DAILY GRINDHOUSE: So LOST BOYS like a lot of your films has taken on a life of its own. It plays just as well now as it did when it premiered. Talk to us about the making of that?
ALEX WINTER: Oh man, that was a blast. I just saw [Joel] Schumacher about a week or so ago. He was cutting up where I was working on my movie and we had a kibitz, a twenty year later kibitz, about how much fun that movie was. It was just unexpectedly fun. Again it was like film school. I was really broke, I didn’t think I was going to get the gig, I honestly didn’t think I was going to act again. After I left Broadway I just didn’t think I was going to ever act, I didn’t even consider DEATH WISH 3 as acting per se. I told that to Joel when I saw him. I wouldn’t have done any of those movies after LOST BOYS if it weren’t for him because he was the one saying look, you’re good, and you should do this. I just never put that much thought into it. Michael Chapman shot it, who I was just in awe of; I think I did that movie because he shot it. I just peppered him with questions about JAWS, RAGING BULL, and TAXI DRIVER. I am sure he hated my guts; I was like this annoying fan-boy clapping around at his heels.
I didn’t have a lot to do that movie so I had a lot of time to just stand around and watch what was going on which helped when I got to do FREAKED with Tom because there was so much money involved in that film and so much going on that I wouldn’t have had the ability to manage that if it wasn’t for LOST BOYS and watching how a big set worked, and watching the effects guys, I don’t think I went back to school fulltime after that, LOST BOYS was kind of like my senior project in a way. It’s not CITIZEN KANE but it was a really great film to be in. Nobody was up there ass you know? There wasn’t this “we’re making this cool teen movie” vibe, everybody was new.
SEE YOU ON FORTY DEUCE,
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