keeps. And then the detail shot of Pete Townsend and his bloody hand and Elvis. It's like one of my favorite things in the movie. Just that the movie takes time to show you that room and the people who are kind of looking in on his dilemma. But that was a lot of that is you and me because we, you know, when we went through the last draft of the script, we're putting in a lot of our own high school experiences. And I mean, the characters in the book was was like all this material, like this, like enormous amount of great stuff. And then then we sort of molded them and added everything we liked from ourselves, from other characters, from everything. All right. That's good. I remember doing the research for the book. I was really struck at how everybody had jobs in the three years that I had been out of high school, or I think it was longer, four years or something. I noticed that everybody had jobs now, and there was this quest to get the money for records, clothes, and all that stuff, and it changed all their lives. Thank you. I can't let you go unless you have a ride home. Oh. Actually, the head of the studio one day pulled me in a week before we started shooting and saying, we can't make this movie. We got a letter from a stockholder saying, this movie's not going to make any money. And how could you have these first-time people making a movie? And what are you thinking? And we've all seen these California kids in their hot tubs and all of that. And it's like, enough. And he said, tell me why you think we should make this at all. And I mean, my whole thing was like these, we were entering that world that you created of just kids, but that they weren't just like, you know, prancing around in swimming pools, that they had bigger problems than what they were ready for. And they were too young for all these different problems. And one of the things that made them capable of like, say, going out, and having sex or boyfriends or going to restaurants on dates was that they also worked, that these were like, they were like little grownups. They all had their jobs. There was peer pressure. There was like a hierarchy amongst the jobs. It wasn't like who's the most popular or who's the, you know, cheerleader and who's the football player. It was about, it was all grown, it was a grownup world, but it was like used with old children playing grownup parts and they weren't ready. And they were getting pregnant, and they were, like, getting fired, and they were having grown-up problems, but they were babies. Stacy, he's not a guy. He's a little prick. It, you know, it really comes across, looking at it now, for sure. One of the lines that I remember from doing the research that I heard someone say was, I don't want to use sex as a weapon. And that was such a... Big deal for me. It changed the way I wrote the book the line made it into the movie and the idea was You know, they're living these young You know capitalist working man and girl lives and they're also using sex without really knowing the emotional weight of it and it is a powerful weapon and they're even saying I don't I don't want to use sex as a weapon and Not even knowing how much of a weapon it really is. And knowing that they just started even being capable of having it. Yeah. And already they know the games, you know, as quick as they know how to work their equipment. It's cool. It's cool to see that it all survived. It's also such a, like, slice of that time period because, you know, coming out of all the hippie stuff and the world turning around into this place where people... judged each other by what kind of jobs they had, was so entirely different from what had come before. And yet the sexual revolution had happened. I mean, sex was not a big deal. It wasn't like, ooh, you're the bad girl and you got knocked up. It was like, everybody does it because that's what human beings do. And everybody works and everybody, you know, drives. Sorry. Look, I always stick up. Doesn't this coach come up in a second? He has, like, the most amazing way of saying that line, knock this crap off. He emphasizes this. Like, other kinds of crap is okay, but this crap, you must knock off. This was cool. I love the way he... That's so good. I love this scene. I love Brian in this scene. He's just so earnest and emotional, and yet he's wearing a Popeye T-shirt.

You're right. I forgot about that, this crap. Do that other crap. You know, when you have the baseball bat and you're swinging at each other in the locker room, that crap's okay. But this crap... Cool. That's sort of the end of the sad part of the movie. From when she gets pregnant till when they have that fight, always seemed to me like this, like, section of, you know, now we're getting real, and this is the repercussions of all the stuff we're doing. Right. Well, now, your buddy, Martin Brest, you drafted in to play Dr. Miller. Tell us about that. Oh, Marty. Here comes Marty Brest. This is the director of Beverly Hills Cop and Scent of a Woman. Wasn't he cute? He's great. He was my ex-boyfriend. And he's going to be teaching us about dead bodies. He's great. He's so casual. He's kind of looking at a girl and smiling a little bit. He's the jaunty doctor with the corpses. I just have to say that Sean's take... On the heart? On the heart, when the heart's pulled out. He's so amazing, and he did, like, ten different ones in a row. Do you remember that? He's amazing. It was the funniest thing I'd ever seen. We kept the camera rolling, and I just had somebody kept lifting the heart up into frame, and every time he'd say something different, and he did gnarly, awesome, tubular... Buku hot. Buku hot, fiction. He just went through... I can't imagine how many adjectives he came up with. It was the funniest thing I'd ever seen. It's just like one of those things where you just wish you could make people watch the dailies. I know. Every one of them was just the funniest thing. And I asked the guys when they were doing this if they could find that piece of footage, and they said that Universal threw all that footage out in 1985. Ah, here it comes.

And he's proud of it, too. He's proud of it. He's proud of it. That's his heart. But, like, you had such a choice on that. And the fact that they would throw that away. I mean, that one piece of film. I know. I loved that. And it's just such a testament to how much research he did, how much he just completely studied the language and was such a master of it. It's a one or two-minute piece of film. Probably funnier than most movies in their entirety.

All right, props to Sean again. Handcock Memorial Hospital? Well, you know, Handcock. God, I'm just picking up the nuances now. Ray Wilson's in this movie a lot. He's so adorable. He's good. Didn't he ride a bike every day? He rode a bike, and he would have these blacked-out glasses between takes, because he just wanted to relax and not have all the, you know, visual input, just to, like, be in his own world, and then, like, come out for when he did what he did. Wow. One of the scenes that's in the TV version is from The Rat talking about that it's John Bonham's birthday. And it's kind of sad that we weren't able to get the mention of John Bonham in the movie somewhere because the research is based on a year where Led Zeppelin were coming to town. And so much of the whole school year was getting ready for Led Zeppelin and then Bonham died. And it just took the wind out of the entire school. And I always thought how great to have that be the year that you're studying these guys. That they never got the holy grail of Led Zeppelin coming to town. Also, that situation you had in the book where somebody, the guy that was the most into music, the ticket scalper, had his own private holiday with certain rituals of what he would listen to and when he would do it and what he would be doing. I mean, it was just his own private religion, which I think is such an adorable scene. It's cool. Yeah. Sean. Now, we found a bathroom set standing, so we just pulled Eric in and said, why don't you, like, say your off-camera lines on camera? And he was, like, so happy, like, wow, more camera time. Now, I think Brad Pitt can play Curtis Spicoli. I think he was born to play Curtis Spicoli. He probably would have been the right age then. Yeah. A man struggling with the legacy of his brother, Jeff. now my parents were dying to come to the set and amy you had invited them and all that which was really cool the one day that they could make it was this day oh we were just in a little piece of wood on the stage and sean was not he was not a fan of having people on the stage that weren't part of our world and i snuck him in Completely out of his eye range. And after this scene, he came out to me and he said, somebody's here, right? I said, yeah, my parents. But you couldn't see him. And he goes, I felt them. Whoa. That is so Sean. Then, of course, he met my parents and was charming with them. But to me, it was like, my brother, I felt them. Wow. Wow. Now, when we were doing this dance scene, Sean had a bit of a problem with some of the extras. In fact, I think they were going to beat him up and the ADs had to pull them off of him. Oh, wow. And here's my ex-husband. Reeves Nevo and the Cinch. Oh, my God. That would be David Resnick on guitar. Wow, you do remember these guys. And they learned a couple different songs. You just can't escape the eagles in this movie, can you, Amy? No, you can't. This is like eagles flying all over this picture. Now, isn't this rude, crude, rude, and obnoxious? Aren't we about to meet Vincent Schiavelli's real wife? Wasn't that his real wife, or were we just doing him? No, we said, Vince, pick out one of these extras to be your wife. And, you know, he picked the most stacked extra. And he said, okay, this is Mr. Vargas and his wife. Wow. It was, hey, you know, we left this England place because it was bogus. So if we don't get some cool rules ourselves, pronto, we'll just be bogus too. Yeah? Very close, Jeff.

I think I've made my point. Well, this is the scene where my parents visited, which was good because what Ray Walston says in this scene is taken from my dad. You make an example of squaring accounts. Squaring accounts? Oh, that's great. Cruise history? Cruise history? As soon as I pass your class. If you pass. Fall, you're going to flunk me? Don't worry, Spicoli. You'll probably squeak by. Yeah. Aloha, Mr. Hand. Like that the effort was made to wear a tie. Yeah. Giving you that take before he leaves. Yep. Here's Mr. Vargas' wife. Boys, I'd like you to meet my wife, Mrs. Vargas.

There's Forrest doing his dance. Amy, not afraid of showing a real parking lot during a dance. Yeah, baby. You can always get that smoke right. You never know when it's going to dissipate or suffocate your actors. No, this is you. This was such a good idea. She breaks down and sort of recovers. Doug, you're the one being childish. She pulled that off really well. She did. Now, on this day, John Landis came down to the set because the studio was feeling like I had screwed up. And they said, she's supposed to be making a comedy. Find out what's going on. And John came and was watching. And I thought, I met him once and I was a big fan, but I didn't know why he was hanging around. I thought, oh, all right. He told me years later. And he went back to them and said, oh, leave him alone. It's coming out fine. What's your problem? And so they left me alone. But they were really concerned that they had asked for a teen comedy and they were getting people crying and getting abortions and things. And what was this going to be? Yeah, the previews, I remember we were having a hard time getting all the executives to even show up. They just... We kept finding other things to do on those days when we were showing our movie. Well, that's the beauty of being little. Yeah. I love that shot where he's just doing the drumming. What's his mouth doing there? He's like a little clock, you know? That's right. He's a ticking clock. Yeah.

Wasn't he telling us at that point that he wanted to release a record of himself singing Louie Louie? He had some plan. I missed that part. Now that's the Santa Monica Place Mall and I always think of that shot when I pass it. Once I drove by and a guy had jumped from the roof and they were covering him with a cloth. And I was like, man, you're tampering with my memory here. I love when people are like, I was seeing it in a theater once and they were going, Oh, what mall is this? And they're like, they figured out it was some other mall entirely based on the outside and the inside. But the outside's Santa Monica and the inside is the Gallery in the Valley. Right. But they decided that it was some other one all close to Mesa or something else. Yeah. Again, not your favorite music cue, Amy. No, not my favorite. Well... Sadly... If we move quickly, we can change it. What would we put there? Oh, now? Oh, wow. What could we put there now? Or from then? Elvis? Oh, God. Put some Elvis there. Elvis Costello. Or Bruce. I was just going to say, in the rough cut that we did with music that we all liked, we had Elvis Costello doing My Funny Valentine over him raising money for the abortion. That looked really nice. Wow. Oh, and we had Highway to Hell. That's right. Over washing the car. ACDC, Highway to Hell. Yeah, he's sort of performing to that, isn't he? Yeah, uh-huh. And then they made us put in Race on the Radio again. I hate that song. Listen to Studio Executives. Do not force your music cues on... Fine, talented, up-and-coming directors. They'll remember you forever. Look at this. At least we got Bruce on the T-shirt. Yeah. We put in our music, but only pictures of it. Wow. I remember this day vividly because Sean kept coming in, and he was looking kind of annoyed. Not annoyed, just like he was just getting his stuff, that's all. He was in a daze. Art kept going, make him smile. And you know, you don't make Sean Penn smile. I mean, Sean only smiles if he has like a really, really, really good reason to smile. So I said, when you're walking over, you know that this guy, you know him from somewhere, but he's completely out of context. He's like wearing this outfit and he's in a store. And then you remember, once you come over into the store, you realize you know who it is. And so then he just came in and he was so proud of himself. He was glowing. I never knew that. That's great. This guy is great, James Russo. Yeah. That was your call, right? He did an NYU student film that he was brilliant in. Yeah. Because he sort of just... He scared us. He scared us. I remember that. And he came over and he said... Do you guys have any motivation? We don't know what you mean. He gave it to you. I got you, you son of a bitch. All right, this reaction of Jug's, we... We kept playing back and forth because it wasn't long enough, so you'll see him actually moving backwards a little bit. See? Oh, man. And here's the universal ending because that's how they like to end movies because it works so well for American Graffiti and Animal House, so why not us? Wow. And the Oingo Boingo. There it is. Yeah. Goodbye, goodbye. And one of our producers really, really hated them. Hated them so much that he signed them later. But he couldn't stand this song. Didn't want us to use it. He probably wanted to raise it on the radio again. I love these things you wrote for them. Brooke Shields. Blows reward money hiring Van Halen. Yeah. Wow. Now I have to say this, ending shots that we have of the sort of closing up is like vastly influenced by the end of Mean Streets. Really? Yeah, because the very end is sort of after all the shooting and after all the aggravation and all the whole crazy stories happen, it's just sort of the neighborhood closing down. The Venetian blinds going down, the lights going off, the, you know, just like... seeing all the little Italy streets just sort of saying goodbye, you know? That's fantastic. You know, I've got to buy more of these DVDs and learn things like that. But we should talk over other movies. That's right. Join us again when we... Cameron and Amy look at... We'll look at... Clockwork Orange. Let's go. Let's do Clockwork Orange. Wow. You know... What comes to mind watching it? I mean, how often do you see it? Do you watch it if it comes on TV? See, I don't watch it on TV because they switch around some scenes and they change the music even worse. So I can't watch it on TV. See, I've got to say I like some of the alternate scenes just from a collector's viewpoint when I see them in the TV version. They sort of don't make sense and you're looking at me now like, okay. No, there was this scene where Judge goes to his guidance counselor and has a blow-up. I like that scene a lot. He rips his room up. He rips his room up, I like. But there's a lot of scenes where we covered the same material. Right. Because we were not happy with the way they came out until we got it the way we liked it. And so they put all those scenes back in, and it looks like they're talking about the same things over and over and over. But those were replacements, not additional. Spicoli in the bathroom, I remember, was where he talks about how he drew a gun on Mr. Hand, something like that. Oh, that I love, yeah. I love that. And wasn't that cut because, again, there was worry about him smiling? They thought he was too mean. Too mean, too down. This is a constant question people had, if they were noticing us at all, of what we were doing on this movie, which was like, It's, you know, it's too edgy. It's too sexual, but not sexy. And it's too, it's not funny. It should be much funnier. It should be lighter. It should be more pornographic. And it was, you know, just keeping things real with like sex the way it really is when it's, when you don't know what you're doing yet and work when you don't know what you're doing yet and all of that. stuff that happens when you're young that you had so brilliantly had in the book they they didn't they wanted to turn it into a a cutesy beach movie you know and uh porky's came out porky's came out oh these were my big big fears porky's came out and did great and they said it was because it was like so sexy to have a funny scene where they're pulling your schlong through right and porky's did make more money than us so you know we're the idiots they're the geniuses Whatever. But what else came out? The Scott Baio movie came out. Zapped. Zapped. And the one I was afraid of, The Wall. That's right. The Wall with, you know, the Pink Floyd music and the guy from the Boomtown Rats. And I thought, well, nobody's going to see our movie because the cool kids will see The Wall and the, like, horny kids will see Porky's and the, like, teeny bopper girls will see Zapped. And we're just... You know, I'm just going to die. But you believed in the movie, right? I loved the movie. Okay. Well, this was really fun. That was fun. That was cool.