We Are Scientists' Keith Murray on The Nostalgia of The Lost Boys Soundtrack (1987) and His New Album

(00:00:00) Introducing Keith Murray and the New We Are Scientists Album, Qualifying Miles
(00:10:08) Why are We Talking About The Lost Boys?
(00:17:00) Breaking Down the Lost Boys Soundtrack
(00:23:30) Kiefer Sutherland, Rock Star?
(00:32:40) The Lost Boys Influenced Keith to Move to California?
(00:41:16) The Lost Boys Sequels
(00:46:16) Thomas Newman, The Lost Boys Soundtrack Composer
(00:49:17) Tim Cappello, Saxaphone Playing Legend
(01:02:05) Last Thoughts on the Soundtrack
(01:10:28) Thank Yous and Goodbyes

Keith Murray, singer/guitarist of rock band, We Are Scientists, joins Nicole Barlow and Ryan Pak to discuss the soundtrack to Joel Schumacher's 1987 film, The Lost Boys. The soundtrack features songs from INXS and Rick Barnes, Echo and the Bunnymen covering The Doors, Roger Daltrey covering Elton John, Gerard McMahon, Lou Gramm, and the iconic Tim Cappello. The film triggers a lot of nostalgia for Keith, from the locations (Santa Cruz as fictional Santa Clara) to the cast (Corey Haim, Corey Feldman, Kiefer Sutherland, Alex Winter, etc),

The new We Are Scientists album, Qualifying Miles, is out now wherever you listen to music and at
https://www.wearescientists.com

Please support Soundtrack Your Life on Patreon! Receive quarterly bonus episodes and ad-free episode downloads!

Episode Transcript

Speaker 1 (00:15):
My name is Ryan tat a Nam Nicole Barlow. It's
a soundtrack Your Life where we speak with the guests
about a soundtrack that is important to them today. Our
guest is Keith Murray, singer and guitarist of the band
We Are Scientists. Welcome Keith.

Speaker 2 (00:29):
Keith.

Speaker 3 (00:29):
Hey, how's it going.

Speaker 1 (00:31):
We're good and we're excited that you have a new
album coming out on July eighteenth, that's called Qualifying Miles.
Why don't you tell us a little bit about this
new album.

Speaker 3 (00:42):
It's helpful that we're on this episode discussing a deeply
nostalgic film for me, because this album is sort of
about nostalgia, just sort of textually end sonically, it's it.
It spends a lot of time thinking about uh, like

(01:06):
experiences growing up and and how moments in your life
and especially people in your life seem like they are
always going to be fundamental to your your everyday experience
and to your emotional experience. And then you know one

(01:27):
day you stop and you think, wait, I haven't talked
I haven't talked to that dude in ages, or like
you know this girl that I dated I I could
never think about and and sort of questioning like why
that what it says about me? Now? Like how how
how to gauge my my personal growth by reckoning with nostalgia?

(01:55):
Lost Boys not a movie I think about all the time,
but when I do, boy, oh boy, it all comes flooding,
It all comes flooding.

Speaker 2 (02:02):
Back, the nostalgia floodgates. I think, Uh, I think we
all deal with that from time to time. And I
love the I love those. Thematics of your new album,
that is that is a very very parallel thing I
think to what we're going to talk about today.

Speaker 1 (02:15):
Yeah, and it's it's a it's a great album. It's
very guitar heavy, which I guess you know, in twenty
twenty five is automatically nostalgic.

Speaker 3 (02:23):
Yeah, it's true. I mean it's sort of even for
even for we are scientists are our last album was
very UH synth synth and electronics driven, but this, yeah,
this sort of even goes back to UH guitar sounds
prior to our our debut album UH in the mid odds,
which was very like spiky dance rock. This is sort

(02:46):
of like mid mid nineties kind of you know, slower tempo, chugging,
chugging rock music, which is which is sort of new
for us. Every once in a while we've we've dabbled
in it, but this is the first time we've really
waded into into the depths of those waters wholeheartedly.

Speaker 2 (03:08):
And your tour to support the album now, is that right?

Speaker 3 (03:12):
Yeah, we're sort of in between a couple of chunks.
We did. We did a really long, perhaps over long,
European and UK tour. It was really awesome and it
was a lot of fun, but it was definitely one
of those tours. I think we were going for like
seven weeks straight and it was definitely one of those
tours where it's sort of like a shark. The minute

(03:37):
we stopped, I felt like I was going to die.
Like inertia was definitely carry me through It. Never like
occurred to me while it was happening that maybe maybe
I needed to stop. But when I when I got home,
which was four days ago, I was like, Okay, no,
no more touring. Actually now I'm going to California in

(03:58):
three days just to hang out. So actually maybe I do.
Maybe I am just so accustomed to never, you know,
staying in one place, that that I will have to
keep moving.

Speaker 2 (04:10):
That's gonna be the insto for the next album if
you make it, and we hope you do. Do not
die from touring.

Speaker 3 (04:16):
I will try not to. I will try not to
keep it together.

Speaker 1 (04:19):
Maybe that's why your music is so dancing. Just be moving,
that's that is true.

Speaker 3 (04:25):
It cannot be sluggish, or else I'll simply recline and
maybe never get back up.

Speaker 1 (04:34):
So well, let's not do that, especially in the middle
of our podcast.

Speaker 3 (04:39):
No, no, no.

Speaker 1 (04:41):
But this is your ninth album. You guys have been
a band for over twenty years. That means you and
Chris have been I hope friends for over twenty years
at least business partners.

Speaker 3 (04:53):
Yeah we are. We are. Oh and my god, I
truly hate to say this publicly. We were are going
on thirty years of wow being friends. We met We
met in college. That's that's horrifying to h to reckon with.
But yeah, yeah, we've Chris, Chris has has been my

(05:13):
best friend for for many many decades now. And yeah, ideally,
no no end insight to that. We're hanging out today.
Everything seemed cool, so.

Speaker 2 (05:28):
I'm feeling to day tomorrow.

Speaker 3 (05:32):
Today today I walked away feeling very positive about the
prospects of a future friendship between us.

Speaker 1 (05:39):
But the real question is what does Chris think about
the Lost Boys?

Speaker 3 (05:42):
I don't know. My feeling is better not to ask
if I get him. If I get him examining it
too closely, he may.

Speaker 1 (05:51):
You know, does that say about you?

Speaker 3 (05:55):
Yeah? Exactly. I just let it be.

Speaker 1 (05:58):
Yeah.

Speaker 3 (05:58):
I want to live in blissfully ignorance, not not a
you know, poke the sleeping giant that is Chris Kane.

Speaker 2 (06:06):
We might do follow up when this is over to
see what he actually thinks of Lost Boys.

Speaker 1 (06:11):
I don't know. I don't know, Nicole, because you know,
thirty years of friendship without talking about lost Boys once.
Maybe that maybe that is the balance.

Speaker 2 (06:18):
What's true? We want to tip it over the edge
he talked about lost boys and they'd be responsible for
a band breaking up, that would be yeah.

Speaker 3 (06:26):
No, he definitely, he definitely is a lost boy. I
mean fan might be a strong word. I actually don't
know how if he's as enthusiastic as I am, I
sincerely doubt he was as in the thrall of the
two corries as I was at ten years old. But

(06:49):
part of part of why I chose Lost Boys, apart
from its you know, fundamental effects upon me as a
as a youth, is that like maybe in two thousand
eight or nine we are scientists, was invited for maybe
the NM that the British Music magazine to play like

(07:15):
a really tiny under cell show at a club in
London called the Old Blue Last. It's like a two
hundred capacity club maybe, And I don't remember what the
circumstances were that prompted this, but because it was the enemy,
we were like, okay, yes, we'll do this. It was
on a day off, but we were wondering how to

(07:36):
make how to excuse doing so small a show in London,
and the answer we landed upon was that we should
play the Lost Boys soundtrack in its entirety. Well we
didn't do it. We didn't do it.

Speaker 2 (07:53):
Oh, you didn't do it. I thought this is gonna
be a great part of your lore. No, then it
wouldn't make sense that. Of course even talked Chris about this.

Speaker 3 (08:00):
So yeah, I think I think the more the more
we thought about how much rehearsal that would include for
a two hundred capacity one off show, the more we
thought maybe maybe maybe it's a better idea than it
is an execution.

Speaker 2 (08:18):
Right, A little too much ristly play in a white
ur of bar mitzvah or something. You know, you don't
want to you don't want to throw too much behind
that preparation. I guess that's a that's maybe a good
segue into a little more detailed to the movie we're
talking about.

Speaker 1 (08:32):
But if you had done this show, who is the
muscle Bound saxophone Player?

Speaker 3 (08:42):
Well, at that point we had a touring keyboardist named
Max Hart who estrangely when we when we when we
decided that we we sort of wanted to retain the
three piece guitar band Vibe. Uh. He he landed on
his feet and ended up being the touring keyboardist for

(09:02):
Katy Perry for Wow five or six years, for two
album cycles. And I think I think he could have
been I mean, he wasn't particularly muscular, but he had
a he had a hefty presence. He commanded the room,
he had supreme authority, and I think he would have

(09:23):
let us oil him down for sure.

Speaker 1 (09:27):
I'm glad you knew that, Like, there would have had
to been someone to fill that role.

Speaker 2 (09:31):
Yeah, I think touring with Katy Perry, that could be
in the job description. You know, there's like a reasonable
chance there's somewhere in a contract, you know.

Speaker 1 (09:40):
Or dress up as a shark.

Speaker 3 (09:41):
Yeah, he actually did play that Super Bowl with left shark.
I couldn't. I don't think there was a close up
shot of Max, So I don't know how greased up
he was, but I suspect he had at least a
sheen that night. It was Super Bowl.

Speaker 2 (10:01):
A glisten. You're gonna have a glisten under those big lights.

Speaker 1 (10:05):
Absolutely, all right, So we are gonna we are talking
while we're already talking about Joel Schumacher's nineteen eighty seventh film,
The Lost Boys. So other than the fact that both
Coreys are in this movie, why did you pick this
movie before?

Speaker 3 (10:23):
It's Keith. I tried not to examine my motives too
quickly and to and to nitpick what what psychological reasons
I have for this? It's it. It felt like the
first like cultural behemoth in my life. It sort of

(10:46):
covered a lot of my interests, sort of bundled into
one revelatory, you know, ninety minute experience. You know, when
I was when I was ten years old, I was
I was really into horror, but I don't think I
had seen very much.

Speaker 1 (11:07):
I was.

Speaker 3 (11:07):
I was the youngest sibling and cousin in my in
my family, so I'd definitely been exposed to I was.
I was like well versed in the Nightmare on Elm
Streets and the uh you know, Halloweens, but those always
felt uh you know, a generation ahead of me like that,

(11:29):
it seemed it seemed like the work of of older people.
Lost Boys felt like the first moment. Well, I think
it was the first horror movie I ever saw in
a theater. How I got into a rated R film
at age ten, I can't explain, but I do very
explicitly remember seeing Lost Boys in the theater and being terrified,

(11:52):
but but also sort of having the Corries as an
anchor not. I don't really know how how old the
Corries were at that point. I guess there were maybe
like fifteen.

Speaker 2 (12:05):
Yeah, that's a really really good question. They seem like
they're around fifteen, but I think conceivably they could be older,
because the Corries looked really young I think throughout their
heyday of their career. What's really interesting about what you
just said is that apparently some of the lore around
this film is that originally they wanted this to be
more of kind of a Goomies level, so they wanted

(12:29):
the main cast to be much younger. And then when
Joel Schumacher got involved, everyone aged up.

Speaker 1 (12:35):
Oh yeahs Richard Donner and then Schillmaker took over and
they're like, we need to like, let's make this for
a more mature audience.

Speaker 2 (12:45):
And it's definitely mature. Like you said, some of the
scenes are are legit, pretty terrifying, and the transformations.

Speaker 3 (12:51):
Wow, wait, I don't I mean, I would say they're
legit yeah, for a child, but remember this movie was
ah not designed for children.

Speaker 2 (13:02):
Apparently it freaked me out. I saw it as a
kid too, and it did. It did freak me out.

Speaker 3 (13:08):
It's very it's very strange to me to have realized
that Lost Boys was rated R because it seems very
specifically aimed at like fifteen or sixteen year olds, like
I certainly can't imagine an eighteen year old. I guess
an eighteen year old would like the Michael and Star story,

(13:31):
like the Jason Patrick and Jamie Gertz and Kiefer Sutherland characters,
I guess would be would be cool to them. I
don't know, I'm not even quite sure.

Speaker 1 (13:41):
Well, you got to make it rated R so all
the kids that are like thirteen through sixteen, Like, you know,
there's that element of it's too dangerous for you. So
then I want to see it more.

Speaker 3 (13:50):
Yeah, I'd like to look back and see what else
was in theaters at the time, to see what movie
I must have? What p G rated film I bought
a ticket to and then snuck in to see Lost
Boys for I wonder if, like who framed Roger Rabbit
was out at that point, although even that can't have

(14:11):
been PG right.

Speaker 1 (14:12):
That was a pretty in theater and I was like
five or.

Speaker 2 (14:16):
Roger Rabbit is like scarier than the Lost Boys eventually
more disturbing.

Speaker 3 (14:22):
It definitely is. It definitely is more haunting film than Lost.

Speaker 2 (14:26):
Yes, haunting. Haunting is the word really sticks to you.

Speaker 1 (14:31):
The deterioration of people is much more scary and.

Speaker 2 (14:35):
Sticks to your psyche, you know, you think about a loud.

Speaker 1 (14:39):
I would rather just have someone explode in a bathtub.

Speaker 3 (14:43):
Absolutely so Richard Don't Okay, Yeah, I guess Richard Donner
did did make Goonies, and that is pointedly for kids,
but I'm I'm picturing a lethal weapon, uh mode. Lost
Boys pretty sick. I think I think Richard Dunner could
have made a great Lost Boys.

Speaker 1 (15:04):
I do think that there's like elements of the Goonies
in the movie, especially with the frogs, and then yeah,
and then I think there's a little bit of like
lethal weapons like conversations going on, like when they're barricading
the house and like getting ready for the huge vampire
onslaught at the end.

Speaker 3 (15:22):
Yeah, I was I was sort of thinking that that
Lost Boys, and look hear me out. Lost Boys not
not a great film, not a great film, but I
feel like it wasn't was a pretty early maybe not
maybe saying it's postmodern is getting ahead of ourselves, but uh,

(15:44):
it's one of the earlier self referential films. Like it's
it's extra textual. It talks it like it recognizes the
source material that it's pulling from. In the film itself,
the characters talk about, uh, you know, horror movies. They
talk about Texas, Chainsaw, Masker, you know, they make jokes

(16:05):
about Dracula. So yeah, it sort of prefigures you know,
Quentin Tarantino grade cultural cultural uh you know, touch touchstones.

Speaker 2 (16:21):
I don't think that's kind of over an over estimation.
I think there are some things in it that that
maybe are a little ahead of its time. I guess
the term vamp out that they use to describe like
when they become vampires, that's a Buffy the Vampire Slayer
thing too, So Buffy Vampire Slayer the show stole that
from the movie, so first media use of that. I

(16:42):
think you could probably argue that there are a lot
of things in it that feel like they were used
in other pieces of media later. Somebody also said, like,
this soundtrack is kind of like the Crow soundtrack before
there was a Crow soundtrack Maggie's And that sort of
makes sense.

Speaker 1 (16:57):
To me too a little bit. I can see that.

Speaker 2 (17:00):
Yeah, it's like but but for you know, not like
alt and industrial music, but the same kind of like
commitment to creating a vibe, creating like this edginus for
this movie.

Speaker 3 (17:13):
The vibe is, the vibe is very strong. Yeah, and
it is. It is fairly goth. Yeah, ah, yeah, it
might the Crow soundtrack is a better soundtrack.

Speaker 2 (17:25):
Yes, yes, we're all really fast like.

Speaker 3 (17:29):
Yeah, and maybe maybe this is a hot take, but
I think the Crow soundtrack works worse in in the
film Lost Boys soundtrack. Yeah, Lost Boys, Lost Boys, like
the songs in Lost Boys really work incredibly well in

(17:52):
the scenes they're in. Several of them appear multiple times,
so they sort of become like thematic. Pretty I I
hadn't remembered the the Roger Daltrey cover of uh is
It Don't Let the Sun Go Down to Me?

Speaker 1 (18:13):
Yeah? The Elton John song Yeah.

Speaker 3 (18:15):
And I realized it's because it doesn't actually appear in
the film. It's it's in the like credits, it's the
second song in the credits. I'm sure as a child,
I never even got that far into the credits. Once
the credits were rolling, once Corey Haim was not on screen,
I was like, I don't need this anymore.

Speaker 1 (18:33):
And I've already heard people are Strange. It's already in
the beginning of the movie.

Speaker 2 (18:37):
We've already had like the on the Nose people are Strange.
Echoing the Bunnyman.

Speaker 3 (18:41):
Cover another hot take I want to bring. I think
echoing the Bunny Months People Are Strange is better than
the Doors.

Speaker 2 (18:49):
I do too, but I do. I think it's really
good actually, and I I mean, i'd feel like the
biggest Doors fans if I don't want to start like
that cultural argument. But it's really good.

Speaker 3 (19:00):
I'm definitely a bigger echo in the bunny Man fan.
So I guess, I guess, I guess I'm not coming
at it with even even handedly totally.

Speaker 2 (19:10):
There's bias involved, That's what there isilers bias.

Speaker 3 (19:14):
I still think it's a pretty warm take, not crazy enough.

Speaker 1 (19:19):
It's pretty warm.

Speaker 2 (19:21):
No, this is not enough like enragement bait. Engagement bait
doors are terrible. Argue about it.

Speaker 3 (19:27):
I mean the doors are a little corny.

Speaker 1 (19:31):
Yeah, So what do you think of the vampires kind
of worshiping Jim Morrison in their little cave?

Speaker 2 (19:43):
It's a lair, Ryan, It's a lair.

Speaker 3 (19:46):
So I will say that it did make me wonder
how old the teenage vampires are, Like Edward Herrman appears
to have been around for ages. He's the head vampire.
How old is like key for Sutherland supposed to be?

(20:06):
So we know Star and Laddie are recent turns. They're
half vampires. Also, how long can it?

Speaker 1 (20:14):
Now?

Speaker 3 (20:14):
I'm starting sorry, I'm rabbit hol like, how long can
these vampires live without feeding? Star tells Michael that she's
still a half vampire. She seems so. She hasn't eaten
for weeks. I guess she seems okay. Laddie is recently missing.
We see him on a milk carton. How long has

(20:34):
a Bill from Bill and Ted been a vampire?

Speaker 1 (20:39):
It's very hard to be like, Hey, it's Alec's winter. Yeah,
the wait, he's not Bill, he's a vampire.

Speaker 3 (20:46):
He's definitely Bill, He's just Bill.

Speaker 1 (20:50):
Well and also Edward Herman. I was watching the movie
with my wife last night and she goes, it's the
dad from Gilmour Girls.

Speaker 3 (20:58):
Oh Man brutal, brutal, but importantly Edward Herman sort of
dresses in a contemporary manner. So just the fact that
these teenagers seem like they're contemporary California punks doesn't mean

(21:21):
they are. They may have been og Doors fans. That
poster may have belonged to one of them when he
was alive.

Speaker 1 (21:30):
That's very true.

Speaker 2 (21:32):
You just don't know. Age wise, it looks like keither
sadler Lund was eighteen in this film. He looks much older,
but everybody kind of looks older.

Speaker 1 (21:40):
Well, he's kind of a Benjamin Button where he's always
kind of looked old.

Speaker 2 (21:44):
I mean, yeah, that which surprised me.

Speaker 1 (21:46):
I would have he just came out of the womb
as like Donald Sutherland with brown hair is what I feel.

Speaker 3 (21:55):
I don't yep. It's also funny is that I tend
to not think of Keifer soodolen Is being brown haired.
But I guess, I guess he is. I only picture him. Wait,
what is his vampire's name.

Speaker 1 (22:11):
I think it's Date David.

Speaker 3 (22:12):
Yeah, thank you. I picture him always David, David blonde.

Speaker 1 (22:19):
He's either David blonde or Jack Power, nothing in between.

Speaker 2 (22:23):
There's nothing in between, and that's kind of true. I
think those are the two images that most people in
our age bracket have of I think he was.

Speaker 3 (22:30):
I think he was blonde in flat liners? Right.

Speaker 2 (22:34):
If he wasn't, I.

Speaker 1 (22:35):
Was assuming we've seen flat liners.

Speaker 2 (22:37):
I seen flat liners, but it's been it's been a second.
I'm going to assume that he was blonde. In my memory,
he's like Billy Idol blonde.

Speaker 1 (22:46):
I just remember, like the the VHS box on the
at the grocery store and cap of flat liners.

Speaker 2 (22:52):
Yeah, the end cap for flat liners, like it was everywhere,
every like Ralph's. You would go.

Speaker 3 (22:58):
Into and you manage to avoid the sirens call of
flat liners, of the flat liners VHS.

Speaker 2 (23:06):
Ryan, your mom wasn't buying you like a packet M
and ms and flatliners.

Speaker 1 (23:11):
She probably offered the flat liners and I was probably
just too young and terrified of the box. That box
is scary. It's scary, scary, it's too.

Speaker 3 (23:21):
An appropriate box for the film.

Speaker 2 (23:23):
Well, speaking of Keifer, whose name is very difficult for
me to say, but I'm gonna try to get through
this podcast without messing up the name Keifer, Apparently he
was reluctant to join this cast, but when he heard
that In Excess and Jimmy Barnes would be on the soundtrack,
he changed his mind because he loved them so much.
So I guess keeper something was like I'm eighteen, only
too cool for your like gooony slash vampire film. And

(23:45):
then he then he did a little reverse yeah.

Speaker 1 (23:48):
And then he got like super involved in the story
and stuff, like he was like given notes.

Speaker 3 (23:52):
Got what in Excess had not released Kick at this point? Right?
I think Kick? Kick was like maybe later that year
or the next year. Sold's pretty cool. He's a he's
a what a what the hell is the in Excess album?

Speaker 1 (24:16):
Before?

Speaker 3 (24:18):
Before Kick?

Speaker 1 (24:20):
Listen like thieves like thieves?

Speaker 2 (24:23):
There we go.

Speaker 3 (24:24):
I was like, I know it's not listen without prejudice. Yeah,
so that's pretty cool. That key for Sutherland, although famously
a great a great musician himself. Key for Sutherland isn't
he in like a pretty dorky blues band.

Speaker 1 (24:43):
I thought also, there are a lot of.

Speaker 2 (24:48):
Actors that are in like a dorky blues band.

Speaker 3 (24:50):
Bruce Willis, Yeah.

Speaker 2 (24:53):
David Duney and like Steve Yeah, there you go, there
you got the blues.

Speaker 3 (25:00):
It's because as as actors, they're taught to emote, and
blues is the most emotive of the guitar based musical forms.

Speaker 1 (25:10):
An keep is that you gotta look at these album covers.

Speaker 2 (25:13):
Is because her mole to play, Like, what's the reason?

Speaker 1 (25:18):
Oh? These are these are amazing.

Speaker 3 (25:23):
Wait, but so you're telling me that Keifa Sutherland was
swayed not by the script, not script by the director.

Speaker 2 (25:33):
But Cory's, but allegedly by an excess in Jimmy Barnes
being on the soundtrack.

Speaker 3 (25:40):
That's pretty wild.

Speaker 2 (25:43):
Yeah, not even by the fact that, like Joel Schumacher
had just directed Saint Elmo's Fire in eighty five and
this was eighty sevens you would think there'd be you know,
like a certain amount.

Speaker 3 (25:52):
Of clout, there'd be some heat.

Speaker 2 (25:54):
Well, yeah, there's some heat attached to that. This little
pre Batman.

Speaker 1 (25:59):
You can totally see why he got Batman after this movie.

Speaker 3 (26:02):
He had not because you have been dealing with a
bunch of batmen.

Speaker 1 (26:07):
Well also that, but I think tonally, you know, that's like.

Speaker 2 (26:13):
The best joke. Wait, do we take the sucond for
a joke? It's my favorite joke anyone's ever made on it.

Speaker 3 (26:24):
Literally, say what you will about the Schumacher Batman films.
They are they are fairly miserable viewing experiences. They are
they are stylish. The style is bad, but they they
make they make a choice. Uh that weird like Tim

(26:45):
tim Burton's that Batman feel like Tim Burton movies, Like
they kind of they feel like they almost live in
the same world as Peter's Big Adventure. Yeah, Joel Schumacher
didn't had I don't know where that style choice came from. Like,
Lost Boys doesn't really look like that. Sant almos Fire

(27:06):
certainly does not. No, he certainly does not. Speaking of
sant almos Fire, I couldn't.

Speaker 2 (27:13):
I was.

Speaker 3 (27:13):
I rewatched Lost Boys today to prep and I was
pretty impressed that Corey Haim has a real cheesecake poster
of Rob Low on his closet door.

Speaker 2 (27:27):
Right, It's because Joel Schumacher had just directed him in
Saint Almost Fire. So I think all of these posters
are like Easter eggs from Joel Schumacher, Like, hey, by
the way, like, we don't have the we don't have
social media, so I can't promote my previous films.

Speaker 1 (27:43):
Give me a Batman movie.

Speaker 3 (27:45):
Is that what you think he was doing? He was
trying to drive viewership to VHS copies of I do.

Speaker 2 (27:51):
I think he was trying to say, here's Rob Low,
and if you like this, you're gonna love Saint Almost Fire.
There's there's an echo and the Bunnyman poster in Sam's
room and they covered people are strange. And there's that
doors poster that we've already talked about in the Vampire Lair,
if you will cave whatever it is, whatever your preferred

(28:13):
nomenclature is, for a place where vampires congregate.

Speaker 3 (28:18):
Yeah, it's there, it's there, it's there, dead, it's their haven.
Let's ring. Yeah.

Speaker 1 (28:24):
So to go back to this Batman thing. So, yeah,
as we were talking about how this movie is very
self referential. So it's kind of like the first cinematic
uh or the first movie where like vampires are thought
to be sexy. You got sexy vampires, they're bad boys.

(28:45):
And apparently they read Interview with the Vampire whoever wrote
the screenplay, and they're like, oh, there's kind of sexy
vampires in this book, and yeah, this could work. And
so you know, we have that lying to like Buffy,
and then obviously the Interview with the Vampire became a movie,
and then you know, all the way to you know,

(29:06):
Robert Pattinson in Twilight. We all have Joel Schumacher to
thank for sexy vampires.

Speaker 3 (29:12):
Who can it be possible that there is not a sexy,
a sexy vampire film before this. I mean, I tend
to think of like Dracula as being at least sexually tinged,
but I guess, you know, Bella Lagosi not a hot guy.

Speaker 2 (29:36):
The Hunger from the early eighties, right with like Bowie
and Catherine Daneuve, they were sexy vampires. So I feel
like that's a slightly earlier incarnation of I feel like
vampires are inherently kind of like an erotic thing, not
like in film and books and whatever.

Speaker 3 (29:53):
It's a penetrative, yeah.

Speaker 2 (29:57):
Interaction, you know, like we will dissect it fully here.
It's not my dissertation about sexy vampires, but I think
you could argue that, like vampires are inherently a little
bit sexy and a little bit dangerous. I think though,
that this is the first time you ever see maybe
like a vampires a teen heart from.

Speaker 1 (30:13):
Yeah, I was gonna say, maybe sexy teen vampires.

Speaker 2 (30:16):
There's a heart drab aspect to this that that, yeah,
like Twilight later would.

Speaker 1 (30:20):
Instead of wearing like a blouse and having like very
like you know, slicked back there or whatever.

Speaker 2 (30:26):
Yes, exactly. It was like a modern take on the vampire.
Like nothing victorian or frilly about it, just like you know,
leather jackets and everybody.

Speaker 3 (30:34):
Motorcycles motorcycle though. I I did also realize that this
same year Catherine Bigelow's Near Dark came out also not
not they're not sexy vampires, but they're like cool vampires.
They're like weirdo dirt dirt punks, you know, Bill Paxton awesome,

(30:59):
Maybe not sexy, maybe not a sexy guy speak.

Speaker 2 (31:03):
For yourself, okay.

Speaker 1 (31:07):
But not bad boy sexy.

Speaker 3 (31:09):
Yeah, yeah, yeah, that's Jason Patrick pretty sexy.

Speaker 2 (31:15):
Vampire and he's pretty young in this movie too.

Speaker 3 (31:18):
Very sexy vampire. Yeah, I love that.

Speaker 2 (31:21):
Uh.

Speaker 3 (31:22):
They never even bother making Jamie Gertz look anything but
like utterly delightful. I get every other person in the
movie becomes a decrepit beast at some point, not not
not Jamie.

Speaker 2 (31:36):
Gertz read something about like why you never see like
her full gross you know, pre botox whatever that is
like vampire transformation. But it's got to be that right that,
Like they were just like, no, we're gonna let her
be hot.

Speaker 3 (31:51):
This looks good, this looks it's.

Speaker 2 (31:54):
Not mess with this. This is this is where the
money is, which I think is how jewel she across
the fis, Like, is where the money is with the
box offices people.

Speaker 1 (32:03):
Yeah, you guys are gonna make out and we're gonna
just fade to the clouds.

Speaker 3 (32:11):
Yeah. A lot of good, a lot of good. Uh,
California fog use in.

Speaker 1 (32:16):
This film, and how many times do they do that
aerial shot of the boardwalk in Santa Cruz shows up right.

Speaker 3 (32:23):
I was I was wondering today as I watched it.
If Lost Boys is a large part of why I
moved to California.

Speaker 2 (32:37):
Oh, interesting and elaborate, elaborate.

Speaker 3 (32:40):
I I one realized while watching it today that the
the Echo and the Bunnymen montage of day to day
life in uh Santa Carla was like what I thought
California h was like, and like in in in nineteen

(33:05):
ninety three, nineteen ninety two or three, or whenever I
first went to like Berkeley and Santa Cruz with like
on family trips, I was like, Yeah, this is this
is it, this is this is my ship. And I
immediately felt at home in northern California. And I think
it's because Lost Boys Groomed Me feel to feel that,

(33:32):
to feel.

Speaker 2 (33:33):
That Lost Groomed Me is the sucking best thing anyone's
ever said of the podcast that is that is amazing.

Speaker 1 (33:42):
They need to put that on the DVD cover whenever
they re released this movie, The Lost Groomed Me. Keith Urray,
we are scientists.

Speaker 2 (33:51):
That's the endorsement right there.

Speaker 3 (33:53):
But yeah, I think I think that the vibe of
of even just that sequence, or like any exterior shots
of people's homes. First of all, I know that they
keep on trying to suggest that this family is has

(34:14):
fallen on hard financial times. Grandpa's house is sick, it's
a dream house.

Speaker 2 (34:21):
Well, hard financial times. In eighties movies were like a
very different thing. You know, we weren't even like acknology
that Kevin Mcalicher's parents from Home Alone were like wealthy.
That was just normal. They was doing okay. They were
like middle class.

Speaker 3 (34:34):
Although do we know what they do? We know what
they do. I mean they take they're taking like a
ten person family trip to France. So there's a lot.

Speaker 2 (34:43):
Of internet debate around that. I think people want to
want to believe that it's money, that he's got white
collar crimes under his bout there's.

Speaker 1 (34:50):
Like a money or the coffee money or something.

Speaker 2 (34:53):
Why it can't be on the app and app? I know,
I'm sorry, audience. It's a totally different movie. But also
it it's related because in it was weird. It was
like we're just we're falling into our times. You know,
we can only afford four bathrooms.

Speaker 3 (35:07):
That's rough stuff.

Speaker 1 (35:08):
Yeah. I mean even in the seventies with like the
Brady Bunch, it's like, I guess we're gonna just have
all six kids live here.

Speaker 3 (35:14):
Yeah, although in here I'm postulating because I haven't seen
Brady Bunch since I was a child. What they have
to have shared rooms? Right? That that was a real
bunk bad situation with Brady Bunch.

Speaker 2 (35:28):
Yeah, and I think I think what we learned from
the Brady Bunch sort of parody movies that there are
definitely implications to all of those hormones sharing one house. Yeah,
not a.

Speaker 1 (35:37):
Great scene, but not a single episode about them fighting
over the bathrooms.

Speaker 3 (35:45):
They're not getting down to the nitty gritty in the
Brady Bunch unfortunately. But oh but also, Edward Herman runs
a video store. Now maybe he has his thing is
in a lot of pies. I guess, we don't know.
Just because he owns the video store doesn't mean he

(36:05):
only owns a video store. But his house is incredible.
It's cliff Side. There's the scene when he's walking down
the boardwalk to his house, his little private boardwalk. It
takes him like ninety seconds to even get close to
his house. He's got like a hike to get to

(36:26):
his house. It's ridiculous.

Speaker 1 (36:28):
And he's got the white picket fans.

Speaker 3 (36:30):
And yeah, there's a lot of money in this murder
capital of the world.

Speaker 1 (36:38):
Well, I mean he may be a thousand years old,
he could be he medieval medieval treasure.

Speaker 3 (36:45):
The irs isn't asking where is money's coming from, just considering.

Speaker 2 (36:51):
The murder capital. They're like, it's heard.

Speaker 3 (36:53):
I'm like you.

Speaker 2 (36:54):
They were like, I think we're staying out of this.

Speaker 3 (36:56):
I guess in nineteen eighty seven, you know, VHS Rental
was probably a highly lucrative feel to be in.

Speaker 1 (37:05):
So, yeah, I haven't seen haven't you seen Shit's creak.
That's how they built their fortune before they pissed it away.

Speaker 2 (37:11):
You know, that's right. I totally forgot that detail. They
were like Blockbuster Video.

Speaker 1 (37:16):
But they were called Rose Video, right.

Speaker 3 (37:20):
This it suggested that he doesn't own a chain. He's
he's at the video store every night.

Speaker 1 (37:27):
Yeah, because he can't work days.

Speaker 3 (37:28):
He cannot work days. I do love that Sam figures
out that he's the head vampire because he doesn't show
up to work until after dark and he has a
mean dog.

Speaker 1 (37:44):
Hounds of hell.

Speaker 3 (37:45):
That's it. It's gotta be that, gotta be the head vampire.

Speaker 1 (37:49):
I love how everything is from a comic book too, Like,
oh yeah, this comic book says this, and this says that.

Speaker 3 (37:56):
Very helpful, very helpful text do we never get any
sense of who wrote this comic book, Dewey, where's this
comic book coming from? Yeah? I love that the the
author of this comic book seems totally aware of rampant vampiorism.
And also at the end we learned Grandpa is do

(38:17):
Grandpa knew this was going on all along, and it's
just like we're fine.

Speaker 1 (38:25):
Yeah, Like the first thing he brings up when the
family moves in with him was like, this, this area
is just for Grandpa and his.

Speaker 3 (38:33):
Root beers and his uh he has. He has like
some weird eighties snack that I that I vaguely recalled.
They were like tubular tubular tubular snacks tubular. It looks
pretty gross. I mean that I'm not in the eighties
slang to mean they were totally tubular, but they like

(38:58):
they were cylindrical. But yeah, that's I don't think it's
unfair for Grandpa, who has presumably been living as a
bachelor for many years on his own, to ask for
a single shelf.

Speaker 1 (39:14):
No, I don't think it's unfair. But that's the first
thing that he brings up, not like, oh, yeah, there
might be vampires around.

Speaker 3 (39:20):
Well, he does say that if every corpse that was
buried around there were to stand up at once, they'd
have one hell of a population problem. And I think
that's probably true of every town in the world. If
every corpse that were buried in New York City suddenly

(39:40):
stood up, we'd have a hell of a population problem.

Speaker 1 (39:43):
It's a very roundabout way to say that we have vampires.

Speaker 2 (39:47):
Yeah, it's very oddly explained.

Speaker 1 (39:51):
Yeah, Oh, didn't you understand what I was saying when
I said that if every corpse stood up, that was
about vampires.

Speaker 2 (39:58):
No, do you think I'm trying to tell you.

Speaker 3 (40:02):
It's I'm also I'm impressed at Grandpa's finishing move, which
he said he drives his truck into his own house
and sends a fence post into the head vampire. But
it's a pretty risky move, right. There's no reason to

(40:26):
believe that his aim with a fence post launched from
the back of his truck is going to be good. Also,
his whole family is in that living room that he
just drove a truck at a high speed into. Grandpa Man, I.

Speaker 1 (40:41):
Don't know he's done this before, Keith, I don't know
has he has?

Speaker 3 (40:46):
He This seems like a one this seems like a
real one off. He gets, Wait, wait, you're suggesting to
me that you think he's driven his truck into a
house and speared a man spirit of vampire, because I'd
like I'd like to see that. I'd like to see
that prequel.

Speaker 1 (41:06):
I mean, I think they I think if they were
to remake The Lost Boys, it should be a prequel
about Grandpa living in that house. One.

Speaker 3 (41:13):
Oh my god, I'm way into that.

Speaker 2 (41:16):
We have questions we do we need to answer. Why
haven't they remade The Lost Boys?

Speaker 1 (41:24):
Well, there's two sequels?

Speaker 2 (41:25):
Are there sequels to this film? But they've gone like
straight to the end cap aisle, or to like that
section of prime video that nobody watches.

Speaker 1 (41:33):
Yeah, they've been like bum they've like bundled all three
into one movie.

Speaker 3 (41:37):
Like Feldman is involved in one or more of the sequels.

Speaker 1 (41:41):
I believe make up one.

Speaker 3 (41:44):
I think both and they were I think I remember
that they were going to involve both Corey's but then
Corey ham passed away. But I'd have watched I have
watched a double barreled Corey sequel. Feldman on his own,
I'm not so sure. I'm not so sure about it.

Speaker 2 (42:04):
Yeah, I think unfortunately he need both Corey's for balance
or something. I don't know.

Speaker 3 (42:10):
Whatever happened to the other frog brother. I don't know
which one is Edgar and which one is Alan, but
the other, the non Corey frog brother, we never saw
that guy again. That guy had maybe not Feldman's great charisma,
but he had a smoldering presence.

Speaker 2 (42:29):
For some reason. I'm afraid to google it. Like, is
there some kind of like tragic backstory. Maybe I don't know.

Speaker 3 (42:37):
There's always a tragic backstory.

Speaker 2 (42:40):
It was a weird time for child actors.

Speaker 3 (42:42):
Yeah, can have gone well for Edgar or out Well,
we know it didn't go very well for Feldman exactly.

Speaker 1 (42:51):
Yeah. So his name is Jamison Newlander. Oh yeah, yeah, really,
he's only been part of these Lost Boy me.

Speaker 3 (43:00):
Oh, he's in the both frog Brothers came back. Oh yeah,
I might be. I might be watching Lost Boys to tonight.

Speaker 1 (43:11):
Lost by right, that's in all of them. He's in
all of them.

Speaker 3 (43:18):
Wow, so he's back. He's on fire. I'm checking right now.
Lost Boys two has to be on to B if ever.
If ever a movie were made for to B, it's
Lost Boys too. So I was called Lost Boys Too.

Speaker 1 (43:32):
Called Lost Boys The Thirst.

Speaker 2 (43:35):
The Thirst.

Speaker 1 (43:36):
The Tribe is the first tribe and then the first. Oh,
he's actually only really in the Thirst and the Tribe.
He's in the ultra second, the third one he's a
he made. He's an alternative ending for the tribe.

Speaker 2 (43:50):
An alternative ending, right because.

Speaker 1 (43:53):
He's in a deleted scene. So if you find it
on to B, he's not going to be in it.

Speaker 2 (43:57):
I had to look up. Okay, you guys, it's not.

Speaker 3 (44:01):
It's not too I hate to say it. This is
the first time to be's failed me.

Speaker 2 (44:05):
Even four if they don't have the last place.

Speaker 3 (44:10):
Was reverse engineered when one day somebody said we need
a way to stream Lost Boys The Thirst, Like this
is what happened to.

Speaker 1 (44:22):
Let me call my venture capitalist friends. Let's do it.

Speaker 2 (44:25):
Okay, So notable tracks from from the album the soundtrack
album for Years Tribe.

Speaker 1 (44:32):
So now we're talking about the Tribe.

Speaker 2 (44:35):
Yeah, well, I just wanted to know what was on it, right,
don't speak, I came to Make a Bang by Eagles
of Death Metal, Kingdom by Dave Gahan, Okay, Burrito by Seither,
This Long Way Down by g Love and special Sauce
the Von Bondies are here? What are here? Who sound?

Speaker 1 (44:55):
Yeah? This is pretty strong for like.

Speaker 3 (44:57):
Straight Wait, blind melon, there's no way you're lying right now,
you know what with the internet live. No, I'm saying
you're lying.

Speaker 2 (45:07):
I'm reading it.

Speaker 3 (45:09):
I don't believe.

Speaker 2 (45:11):
But Google's all a I know, So I don't know.
It could be it could be a thing. But it
doesn't look out bad, doesn't terrible.

Speaker 3 (45:18):
No, wait, there's no way. The whole steady have a
song is Lost Boys, the Tribe.

Speaker 2 (45:25):
I am here to tell you that what's their song
called at Knuckles by the whole study is part of
this truck listing. And I'm also.

Speaker 3 (45:39):
The pretty good.

Speaker 2 (45:41):
I'm verifying it with the Lost Boys fandom wiki because
that also exists. There is a wiki for Lost Boys
fans who have probably seen the whole trilogy.

Speaker 3 (45:52):
Do you think the like eerie pump organ score of
the Lost Boys was was shuttled into the tribe and
the thirst as well? I feel like I feel like
it's essential to the Lost Boys vibe good question like
sousa style like March March Oregon.

Speaker 1 (46:16):
Oh that's a good that's a good segue. So Thomas
Newman is a composer for the Lost boys.

Speaker 3 (46:20):
Thomas, Oh, the famous Thomas Newt. What's his what's his deal?
Did he? Has he scored anything else?

Speaker 1 (46:27):
Yeah? He scored a bunch of stuff. He's actually been
nominated for Best Original Score fifteen times, wow, but has
won zero times.

Speaker 3 (46:36):
Wow. You can't you can't win them all or any
Sometimes that is that how the saying goes.

Speaker 2 (46:45):
Yeah, I think that's a phrase. That's the tripe.

Speaker 1 (46:48):
What are his other what are his other great credits?
I remember seeing American Beauty for sure, because that one
best original picture. Road to Perdition, Meet Joe Black? Oh no, no, wait,
wait wait yeah Thomas Nyman, Right yeah, American Beauty, Road
to Pradition, Meet Joe Black, nineteen seventeen.

Speaker 3 (47:10):
Sam Mendes is man, this guy. Okay, I'm not gonna lie.
I can't picture how any of the scores to these
films go. I do feel like I remember American Beauty
having like a notable score. I can't remember it, and
I want to forget everything about American Beauty as same,

(47:33):
as deeply as possible, so I that would be so much.
That might be why I don't remember Thomas Newman's presumably
fabulous score.

Speaker 1 (47:43):
Because we've had to wipe everything else from that movie.

Speaker 3 (47:45):
Yeah, but well yeah, so now I wonder if if
his calliope style score is based on the carousel, the
carousel motif that appears pretty often in Lost Boys on
the Boardwalk. I think when we first hear that that

(48:07):
march score of Thomas Newman's, if that is his name,
that in the scene when they first start the fight
with the other punks on the carousel and the cop
comes and is like I thought I told you not
to come around here or whatever. It seems like that
score is designed to sound like it's you know, digetic,

(48:29):
like it's coming from the carousel. But then we hear
it sort of throughout the rest of the film. Is
that Do you think that's Thomas Newman's vibe or is
he being bent to the will of Schumacher at that point.

Speaker 1 (48:44):
I would assume it's in service of the film.

Speaker 3 (48:47):
You're right. I think you're right. I think Tomas Newman
was able to rise above his surging ego and say
and say, I will give Schumacher this calliope score. It's cool,
though it's a weird it's a weird ass score. You
don't really hear that very often.

Speaker 1 (49:06):
That is very strange.

Speaker 2 (49:08):
Well, speaking of important musical figures in The Lost Boys,
I think it might be time to talk about Tim Cappollo.

Speaker 3 (49:18):
Oh is Tim Capello honk and sax man?

Speaker 2 (49:22):
Sax Man Tim Capello oiled up sacks playing a fan
favorite cameo. Yeah, that guy who is one of the
indelible images of this film. I think for work.

Speaker 3 (49:37):
I was wondering to you aloud before we started the
pod cast, proper if Tim Cappello, if that is his name,
is is the for for a specific generation, the single
most identifiable real musician whose name and music nobody knows

(50:03):
like I don't. I don't think there's another guy who
I recognize without knowing anything about his work, but who
is a real person.

Speaker 2 (50:13):
Like right right, A real saxophone player, real person.

Speaker 3 (50:18):
I'm assuming that's how he plays, and that's right, I'm
using the present tense to this day. I assume that's
how Tim Capello plays. This show's shirtless, jacked, greasy, wet,
ponytail pulled to the back, honk in that sex. I'd
like to believe that he brought that, you know, that

(50:43):
waste barrel full of fire. I like to think that
that's his that's his prop.

Speaker 1 (50:51):
You don't like to think about it because it is true.

Speaker 3 (50:54):
True.

Speaker 2 (50:54):
Yeah, I mean, you can google image of this man
and that is his shick.

Speaker 3 (50:58):
He always got. He's always got a burning barrel next
to him.

Speaker 1 (51:03):
According to Wikipedia, he is notable for his muscular physique,
his sexually provocative movements during performances, and for a tendency
to perform shirtless, with oiled skinned and a ponytail.

Speaker 2 (51:16):
He's the Steven Sagall of saxophones.

Speaker 3 (51:19):
He really one hundred is a Cigal, although I'll tell
you what, I'll bet he could kick Cigal's ass.

Speaker 2 (51:27):
He's a really big dude.

Speaker 3 (51:29):
He's like huge dude. He's got, like you said, he's
got sexually suggestive moves, and that just demonstrates that he's
very comfortable in his own body. I bet he could
really manhandle Cigal.

Speaker 2 (51:43):
Like physically. He kind of reminds me of like Doyle
from The Misfits. You're like, you don't need to be
this big in any way for what you do. You don't,
this is unnecessary, but it's happening. And yeah, like you
are just a big wall of a man. What's also
interesting about him because he's a good guy that's here
that we all know but we don't know. Apparently. He

(52:03):
is also known for playing with Tina Turner and Peter
Gabriel and Peter A lot of people, a lot of people,
the Tin Turner, notably because he is also on the
Mad Max Beyond Thunderdrome soundtrack, for he plays as songs
we don't need another hero?

Speaker 3 (52:18):
What in no way?

Speaker 2 (52:19):
Yes, this is true. He is both a saxophone icon
and a like cinema icon.

Speaker 3 (52:26):
Well, then I take back what I said. It sounds
like everybody knows this guy's work. You know, he's not
an enigma. He is. He is part of everyone's everyday
life in there.

Speaker 2 (52:39):
You know, he's in your psyche whether you whether you
know it or not.

Speaker 1 (52:42):
It's funny because when I saw him, because I was
watching him last night, I was like, oh, like he
should be like with that guitar guy on Mad Max
Fury Road, you know, with shooting fire out of the saxophone.
But he was in Mad Max Thunderdome so it was
got energy. Yeah, he's got that same energy.

Speaker 3 (53:00):
That is one hundred percent who that uh Fury Road
character was based on. He he needs to have gotten
paid for using his life rights in Fury Road.

Speaker 2 (53:18):
Yeah, they should caught him a jack.

Speaker 1 (53:21):
Well, I'm glad that he can do more than just
do fan fan conventions.

Speaker 3 (53:26):
Oh, he does so much more than fan conventions. And
I wonder I really hold a life. I really hope
that he is single, because I'll bet he could get
a lot of action going to Lost Boys fan conventions
and taking that shirt off.

Speaker 1 (53:43):
Boy oh boy, whip out that saxophone, oil.

Speaker 3 (53:47):
Boy, Yeah, deliver a couple mighty blasts out of that horn.
Is Yeah, man, he can really blow, he sure can.
I part of me wants to believe that he still
has that main but even even bald, what a wild

(54:11):
bull and a wild bull, Pellow would be.

Speaker 2 (54:17):
Just yeah, just an undeniable sexual energy there. Like really,
it is.

Speaker 3 (54:23):
Funny that you mentioned the Misfits because, yeah, now I'm
wondering if he and Glenn Danzig fought, who could win.
We know, we know they could both, we know they
could both kick Cigal's ass.

Speaker 1 (54:36):
No God, but man, we got to do a tournament
of people that pell versus dancing, Yeah, Pella versus the
world bracket tournament bracket.

Speaker 2 (54:47):
Using music who are like way too big and shouldn't
be that fight.

Speaker 3 (54:51):
Like, now you're making me wonder because Glenn Danzig, you know,
famously a bulldog like not not a not a very
tall man, that's all. Yeah, he's compact.

Speaker 2 (55:03):
Yeah, I've seen that picture of him out getting like
the kitty litter and stuff like, he's.

Speaker 3 (55:06):
Not you've seen you've seen white picture a parazzi photo.

Speaker 2 (55:16):
Went after a while of him like out at the
grocery store, like in the park, like what.

Speaker 3 (55:24):
Why what? Under what circumstances was paparazzi thinking this is
going to be the shot that makes my fortune, I'm
telling you.

Speaker 2 (55:33):
Among like old punks, that thing went around, the thing
got meaned.

Speaker 1 (55:39):
He clearly thought that Danzig was going to put them off.

Speaker 3 (55:43):
Yeah, old punks famous for spending a lot of money
on Getty images.

Speaker 2 (55:48):
It was a whole It was the whole thing, guys.

Speaker 3 (55:52):
But now I am realizing, I'm realizing that I don't
think we see uh, contextual shots of Tim Cappello. He
might also be like, are.

Speaker 2 (56:01):
You gonna try to find his height? I see Ryan
like locking.

Speaker 1 (56:04):
Now here we go?

Speaker 3 (56:06):
Are you checking Tim? That saxophone does seem really big
and it's and it's not a tenor. He's delivered big
hot what.

Speaker 1 (56:17):
He is a solid six feet tall?

Speaker 3 (56:19):
Okay, all right, I'll bet I'll bet.

Speaker 1 (56:23):
Oh he's on cameo cowering?

Speaker 3 (56:25):
Is he really?

Speaker 1 (56:26):
He is on cameo.

Speaker 3 (56:29):
Guys, I've gotta go. I'll talk to you later. I'm
on cameo right now.

Speaker 2 (56:36):
But if you buy a cameo, is it extra to
get him like oiled up and then the chains?

Speaker 3 (56:41):
Is it that that is one hundred bundled in to
the costs his oil? His oil budget is right there
in the in the fee.

Speaker 2 (56:55):
It's a big dead.

Speaker 3 (56:58):
Yeah, oil and saxophone. Lees, there's no extra charge.

Speaker 1 (57:05):
Good man, we got it. You gotta get him to
play the Careless Whisper solo.

Speaker 2 (57:14):
Has he grown up? I feel like I read that
he shows up to do that, like he is kind
of his like a street performer in his own right.
Like hasn't he just done like I'm gonna show up
and I'm gonna perform Careless Whisper whether you want to
hear it or not.

Speaker 3 (57:27):
No, I think he does.

Speaker 2 (57:28):
He does that kind of stuff for fun. I think
that this is his shick he's on cameo, that he's
not doing cameo for fun.

Speaker 3 (57:39):
That's not I mean, I guess if you're telling me
that his cameos three or there's just it has just
enough to pay for the oil. And I bet you know, yeah,
he's not above taking a tip for doing something that
he loves.

Speaker 1 (57:58):
No, he's on Tina Turner's retainer anymore so too.

Speaker 3 (58:03):
Sound As as I was looking at the at Spotify's
suggestion of what the Lost Boys soundtrack is, which seems unofficial,
I'm noticing that I ain't Got No Home, not an
official part of the soundtrack. And yet apart from Tim

(58:24):
Capello's performance, maybe the most important, uh like performance in
the film, Corey Ham in the tub, now Nook the
dog going batshit over Jason Patrick outside the door. What
a sequence? What a horrif again sort of a like
prefiguring Quentin Tarantino using you know, delightful, delightful music and

(58:50):
horrifying scenes like that. It was it was making me
think of the ear cutting scene to Stealer's wheel in
Reservoir Dogs. I don't know, Schumacher was way ahead of
his time, but then but then also never capitalized on
that because then he made bad movies. Following did Chumca
make a good Phone Booth is pretty good.

Speaker 1 (59:14):
Yeah, I think that was like the last like not great,
not great.

Speaker 2 (59:19):
I think he's good at making movies that are like
extremely flawed but also really watchable. You know, we're still
talking about him.

Speaker 1 (59:27):
He's a good bad director, I think does.

Speaker 2 (59:30):
Yeah, he's a good bad director. I think he came
along at that time when you could be sort of
that big budget Hollywood movie director and make a lot
of like C grade movies.

Speaker 3 (59:41):
Yeah. I mean, I do keep forgetting about flat Liners,
and I will go to bat for I will go
to bat for flat Liners. He had a great he
had a great two film run in you know, eighty seven.

Speaker 1 (59:55):
The only time I think about flat Liners is every
time I watch pop Star and Bill Hayder's Can I
Get an f Line?

Speaker 3 (01:00:02):
Oh yeah, Flowlighters is one.

Speaker 2 (01:00:05):
Of those movies. It makes a really good punchline. I feel, no,
like no, it's one of those movies that makes a
really great concept of it is crazy.

Speaker 3 (01:00:16):
Wait, am I just remembering? Am I remembering correctly? That
they remade Flatliners?

Speaker 2 (01:00:21):
You know, I think we can ignore that. Probably we
can ignore that, like the Point Break remake, you know,
like we don't need to acknowledge that.

Speaker 1 (01:00:28):
We did remake in twenty seventeen.

Speaker 2 (01:00:30):
Oh did they nobody saw?

Speaker 3 (01:00:32):
How did I not see the flat Lighters remake? I
did not see the point breaking that.

Speaker 2 (01:00:35):
Nobody These are not than like he showed up in Flatliners.

Speaker 3 (01:00:44):
Crazy Well, looks like I'm watching that tonight after I
get some Tim Kapela. I've got a I've got oh
my god, Yes, the Flatliner's remake has to be on TV.
That is what to be if not for Lost Boys.

Speaker 1 (01:00:59):
If I think you got to re record your album
and you gotta get Tim Cappello on it, call the
label be like, I gotta put it off.

Speaker 3 (01:01:09):
We actually do have a saxophone solo on on our
new album. And if I had look, and I love
the guy who played the sax solo, one of my
very best friends, but I would have fired him on
the spot. If I thought I could get Tim Capello
to have played the saxolo, I would have melted down

(01:01:34):
my friend's saxophone in front of him and poured it
on his head like the Golden Crown or whatever from
Game of Thrones. If Tim Capello would have gained to
give me three hunks, I didn't. I didn't know that
this discussion the Lost By soundtrack was going to open more.

Speaker 2 (01:01:55):
Oh this is what happens. You know, suddenly you're you're
in the garage with all the stray and maps.

Speaker 1 (01:02:03):
Schumacher will do that to you, I guess. Uh So,
one last artist that I want to talk about on
the soundtrack is Gerald McMahon. Oh yeah, like the big
theme of the movie. Speaking of songs that are kind
of repeated through the soundtrack.

Speaker 3 (01:02:25):
Now I'm gonna go ahead and say that Cry Little
Sister is one of the more elegant, uh like, clearly
written around a movie theme, songs like look, we all
love the Ghostbusters theme, but it's it's a sledgehammer of
a tool. Cry Little Sister is is a you know,

(01:02:49):
you need a jeweler's loop to craft this thing. It's
a it's a bit of finery. Now he does he
just he that that scream I hear is such a
haunting line. The way he then screams, he enacts the

(01:03:12):
scream that he hears, it's wonderful.

Speaker 1 (01:03:16):
It's a true songwriter.

Speaker 3 (01:03:19):
Yeah. I mean, he's he's marrying theme and execution. He's
he's way ahead of us now. Lou Graham, on the
other hand sings an alternate themed to Lost Boys, in
which he says, Lost Boys wrong, You're doing it wrong,

(01:03:41):
you're doing it wrong wrong.

Speaker 2 (01:03:43):
What is the it in question?

Speaker 3 (01:03:48):
Like Gerard McMahon and what we're talking about? What's his deal?

Speaker 2 (01:03:56):
What are you?

Speaker 1 (01:03:57):
Are you coming?

Speaker 3 (01:03:59):
Are you coming at coming? At me?

Speaker 1 (01:04:00):
With him, I was like, I've never heard of this
guy outside of the soundtrack. And it turns out like
he's like a songwriter, Like he wrote a song for
like kiss and he's written for songs for like Roger Dultrey,
and he's kind of he's worked with like Robert Plant.
He's written he has a song in Fast Times at

(01:04:21):
Ridgemont High.

Speaker 3 (01:04:25):
I can't help but notice that you're not telling me
the names, which is suggesting to me that.

Speaker 1 (01:04:30):
There Ryan, he has the look in your eyes Fast
Times of Fast Times at Ridgemont High. According to his bio,
he wrote, is that you for kiss on Kisses unmasked?

(01:04:51):
I defy you to.

Speaker 3 (01:04:53):
Sing me even two full verse?

Speaker 2 (01:04:57):
Like Gerard is getting paid. I think that's what we've established.

Speaker 3 (01:05:00):
Right.

Speaker 2 (01:05:01):
You call him up and he's like, yes, I will
write that weird song for that weird thing. So you
clued into something Keith. That is correct, despite appearing on
the soundtrack, cry Little Sister doesn't reference vampires because he
hadn't seen any footage from the film and didn't know
anything about it. Apparently, and I guess Joel Schumacher heard

(01:05:23):
the track and he told him like, well, you really
nailed my theme song. I can't believe you wrote it
without seeing a single frame of film.

Speaker 1 (01:05:29):
And it sounds like he also did that for the
Batman movies.

Speaker 2 (01:05:32):
Right, So I think it's just kind of a Joel
Schumacher thing once again.

Speaker 1 (01:05:35):
It all all wrote a sunny Day real Estate. Can
you write me a song form a Batman movie?

Speaker 2 (01:05:40):
Because it makes total sense. You're like the right band
for this.

Speaker 3 (01:05:44):
Wait, you're telling me that not only did he not
know that it was a vampire movie because he hadn't
seen the movie, He didn't it was a vampire movie
because nobody.

Speaker 2 (01:05:58):
People told him very little, and and his his sort
of backing his way into like, well, I I didn't
want the song to be about vampires. I wanted and
this is his quote, I wanted it to be about
the longing for family from a rejected youth's perspective, which
I went through myself. And that many people have felt,
which sounds like such a like we got to put
something in the sleeve, like you have to give us

(01:06:20):
a poll quote.

Speaker 3 (01:06:21):
I mean, yeah, it seems it seems like he intuited
that theme from the from the film's title at least,
I mean lost Boys, you know, sort of referencing that
the Peter Pan gang of of wayward children who have
who have like adopted I.

Speaker 2 (01:06:38):
Think it's the title, and he ran with it. Is
kind of the impression that you get.

Speaker 3 (01:06:42):
But there I want to I want to talk about
some of the lyrics. So here they are last fire
will rise behind those eyes. Now the vampires in this
film do have I wouldn't say glowing eyes, but they
are uh, you know, resonant eyes. They have a fire

(01:07:02):
behind them. Black House will rock. The vampires live in
the hotel that collapsed in an earthquake, So that black
House did rock. Then Blind Boys Don't Lie. He got
off track, got off track Immortal Fear. So now he's

(01:07:25):
back landed it. That voice so clear, singing about himself.
I guess through broken walls once again, this hotel, or
it could be Grandpa having driven a truck through the wall.
That scream I hear love it, Cry little Sister, come

(01:07:49):
come to your brother the Sam and Michael brotherhood, unchained me, sister,
I don't know now I'm now now is losing it?
Love is with your brother? Final shot of the film,
the brothers clinging desperately. Yes, not the family they chose,

(01:08:10):
but the family they have.

Speaker 1 (01:08:14):
I don't know. Yeah, I didn't say he was.

Speaker 3 (01:08:17):
What's this guy's name again? What's this guy's name? Gerard
McMahon look also.

Speaker 2 (01:08:23):
Had to deny various claims that this song is about incest.
So sometimes when you're not too specific with your lyrical content,
there is such a thing as too open.

Speaker 1 (01:08:34):
They should use a song white lotus interpretation.

Speaker 3 (01:08:39):
Yeah now that now that, now that I'm reading that chorus, Yeah, now,
how is Cry Little Sister called theme from Lost Boys?
When Lost in the Shadows is clearly the theme from
Lost Boys? Like that is the song about as boys?

(01:09:03):
I guess Cry Little Sister is theme from Lost Boys.
Lost in the Shadows can be theme four Lost Boys.
I've cleared it up, guys. Problem solved. Problem solved.

Speaker 2 (01:09:16):
Obviously. It's probably not surprising that Atlantic Records apparently really
hated this theme uh and thought it was too futuristic sounding,
and they tried to get They tried to bring in
Phil Collins and then Steve Perry to record it, which
is crazy. That's a crazy alternate.

Speaker 3 (01:09:39):
No, it's a good alternate. If it couldn't have been Look,
if it couldn't have been Gerard McMahon, and we all
know it had to be, let it.

Speaker 2 (01:09:48):
Be absolutely sending it with this song, that would be
so bizarre.

Speaker 3 (01:09:56):
It'd be sick. Man. Imagine a Lost Boys directed by
Richard Donner, starring with nine year olds or whatever age
he wanted, with a theme song sung by Steve Perry.
You guys, in an alternate universe, we've got an Oscar winner.

Speaker 2 (01:10:19):
You're right. I think you're right material Oscar material.

Speaker 1 (01:10:25):
Sure well, Thank you Keith so much for being on
our podcast.

Speaker 3 (01:10:32):
Thank you was my pleasure week for having me.

Speaker 1 (01:10:34):
You have to do this again, Absolute, it's time to
talk about when we've all finished the trilogy, we'll we'll
circle back and we'll do this again.

Speaker 3 (01:10:46):
I'm seriously going to watch Flatliners and I'll bet the
soundtrack crushes.

Speaker 1 (01:10:51):
All right, twenty seventeen flat Liners. We can't wait for
your review.

Speaker 3 (01:10:59):
I'll let you know. I'll let you know.

Speaker 1 (01:11:01):
So Qualifying Miles is coming out July eighteenth.

Speaker 3 (01:11:08):
Oh, yeah, yes, absolutely, but that question for you, Yeah,
I think it is. Yeah, I can, I can, I can.

Speaker 1 (01:11:17):
They'll be on the road later this year in the UK.

Speaker 3 (01:11:24):
Yeah, will be. Oh yeah, I don't I don't know
what shows we have announced. Oh and I'm not even
like playing no, no, I literally mean I don't know
right right now, I'm telling you I don't know what
shows announced. But I'm just gonna tell you. We're We're
also doing a US tour in the in the falls,

(01:11:44):
We've got We've got UK, Europe and US shows coming.

Speaker 1 (01:11:49):
Up there school check them out. They are celebrating being
in a band for over twenty plus years.

Speaker 3 (01:11:56):
I don't know if we're celebrating it, but we're doing it,
and you're living in we're celebrating.

Speaker 2 (01:12:02):
I think it's happen.

Speaker 3 (01:12:04):
It's happening. I don't know. I wouldn't say we're celebrating exactly,
we're coasting. No, we are celebrating. Every day is a party,
celebrating the very existence of we are scientists when you're
in with just.

Speaker 1 (01:12:21):
Like they were vampires in Santa Carlo.

Speaker 3 (01:12:24):
Absolutely, we are truly ageless.

Speaker 1 (01:12:28):
So check out Qualifying Miles.

Speaker 3 (01:12:32):
Check out all their albums, but if you have to
choose one, let it be Qualifying Miles and.

Speaker 1 (01:12:40):
Go check them out this fall if if they're in
your city, please And where can people find more information
on We are Scientists.

Speaker 3 (01:12:49):
We're on all the socials and I think we have
we are Scientists as ours as our username and all
those we also have We are Scientists dot com, which
is a good place to land if you're desperate, even
if you're just bored and not interested in we are Scientists.
Just type in we are Scientists dot com. There's nothing

(01:13:10):
on TB, but you could go to YouTube. Yeah, now
that we know two b's a dead end road, please
go to we are Scientists dot com. I actually I
want to see if we can get flat the original
Flatliners streaming on we are Scientists dot com. Now that

(01:13:33):
would be a coup.

Speaker 1 (01:13:37):
I'd watch that. I'd watch it if it was on
we are Scientists dot com.

Speaker 3 (01:13:40):
I know you would, right, I know you would.

Speaker 1 (01:13:44):
Well, we'll put uh, we'll put links to your socials
and our show notes and obviously we are at Soundtrack
Yourlife dot net and that is uh, that is the
web page and also our our Blue Sky handles. Oh yeah,
and soundtrack cast on Instagram.

Speaker 3 (01:14:03):
I don't know if we have I think we I
think we might have a blue Sky. I don't think
we ever use it. Now I'm going to.

Speaker 1 (01:14:10):
You should. Yeah, you'll get more reach over there instead
of instead of dealing with a bunch of bots. Yeah,
we are scientists versus the robots.

Speaker 3 (01:14:21):
That sounds like a tow B film. As far as
I'm concerned, this could be a two BE original. You
know what, I'm gonna take back everything bad I said
about to Being this. Will you edit that out? Because
I need to make it. I need to make it.
Call to the people at to Be if they if
they hear my maligning of their fine, fine product, they

(01:14:43):
might not give me the monies I need for We
are scientists versus the bots.

Speaker 1 (01:14:49):
The feature double feature with flatliners.

Speaker 3 (01:14:51):
Yeah, soundtrack is gonna be pretty good. I can assure you.

Speaker 1 (01:14:56):
Well, we'll cover it on the podcast for sure. You well,
Thank you so much, Chris, or sorry, thank you so much. Keith.

Speaker 3 (01:15:04):
Oh my god, oh god, I was doing well.

Speaker 1 (01:15:08):
Then I just just ruined it. Your name is right
here on the screen. I don't know why I did that.

Speaker 3 (01:15:15):
That's why you've learned, You've learned not to trust.

Speaker 1 (01:15:22):
You know, thirty years of friendship and you've just kind
of merged into one person.

Speaker 3 (01:15:25):
To me, it's fine. I will answer for Chris in
any circumstance.

Speaker 1 (01:15:30):
I have a you have power of attorney.

Speaker 3 (01:15:32):
I have power of attorney.

Speaker 1 (01:15:33):
Yeah, thank you so much, Keith. We love talking to you,
and you know, congratulations on the new al.

Speaker 3 (01:15:43):
It's great. Thanks very much.

Speaker 2 (01:15:46):
Thank you for you appreciate it. Thank you

Speaker 3 (01:16:01):
Think the luggage light as think of Numage fact an