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What, are we ready?
OK.
All right, settle everyone, please.
Quiet on the set.
OK, let's do this.
What I want you to do is when the camera starts
moving forward, just start to drift back
to that day, that moment,
when you knew, right?
And roll sound.
Speed.
Roll camera.
Rolling.
Marker.
[music playing]
Action.
I'm not in love,
so don't forget it,
it's just a silly phase I'm going through.
And just because, I caught--
What happened?
[music playing]
Now, he was master of the world.
And though he was not quite sure what to do next,
he would think of something.
[music playing]
[chatter]
[music playing]
Look, it's a soldier.
He's going to throw a grenade.
Cut.
Action.
Patrick Read Johnson!
[laughter]
[music playing]
Mom!
Patrick Read Johnson!
What did you even need it to be a zebra for, anyway?
It's for one of my films.
You don't understand.
You're not a filmmaker.
I'm trying real hard to understand you.
On the good news front, he did promise the horse
would be brown again by dinner.
[music playing]
[laughter]
So I was thinking.
Maybe it's time we thought about adopting another baby.
How many babies do you want to have, exactly?
A dozen?
I'm not sure--
Jesus Christ.
Editing is when you see something in your story
that you don't like and you just take it out.
Take it out.
[music playing]
Cut.
I already got blown up in the grenade scene.
Just jump.
He deserves a childhood.
Everybody deserves a childhood.
I'm not sure it's the childhood they think they deserve.
I think the childhood that people
deserve is the one where they learn how the world works.
I haven't always been wise, or done what's right?
Line.
We all made mistakes.
It's what we do after we make the mistake that's important.
I don't think we learn how the world works at the movies.
When is the time?
When is he going to learn?
[music playing]
Patrick Read Johnson?
Where's your brother?
Mom, do you mind?
I'll be back with a shotgun.
Mom, help me.
Patrick!
One of you is in big trouble.
Steven Spielberg?
Who the hell is Steven Spielberg?
You're kidding, right?
Do I look like I'm kidding?
The guy who made Jaws, the most successful movie of all time?
The movie we're making a sequel to here?
By make, do you mean he produced it?
No, directed it.
Careful, you're bleeding on Moonbase Alpha.
OK, so tell me, Pat.
What the hell's the difference between a director
and a producer?
Well--
Patrick!
I don't know where you're hiding,
but I'm going to Jungle's in 15 minutes.
And if you want me to pick up any more film,
you better clean up this shark attack mess before I go.
And don't forget, it's your turn to do the runs.
Producer, director.
Anyway, in Steven Spielberg's first movie, Duel,
this guy's being chased by this old diesel fuel truck.
He cut off on the highway, and this truck
is, like, the unstoppable ghost truck from hell.
Truck that's been on the highway since the beginning
of time and always will be.
And every time this guy thinks he's
gotten away from the thing, wham,
it's right there behind him.
Or in the case of this one shot, in front of him, waiting.
And the way Steven Spielberg shoots it,
he doesn't just have a dorky close up of the guy
going, whoa, to his POV of the truck
on the road to another shot of the guy reacting.
Oh, of course not.
No, Spielberg has this car racing up
the highway in a long shot.
And suddenly, the car slams on its brakes, wham,
camera pulls back to reveal the underside
of this dark, oily, smelly, rumbling, smoldering,
mechanical monster waiting for him.
Could you get Hooper's torso?
So the car hitting its brakes is the reaction shot.
The squeal of the car's tires is the main character's scream
of terror.
I still don't get how you think you can get away
with making a Jaws 2.
I mean, at the end of Jaws 1, the shark's nothing
but red mist and bone meal.
No, no, no, not if it's like the truck in Duel.
Not if it's a shark that's been swimming
in the ocean since the beginning of time, and always will be,
the primordial carnivore instinct
made manifest by its insatiable desire to feed.
What the hell are you talking about?
The pool filter will get the rest out?
And what happened the other six films we started?
We're a movie studio, Bill.
If we're going to make it, we need to work on as many movies
as we can.
Or maybe we could just finish one.
Requiem to the Planet of the Apes is almost finished.
Almost finished?
You've been working on it since you were 12 years old.
Well, I want it to be perfect.
Well shit, Pat, it's already got a bunch
of other 12-year-olds running around a cornfield,
and bad rubber monkey mask chasing you
in a loincloth pretending to be Charlton Heston.
What could be more perfect than that?
Are you ever going to start taking this stuff seriously?
- Hell no. - Why not?
Because I don't think that making little super
eight movies in Pat Johnson's backyard
is my ticket to Hollywood.
Then why do you keep showing up to help?
Because I feel sorry for you, Pat.
Why?
Oh, shit.
What's that?
That wasn't a shotgun.
It was my stupid brother Pat.
Patrick, when you dragged your box spring
mattress out into the woods so your German snipers
could fall out of the trees without getting
killed, what did I say?
You said, Patrick--
Electrons, please.
When you spray painted your sister's horse
to look like a zebra, what did I say?
After that.
You said that you would always support whatever road
I chose to follow, as long as I was willing to pay the toll.
And I always have been.
I painted Jody's horse brown again.
You were 10.
That was a noble gesture, but you're not 10 anymore.
And I'm not paying for another pool filter.
Mom, we don't need a new pool filter.
Why is it that every time I blow the circuit breakers
in this house, you panic?
That's what circuit breakers are, for blowing,
to keep things from breaking when you push them too far.
That's exactly my point.
You're pushing things too far.
Mom, the shark attack had to look like it was taking place
out at sea, at night.
We couldn't take the shark out to Lake Michigan
past the waves, or it'd be too deep to operate.
Plus, we had to shoot it day for night,
because I don't have any decent lights,
and we couldn't use them on the water
without electrocuting Bill anyway.
So the perfect solution was to shoot it in an insert tank.
It's a swimming pool.
[music playing]
Playing the best music, WLS, Chicago
your car shouldn't blow all your hard earned dough.
She's ready to go with Vesuvio.
Lot of requests for this one to start your day.
Have little Queen along the way.
Good morning, Mr. And Mrs. Warren High School.
And all freaks hiding behind the ROTC jet smoking pot.
This is this year's president of the student body, Bill Holmes,
along with this year's resident of the student
body, Pat Johnson.
And these are the morning announcements
for August 23, 1976.
The new school year got off to a rousing start at the pep rally
yesterday with over 100 members of the Warren Township marching
band all blowing and beating their instruments in unison.
Wrap it up, boys.
OK, today's menu is an old favorite.
That's right.
The cafeteria is serving muttloaf,
served with green-ish beans and your choice of mashed potatoes
or tater tits--
I mean tots.
Damn it, Holmes, you cannot say tits in the morning
announcements.
Well, you just did.
Besides, my tits was the a typo tits.
I'm pretty you meant to write tots, not tits.
Damn it, Holmes.
And finally, in the sports report,
the varsity football team, led by quarterback Doug Austerlin,
trounced Stephenson yesterday.
At the victory party, Doug had this to say--
oh man, I think I'm going to hurl.
[grunting]
What are you idiots doing?
Practicing our pick up routine for parties.
If one of us spots a girl we want to meet,
the other one picks a fight and pretends to beat the crap out
of the guy that wants the girl.
Then, the girl comes over and makes
sure the guy who got beat up is all right,
gets him ice and offers to drive him
to the hospital, and--
Finds out he's a lying, cheating ass,
and hits him with a shovel?
Oh.
Only you would think this could work?
Oh.
Oh, man.
I think you're going to hurl.
Today's lesson, never mess with the alpha male.
Oh, are you OK, Patty?
Did he just say alpha male?
Somebody give him some ice.
See, it does work.
[music - queen, "long away"]
[SINGING] Take heart, my friend, we love you.
Though it seems like you're alone.
A million lights above you smile down upon your home.
Hurry, put your troubles in a suitcase
and come let the new child play.
Lonely as a whisper on a star chase, I'm leaving here.
I'm long away.
For all the stars in heaven I would not live--
I could not live this way.
[explosion]
[music playing]
I'm the Amazing Alfredo, ladies and gentlemen.
I'll guess your age, your weight, your month of birth.
Who's next?
You?
All right.
What's up with your head?
Some kid threw up on my face.
Again.
Oh, it seems you're a lot heavier than I expected.
Grab yourself a prize, young lady,
and try not to eat so many hot dogs, huh?
Oh, you.
You there.
What can I guess for you today, young lady?
Come on.
Huh?
I am the amazing Alfredo, ladies and gentlemen.
Step right up.
I'll guess your age, your weight.
Who's next?
Something up with you and Robin?
All right, what can I guess for you today, lady?
- My age. - Very well.
What? No. No.
I'm writing my answer on my official Amazing Alfredo--
Jeez, Donny, she's my best friend's girlfriend.
- They broke up weeks ago. - What?
She wants to get married.
He doesn't.
- What? - That's cheating.
Just making a little conversation here.
Sheesh.
OK.
You got anything else, Patty?
This is like old man food.
That's all there was left.
What is vermouth anyway?
Did you bring us all out here with the promise of alcohol,
and the most amazing view in Lake County,
and this is what we get?
Patrick.
More booze, Pat.
Go buy some.
With what?
This is Pat.
Every dollar he makes shoveling shit
goes towards building spaceships for his latest epic.
Get a real job, Pat.
We'll all like it better if you keep giving us more booze.
I'll like you better if you get under this blanket
and keep me warm.
[music playing]
It's a free country, though, you have to get married.
Go to hell, Bill.
[radio chatter]
[music playing]
What?
Nothing.
What?
[car horn]
Mm-- Patrick.
Patrick.
What?
Why am I giving you a ride home?
Because my car's in the shop.
Why is your car in the shop?
Have you ever seen "Duel."
OK, well anyway, I can't get it out until I earn some money.
And I can't earn some money until I
get a job, which I wouldn't be able to go to if I had one
because my car's in the shop.
Why don't you come work at Games?
I don't think I should work in Games, if-- you know,
you and I are--
[laughs]
You and I aren't.
Because of Bill?
No, not because of Bill!
I don't give it one damn, damn, about Bill!
This, right now, is because of Bill,
and his journey to the center of Debbie What's-her-pants.
Oh.
OK, I-- well, if you guys are broken up for good,
then why not?
Because you're a goofy boy.
But mostly because you're leaving.
What are you talking about?
So go.
OK.
Wait.
Wait, come here.
Be quiet.
You are going to find the perfect girl for you
really soon.
And then you'll finally lose your virginity.
And then I'll be kicking myself because I didn't
get to add it to my collection.
Well, add it, please.
Pat.
Yeah.
Get out.
[MUSIC - 10CC, "I'M NOT IN LOVE"]
[SINGING] Upon the wall, it hides the nasty stain
that's lying there.
I'd marry you.
[music playing]
Guys.
[grunting]
Check it out.
[grunting]
Is this the coolest thing ever or what?
It's obviously not a natural rock formation.
It's got to be some kind of exotic alien unobtainium.
But what does it all symbolize?
Does the monolith represent a wall
that we're destined for ourselves against forever,
a headstone for the already doomed human race,
or is it a doorway to the infinite potential afforded
by a boundless universe?
There's only one way to find out.
We have to touch it.
Don't be afraid.
This is our big moment.
Just think, somewhere beyond the far corners of the mind's eye,
powerful beings beyond our ken are watching.
For all we know, Douglas Trumbull himself
could be watching us, waiting for us
to walk through this quantum mechanical door.
So come on, fellow hominids.
Gather round.
Walk right up, walk upright, and touch the monolith.
[grunting]
I can fix this.
I--
Patrick Read Johnson!
Oh, no.
What?
Where's your dresser?
Hmm?
[music playing]
[SINGING] At the first crack of dawn we're turning things on.
[whistling]
Are there schools around that teach you how to be a producer?
Director.
OK, are there directors schools where
you could learn how to really do this without painting
everything we own flat black?
The only good ones are in New York and California,
and they cost way more than we could ever afford.
Well, didn't anyone ever become a director
who didn't go to film school?
Douglas Trumbull.
Well, how did he do it?
Well, he was the visual effects supervisor
for "2001: A Space Odyssey."
And he was so good at his job that, when
he went to Universal Studios and said
that he could do his first film "Silent
Running" for a million dollars, they actually believed him.
And then he actually did it.
And now he's director.
So to become a director, you have to become a visual effects
person first?
No, no, but it's one way.
And it's a way I might have a chance at.
If I could go to LA and maybe just talk to him, meet him
for a few minutes, maybe show him one of my films
or some of my models, maybe he'd understand
what I'm trying to do.
Maybe I could work for him.
You know, just gluing model parts
onto a spaceship for his next movie.
So why don't you call him?
What? On the phone?
No, just stand in the backyard and shout West.
Yes, on the phone.
Well, first of all, I don't have his number.
Well, did you look for it?
It's probably top secret.
Yeah, to keep dorks like him from calling up all the time,
wanting to meet him.
Oh, I think he'd be flattered to know that people
are trying to meet him.
Not if he wants to get any real movie work done.
Hey, my movies are real.
Yeah, real bad.
I know.
Why don't you offer to answer his phone for him?
That way you could meet him and stop the competition
from meeting him.
Yeah, OK.
All right, fine.
[television chatter]
Don't act like your father.
Don't say you're going to try and then chicken out.
I won't.
But if I can't find it, which I probably won't be able to--
Dare to dream, Douglas Trumbull.
--then what?
Then I'll stand in the backyard and shout West.
Well, that might work.
[laughs]
[phone ringing]
We're sorry.
You have reached a number that has been disconnected
or is no longer in service.
If you feel you have reached this recording in error,
please check the number and dial again.
Calling Debbie Froynt again?
No.
[music playing]
I wasn't calling Debbie.
Did she ever smile at you?
Of course she smiled.
Why?
Because that's how it works with you, Pat.
You see a girl you like, you stare at her like a puppy
hearing a strange noise, and then
you smile this goofy smile.
And if she smiles back, God help her, you fall in love.
I do not.
Happens every time.
I was trying to find Douglas Trumbull, OK?
Holy shit.
Yeah, I know.
You're gay!
What?
Come on!
You ignored Debbie Froynt just to call some guy
on a Saturday night?
You're gay, Pat.
I'm not gay, and Douglas Trumbull isn't just some guy.
He's the guy who did the special effects
for "2001: A Space Odyssey."
Oh, so you're gay for a guy who makes unwatchable movies.
What?
"2001?"
Man, I hate that movie.
No, Bill, you don't really hate it.
You just don't understand it.
No, I do really hate it, and nobody understands it.
I do.
OK then, what the hell is the ending supposed to mean?
Guy flies a spaceship into a hotel room,
gets old, drops his wine glass, and turns
into a giant baby floating over the Earth,
what the hell is that?
The hotel room was designed by the alien intelligences
observing Dave Bowman to approximate
his natural habitat.
The aliens wanted to know if Dave
could try to figure out how to take the next step
in human evolution.
But he can't.
He doesn't know what they want from him.
Neither does the audience.
Yeah, exactly, because Dave represents the audience.
And like the audience, he's not ready to see
beyond what he expects to see.
So with each moment of missed opportunity to evolve,
he gets older, his years passing before him
in the blink of an eye.
Or in this case, a changing of a camera angle, till finally,
maybe just as the answer to the riddle
is finally within his grasp, he's
too old to reach out and touch the monolith
and receive his final gift of enlightenment.
So the aliens send him back to the evolutionary cradle
to start all over again.
No, they don't.
They send him back as a giant baby floating over the Earth.
It's called symbolism, Bill.
Pat.
What the hell does a giant baby floating
over the Earth symbolize?
Well, if you're Arthur C. Clark, who wrote the book
and is an eternal optimist, then Dave
was sent back as the star child, the first born
in a new breed of man who might one day touch the stars.
If you're Kubrick, who's such a realist, he won't even fly,
then Dave was simply sent back as a cosmic mirror,
held up before the Earth, as if to say to humanity,
this is who you are, and this is all you'll ever be,
a race of selfish, uncomprehending children.
What the hell are you talking about?
You know, you could save a lot of time destroying
my reputation if you just wore a propeller beanie
or spray painted "geek mobile" on the doors of my car.
[music playing]
Ew!
Oh, my god, you're so gross.
Ew!
[MUSIC - ARGENT, "HOLD YOUR HEAD UP"]
Argent, "Hold Your Head Up."
WLS Music Radio 89.
What part of "Jaws 2" takes place in a shopping mall?
We're not shooting "Jaws 2."
So what, more "Requiem for the Planet of the Apes?"
And at the end, you're riding up the beach on a horse,
and you see a JC Penney sticking out of the sand?
My god.
They finally really did it.
They marked down the world.
Damn you!
Damn you all to hell!
[laughs]
We're shooting "The Visitor."
What the hell is "The Visitor."
He's this alien that's stranded on Earth after
these Air Force F-14's that were--
Pat.
scrambled to find out just what the hell went down
in the cornfields of Northern Illinois.
Pat.
Spot the heat signature of the car
that contains these high school kids that saw the alien craft.
Pat, you don't have enough money to buy lunch.
How the hell are you going to pay for an F-14?
[SINGING] Hold your head up.
Hold your head up.
Can you let me out of this thing?
It's hot as hell in here.
Yes.
Anyway, for a time the visitor believed
he might just be able to fit in on this planet.
But now something is changing inside him.
And in this scene, he's finally decided
it's not worth living if he can't live as the alien being
he really is.
Hi, Pat.
So he decides to reveal his true self
to the people he's lived with all these years.
No matter what the cost.
Fine.
Oh!
Today's lesson, never pretend--
Oh!
--to be part of something you're not.
You OK, Patty?
Want me get you some ice?
Why doesn't he ever hit me?
Shut up and lift, Bill.
Ah!
Oh.
He's fine.
He's used to it.
[atmospheric music]
Oh, no.
Patty.
No, Pat.
No.
Definitely no.
Hi.
[music - supertramp, "dreamer"]
[SINGING] Dreamer.
You're nothing but a dreamer.
Well, can you put your hands in your head?
Oh, no.
I said dreamer.
You say you are a dreamer.
Well, can you put your hands in your head?
Linda.
[SINGING] Oh, no.
You like dog?
[dog barking]
[SINGING] I said, far out--
Um.
[SINGING] What a day--
Yeah.
[SINGING] --a year, a life it is.
Yeah, I do.
[SINGING] You know--
I got about 43 at home.
Linda, would you please do something
with that yapping mutt?
We just got one good one.
[SINGING] Dreamer, you stupid little dreamer.
So now, you put your head in your hands.
Oh, no.
What are you doing?
Oh, I'm just trying to find the exact acoustical center
of the theater.
[SINGING] I said, far out.
What a day--
Focus.
[SINGING] A year, a life it is.
You know.
Focus!
Cut!
[SINGING] Well, you know you had it coming to you.
Now there's not a lot I can do.
Dreamer,
What's my plan?
[SINGING] --you stupid little dreamer.
What's my plan?
Yeah. Of course I have a plan.
Good morning, Mr. And Mrs. Warren High School.
And a love-sick, sci-fi geek former best friend skipping
school to go make out with their girlfriend.
The plan is, I go out there, I meet Douglas Trumbull--
[buzzer]
Oh, laundry's done.
Pat, want to help me with the laundry?
--show him some of my models and drawings,
and maybe some of my films, and get a job.
This doesn't bother you?
Hey, does the Pepsi-Cola company know
you're using their product as a floor cleaner?
This is your student body president, Bill Holmes,
and my imaginary friend, Pat Johnson.
Hi.
I'm Pat.
Let's watch Star Trek.
Do you want to see my model shop?
Did you know that the mechanical shark in "Jaws"
is named Bruce after Steven Spielberg's lawyer?
Can you believe I'm still a virgin?
Really?
Damn it, Holmes.
What?
I can't say virgin?
[SINGING] Dream along.
Well, there's something we have in common.
Really?
And in the meantime, I'll be staying with my dad
while I save up to get an apartment.
Yes, my dad.
Oh, yes, the--
Yes, that dad.
[inaudible]
Hey, Pat said your center speaker is distorting again.
He also asked how the penicillin was working out,
you know, for your--
Yes, he does know about the plan, kind of.
He thinks I'm coming out to check out medical schools.
And what can I guess for you today, little boy?
Guess who I'm in love with?
Oh, let's see, could it be Douglas Trumbull?
[laughs]
[SINGING] Dream along.
Can you put your hands in your head?
Oh, no.
Get off my stage.
What about Linda?
Of course she knows the plan.
We planned the plan together.
[music playing]
Ah!
Cut.
You OK?
No, I'm not OK.
I'm tired and hungry and full of burrs,
and I can't see anything in this stupid mask.
Maybe he could come up on all fours?
No, a superior being from another planet beckoning
us to join him out there, where we
might learn the secrets of the universe,
would not go up his boarding ramp on his hands and knees.
Yeah.
Probably wouldn't arrive in a hubcap filled
with Christmas lights either.
Yeah, probably not.
Hey, can I take this stupid thing off?
It smells like feet.
Yeah, go ahead.
We're done tonight.
But we didn't get the shot.
We're done.
Good night.
Girls ruin everything.
You give me hope for mankind.
Go to hell, Bill.
So have you ever seen one, a UFO?
Well, when I was a kid, I used to watch planes take off
from Waukegan Airport.
You could see them just over those trees there.
But you couldn't hear them.
There were just these blazing silent lights coming this way.
And every time a plane took off I thought, or wished,
that it was a UFO coming to take me back.
Back?
I thought that maybe I was an alien.
What could possibly have changed your mind?
Well, my dad said that UFOs didn't exist.
And to prove it, he drove me down to the airport
to watch a plane take off.
Wow.
Plus, the aliens never did take me.
So where do your alien relatives come from?
A distant star system.
Yeah? What's it called?
Hollywood.
Sounds like you need to go there then.
Not without you.
I never thought I'd find anyone who understood me, who'd
accept me for who I really am.
And then there you were, reading "2001: A Space Odyssey."
And it was like, awoogah.
That's the first thing you noticed about me,
that I was reading "2001?"
Yeah.
It was so weird.
It was like we were meant to find each other.
[laughs]
What?
Now, he was master of the world.
And he was not quite sure what to do next.
But he would think of something.
Tray?
God, I love this book.
Sorry.
So then I figured, hey, if I skim through this,
maybe I'll finally understand the movie.
Well, it's really not that hard to understand when you really
think about it.
Or if you stay awake.
Oh, don't be mad.
I still love you, even if you're the only sci-fi geek in town.
Patrick Read Johnson!
Oh, great.
Don't worry, I got it, ma.
[gentle music]
[MUSIC - AMBROSIA, "HOLDIN' ON TO YESTERDAY"]
WLS Music Radio, "Holdin' on to Yesterday."
This is Ambrosia.
[phone ringing]
Calling your gay special effects lover again?
Linda, happy?
Not a great conversation.
No conversation.
She's always working.
Oh, what a tramp.
[SINGING] Yesterday.
I keep holdin' on enough to say that I'm wrong.
I keep thinking that I'm--
What?
I was just thinking.
What?
You should come with me.
Where?
Hollywood.
What?
You're a funny guy.
Yo, hey.
I got a tow.
Take care of the shop till I get back.
I'm also a practical guy, Pat.
My name's on the sign of Bud's and Sons.
Your name is apparently up in the lights,
somewhere out there, or maybe just
in the theater of your mind.
Either way, I'll leave the Hollywood stuff up to you.
[SINGING] Holdin' on to yesterday.
Well, if it isn't Mustang Sally and the Pinto Kid.
Hi, Pat.
Hey.
So I see the SS Bondo is still afloat.
Why don't you let my dad crush that thing
and put it out of its misery?
Your dad hasn't seen a car this nice since he was conceived.
Bill.
When my dad rebuilt this he put
the weight where it counts--
Bill.
--under the hood.
Oh, he put your mom under the hood?
Try a 454 Holley carbonated V8.
Any time you want to embarrass yourself--
Any time I want to embarrass myself,
I'll borrow your mustache.
- Jeez, Bill. - Come on, guys.
- What did you say? - Time to go home.
Oh, great.
Look what you did now.
Tony, stop.
Oh, hurry up.
Open up, you pussy.
Who the hell is this guy?
Tony Vasuvio.
Of Vasuvio's junkyard?
Dino and Lorenzo's brother?
Stupider brother, if you can believe that.
Just go.
He can't kill us if he can't catch us.
He can catch us.
I thought you said there's a V8 under--
Open the door, nerds!
- There was. - What do you mean was?
My dad replaced it with something less thirsty
when the gas prices hit.
- How much less thirsty? - Four cylinders less.
Oh, shit.
Maybe if we run in different directions
it'll confuse him.
Get down.
You know, he knows we're in here.
He may have a faster car, but I'm a better driver.
Well, you'd have a better chance to prove it if you drove.
On the count of three.
- One-- - One.
- Two. - Two.
- Three! - Ah!
Jeez, you guys, relax.
Why would we do that, with this maniac out here?
Because Tony's cool now.
How did you get him to calm down?
I told him who you were.
- And who am I? - My boyfriend.
And who is he to you?
Tony, his mom and mine have worked together for years.
We've known each other since we were six years old.
He's like an overprotective brother.
I thought you were working the game tonight.
I was, but by the third quarter, Antioch was beating our butts,
and there was nobody left in the stands to buy anything.
Jenny Boziak said she'd cover for me.
My car's still in the shop, so Tony
said he'd give me a ride home.
Well, we can give you a ride home.
I don't think that's such a good idea.
Oh, and you'd rather ride home with him?
Yes.
If I want to see you again in this lifetime, which I do.
Mom trusts him.
Why not me?
Tony doesn't look at me the way you do.
So I'll quit looking at you like that.
You better not.
[car horn]
I should go.
I love you.
That'll help?
With what?
The rest of our lives, silly boy.
Did you just get engaged?
[music - "jingle bells"]
The best thing about an Airedale is
it can take down a grizzly bear and still
be the best playmate your child can ever have.
Did Linda call?
[SINGING] Dashing through the snow,
in a one-horse open sleigh.
I'm ready to die a horrible, agonizing death
in the cold vacuum of space.
[music playing]
All right.
Ready?
Yep.
Here we go.
Now, you're in space so float.
Now you're asphyxiating.
What's asphyxiating?
You can't breathe.
You don't have any air.
Come on.
Like this, like this.
There you go.
Don't look at the camera.
Why would I be looking at anything?
I'm dying.
What if I throw up in space?
You're not going to throw up.
- Wouldn't that be cool? - Don't throw up.
- I'm going to do it. - That's very funny.
- Here I go. - Better not throw up.
Oh.
That's disgusting.
[laughs]
Don't do that again, OK?
You got it on the lens.
Patrick!
[vocalizing]
What?
I have to go to the bathroom.
Can you just hold it?
I guess.
What?
It's Linda.
[dog barking]
Misty, knock it off.
Linda, will you please do something
about this damn yapping mutt?
Hey, Misty, shut up!
Oh, stop.
What?
I thought we were going to get married and have
a big house and 2.3 kids.
We don't have to have them tonight.
No, like nine months from now.
What are you in such a hurry for?
You're 17 years old.
Don't you want to see the world a little,
sow you're wild oats and all that?
No, no, I don't.
I want to be with you.
That's all I want.
[dog barking]
Oh, shit!
[radio chatter]
Stop!
[radio chatter]
[dogs barking]
[snoring]
He kept asking if you got the shot.
He wanted to make sure that he'd done it right.
He didn't want to waste film.
I feel bad enough, OK?
It isn't just about you. It's about him too.
He needs a man to be around right now.
Oh, and that's my fault?
No, it's not.
But that doesn't change the fact that, with your father gone,
you're the one they all look up to.
They count on you to be there for them.
Yeah, well maybe they shouldn't.
Maybe I'm not ready to be counted on.
Well, maybe you shouldn't be moving so fast with Linda then.
Maybe you should mind your own business.
You are my own business.
[gentle music]
I think you should graduate high school first and find out
what it's like to live in the real world.
This isn't the real world.
This is your parents' basement.
I just think that, before we move in together,
you might want to find a job that
pays more than minimum wage.
Yeah, but there aren't any part time jobs in Lake County
that pay more than minimum wage.
That's why I got a second job.
You what?
Mom got me on the late shift at Solo.
Doing what?
Injection molding cups in the machine right next to hers.
OK, well maybe your mom could get me a job at the machine
next to yours.
Actually, that's where Tony works.
You know, there's an opening at Weebolts
managing the men's department.
Well, I'm not real comfortable in a tie.
Were you comfortable in my parents' basement?
And that'll be it for this Amazing Alfredo.
But luckily, due to the miracle of our patented identical
costume technology, you'll hardly
even notice the difference, as I turn things over
to the Amazing Alfredo.
[applause and laughter]
OK, Rick's watching.
Don't embarrass me.
Do I ever?
Oh, my God.
Hi.
Ladies and gentlemen, permit me to introduce myself.
I am--
[thunder]
I am--
[thunder strike]
[screaming]
Now he was master of the world.
[screaming]
And he was not quite sure what to do next,
but he would think of something.
[music playing]
I am the Amazingly Wet Alfredo.
So, I'll guess your age, your weight.
Guess who I'm in love with?
What on earth?
Janet Johnson, Stoneridge Heritage.
I got the job.
We're going to Gauge's Lake with Bill and Robin to celebrate.
Have I got a dog for you.
He's had all his shots.
He's completely house trained, very well behaved.
He needs a haircut, but we do grooming here as well.
But seriously, he's been making these little movies
since he was 9.
You know, with the home movie camera his dad left behind.
But they're really something.
He did this one which is like
those "Planet of the Apes" movies.
And he and his friends stuck straws up their noses
so they could breathe, and put plaster all over their faces,
and made molds, and sculpted ape faces, and made masks
out of liquid latex.
And then they went out
and put together sets and little models,
and shot the whole thing themselves.
And it's really good.
And they showed it at all the grade schools around the area.
And he was even in the local paper.
But now all he thinks about is getting out to California
and meeting those movie heroes of his,
like what's his name, the guy that did all the trick
photography on "2001."
Special effects.
Yes, that's right, Douglas Trumbull.
But here we are, in Wadsworth, Illinois, and I just--
I don't know how to help him.
And I certainly don't know anybody in Hollywood.
So here's what I was wondering.
If I could save enough money and get him out there,
do you think maybe you could talk to him,
and give him some pointers, and maybe introduce him
to this Douglas Trumbull person?
[music playing]
You're kidding.
Of course.
I know there are no guarantees.
There never are.
OK, wonderful.
I'll get him out on a plane this weekend.
Thank you so much, Herb.
Thank you so much.
Bye.
[SINGING] Hooray for Hollywood.
I got you all set up in Hollywood.
I called a guy I never met there.
Now let's cut your hair and find you something to wear.
[SINGING] Who will pay the airfare?
[SINGING] Hooray for credit cards.
La, la, la, la, la, la, la credit cards.
[vocalizing]
[atmospheric music]
[heavy breathing]
[phone ringing]
Can I help you?
I'm Pat Johnson.
Hi.
I'm Herb Lightman.
Welcome to Hollywood.
Thank you. Thank you.
Oh, I'm also Malcolm Higgins, and Steven Blum,
and Ari Roscoe, and Colin Anderson,
and Felipe Castero Junior.
You write the whole magazine?
When I'm not entertaining the folks from out of town.
[phone ringing]
And answering the telephone.
So-- so, how does one get to be the editor of "American
Cinematographer Magazine?"
One sets out to become a big Hollywood director.
Again, I just want to thank you so much for doing this for me.
Thanks a lot.
I take it that thanking people a lot in advance of their
having done anything for you is a Johnson family trait.
Herb Lightman.
[chatter]
Oh, hello.
Again.
Yeah, he's here, hair and all.
No, no, I'm kidding, I'm kidding.
No, it's fine.
No, a haircut won't be necessary.
The Incredible Hulk look is all the rage these days.
Is he what?
Yes, he's still wearing his tie.
Oh, no, no, no, no, really, that won't-- no,
that won't be necessary.
My thanks is the look in a young person's eyes
when I help make their dream come true.
No really.
I'm happy to help.
What's that?
Of course.
I will.
Yeah.
OK, you got it.
I can do that.
As soon as I get off the phone.
OK, bye.
You will never guess who just called.
Yeah.
Sorry, she's--
She asked me to remind you to thank me for doing this.
Thank you.
Oh, sorry, right, right.
Your thanks is the look in a young person's eyes
when you help make their dreams come true.
That's right.
And you know how many times I've had
the pleasure of seeing that look in a young person's eye
when their dream comes true?
Precisely never.
Why?
Because I've never done this for anyone before.
Why?
Because I never wanted to see the look in a young person's
eyes when they realize that their dream is probably not
going to come true.
Why?
Because Hollywood is the least conducive place on the planet
Earth for anyone's dream to ever come true.
So why are you doing this for me?
Cause your mother has huge, clanging steel balls.
Because you're here anyway and because you say
thank you a lot.
[phone ringing]
Shall we go?
So tell me something.
Of all the people in Hollywood you
could pick to meet, why Douglas Trumbull?
Have you ever seen "2001: A Space Odyssey?"
Well, it took a while to finally get to Los Angeles,
but yes, I've seen it.
Did you understand the ending?
Of course.
Did you?
Let me guess, you're a hand grenade,
and I just pulled the pin.
The riddle is nearly within his grasp,
but he's too old to reach out and touch the monolith
and receive his final gift of enlightenment.
So they send him back to the evolutionary cradle
to start all over again.
Kaboom.
Well, I'm Herb Lightman, if you could call him.
No worries.
Good.
OK. I'll do that.
Sure.
Well, the good news is--
You can go in now.
Thank you.
What's the bad news?
The bad news is that Douglas isn't here today.
Did you tell them I was coming?
I told him I was coming.
Well, I mean, there's still probably a bunch of cool stuff
to see, right?
I could leave him a note.
I have some pictures of my models.
I could leave him my movie and my projector.
I mean, it's worth a try, right?
You're asking the wrong guy.
It's worth a try.
OK, we have cumulocity.
Roll camera.
[music playing]
Give us a little more speed on the color changes.
Yeah, that's it, that's it.
Just-- OK, just pull back slowly.
Starting further back and push through the cloud.
So what is this movie called anyway?
It's called "Close Encounters of the Third Kind."
What does that mean?
Contact.
Close encounter of the first kind is a sighting.
Close encounter of the second kind
is physical evidence of an encounter.
Close encounter of the third kind
is actual contact with the aliens.
It's "True UFO Stories Magazine," April 1974.
Don't swing.
You want a Pepsi?
Sorry, wait, stop.
Are you serious?
Yeah, thank you.
Oh, you messed up the cloud.
It messed up the cloud.
Cut.
How long to reset?
25 minutes.
Are you the--
I really think it's four hours.
You're Steven Spielberg.
Steven.
Hey, Herb.
Come on.
Let me show you guys around.
How old is he?
11.
OK, let's recycle the tank and order some dinner.
When I was a kid, I used to watch planes take off
from the local airport.
To me, they weren't airplanes,
they were spaceships--
Doug.
--growing up on all those '50s films
with flying saucers and aliens coming
to Earth to destroy mankind.
Where is Doug?
Did you tell him I was coming?
Which explains why my first film was a little epic
called "Firelight--"
Doug.
--which was essentially about aliens
coming to my backyard and destroying my sisters.
Where's Doug?
So obviously, you've come a long way
from making little Super 8 movies in the backyard.
Yeah, now I make big Super 8 movies in the back lot.
Still, knowing what you know now about how difficult it
is to really do this, I wonder what
you would say to the 17-year-old kid in the backyard who thinks
he's got it all figured out.
I say, if you're so smart, what are you
still doing in your backyard?
But if the kid were to get up the courage
to leave the backyard and show up on your doorstep
looking for help?
I'd say, get your own Douglas Trumbull,
if you could find him.
Speaking of which, could we talk for just a bit
about exactly what Douglas and his team
are doing for you here?
I knew I wanted to show flying saucers in a way
that they'd never been shown before, and I had to go--
Well, "Close Encounters" is a very effects heavy film.
--a real alien.
His name is Douglas Trumbull.
He worked on a little film called "2001: A Space Odyssey."
Rejecting the sketches, we created force perspective
planning so much Greg, Gene, and his model crew
made miniature landscapes with an amazing sense
of distance and very little space.
Before it was paintings based on sketches, and then
Doug, Vilmos and I work out the color scheme.
Who is Vilmos?
The DP.
The director of photography.
I know.
OK.
My worry was that the stars would
become diffused blobs instead of crisp little points of light.
So Richard Yuricich came with the idea
of burning the starfields directly
in the interpositive, which meant doing a latent image
pass through the optical printer,
and bypacking the starfield element with the original--
[atmospheric music]
--projection that will allow us to put these large format
images on the Scotchlite screen, reflected back exactly on axis
so that any foreground object will block its own shadow,
preventing a perfect comp with no need for blue screen
or motion control.
What?
Sorry, what's motion control?
[music playing]
So I told the guys at the studio that I needed five airplanes,
and they tried to give me three.
I told them, you can't make a circle with three airplanes.
You can make a triangle with three.
You can make a square with four.
But if you're going to make a circle,
you're going to need at least five airplanes.
[gentle music]
You're Greg Jein.
You built the Dark Star, and the penis ship in "Flesh Gordon."
[laughter]
"Star Log Magazine."
Security.
Relax.
We don't really have security, obviously.
That's-- you got me.
Looking for Doug?
Yeah, how did you know?
Everybody's looking for--
Because you had an audience with Steven Spielberg,
and you ended up in his model shop.
I got lost.
I know you did.
So here you are at the intersection
of fantasy and reality, just as far from Douglas Trumbull
as you were back in Wadsworth, Illinois, population 750.
[engine revving]
[typewriter keys clicking]
[atmospheric music]
Hey, Doug!
Doug!
Hey, hey, hey, Doug.
Hey, Herb.
Sorry, about 12 million things came up.
We can do the interview another time.
It's not important.
Anyway, I just want to tell you
I brought somebody along today
who has been anxious to meet you
since he saw "2001" when he was eight years old.
And he understood it, no less.
But anyway, he's a film director himself,
and that's because he was so turned on and so inspired
by your first film.
So if you could have half a second, just say hi.
Hi.
Nice meeting you.
[typewriter keys clicking]
What-- what, you, you had nothing to say?
Well, that's so sweet.
So--
Stupid!
I can't believe you said that!
Said what?
Nothing!
It was a good start.
"Hi, my name is" might have been a good follow up.
Oh, boy.
Saying goodbye to Steven might have been a good idea too.
[music playing]
And that's it?
After all this crazy hoping, and trying, and dreaming?
You're nearly killing me making dumb movies in your backyard.
That's all you got from your one chance at Hollywood?
Well, there is one other little, little thing.
Hi, guys, John Dagster.
Welcome to Industrial Light and Magic.
As you can see from the poster, we're
a little behind schedule, which means we're all
a little over-caffeinated here.
So please keep your hands and feet
inside the ride at all times.
No flash photography.
Most importantly, remember to forget
every single thing you see here, except for the cool stuff.
The surface of the Death Star, a small artificial moon
that goes around blowing up other planets.
So we had to make a lot of it.
So we made wood patterns and took molds off them
with this Dow Corning Silastic liquid rubber,
which is normally used to seal basements against flooding,
inject the molds with expandable urethane foam,
like the stuff they squirt in the walls
for insulation.
Wham-o.
Repeatable lightweight modular sections.
They're really easy to throw around.
Those are x-wings, part of a small fleet of battleships
used by the Rebel Alliance to fight the Empire.
There's the escape capsules, right over here.
And over here, we've got the--
we've got the Millennium Falcon.
It belongs to a space pirate named Han Solo
and his Wookie, Chewbacca.
That's the rebel blockade runner, right here.
And where are we?
Over here, we've got the Star Destroyer.
And here is Luke's Land Speeder.
Now, that's Luke, destroyed C-3PO,
and that's Obi-Wan Kenobi.
Wait, that's the Bionic Man action figure.
Yeah, don't-- don't tell anybody.
We're making this whole movie out of things
you could find lying around your garage.
That's so cool.
Over here, we have our breakaway models.
They're made from a brittle resin
which explodes really nicely.
Go ahead, break it.
No, no, no, no, no.
Here, check it out.
No, no, no, no, what are you doing?
Cool, huh?
I can fix this.
Now, understand a lot of the blue screens
still aren't composited.
There's no music or sound effects yet.
It's still got a British from "World War II," and stuff
from "Dam Busters" and "633 Squadron"
standing in for the dogfight scenes.
And this is our screening room.
[dramatic music]
Everyone's fixed up.
And then, and suddenly, they all turn around,
and this huge crowd of hundreds of Rebel pilots
give him a standing ovation.
And that's it.
That's the end.
OK.
So I just have one-- one question for you.
Go ahead.
What the hell were those hundreds
of other Rebel pilots doing while their pals were
getting their asses kicked attacking the Death Star?
I don't know.
Who cares?
I'm telling you, when this movie comes out,
it's going to be like Woodstock.
I'm thinking Nerdstock.
When and where does this thing come out?
May 25th at theaters everywhere!
You really met Steven Spielberg?
Yeah, I really did.
Did you show him your "Planet of the Apes" movie?
No.
Good.
Oh, man we have to go opening night.
We have to.
Why?
Go see this movie again when it comes out.
See it opening day, first show.
If it doesn't make you jump in your car
and drive like hell to get back out here, then maybe
I'm wrong about you.
But I don't think I am.
Um, hi.
Pat Johnson says your center speaker's distorting again.
OK, bye.
Come on, do it.
No, I'm eating popcorn.
The butter ought to make it easier.
What are you guys talking about?
Robin can stick her entire fist in her mouth.
Don't ask her to prove it, though,
even with something smaller.
I could put my entire fist in your mouth.
Well, now we're starting something.
OK, OK. Shh.
Please refrain from talking--
Pat, there's no one else in the theater.
This might be it, Bill.
What?
You say that every time.
And every time, we end up staring in awe struck wonder
at the coming attractions to "Logan's Run," or "Breaker
Breaker" starring Chuck Norris.
I like Chuck Norris.
[music playing]
And really, Pat, if this "Space Wars" thing is so great, then
why hasn't there been any hoopla about it?
- It's "Star Wars." - Hoopla?
Know what I think?
You're making this "Space Wars" thing up.
It's "Star Wars," and why would I?
So you had something to tell people about your trip
to Hollywood other than, I blew it.
I didn't blow it, Bill.
You met Steven Spielberg and Douglas Trumbull,
and you came back.
Why come back if you didn't blow it?
Are you serious?
You're having one of your fake fights.
You're wasting your time.
Why did I come back?
I came back to finish high school.
The guy who directed "Jaws."
You're acting like you knew that?
I told you that.
I'm too busy watching the coming attractions
to "Space Wars."
It's "Star--" what?
[explosions]
He's moving too fast!
It's an epic of heroes--
[explosions]
--villains, aliens from 1,000 worlds.
[grunting]
[lightsaber igniting]
"Star Wars," a billion years in the making, and it's
coming to your galaxy this summer.
[explosion]
Oh, my god.
What do you mean, "Oh, my god?"
That was the goofiest thing I've ever seen.
May 25th?
That's like a month from now.
I know.
No, Pat, you don't.
[upbeat music]
[vocalizing]
I have you now.
[vocalizing]
Oh, right, like I'd waste my time on
some dorky sci-fi movie.
Oh, so you don't have
your little "Star Trek" parties anymore?
Shut up.
You probably shouldn't see "Star Wars" anyway.
Oh, why is that?
Well, there's this thing in it called
the Death Star, which could take out
the Enterprise with one shot.
The Enterprise has deflector shields.
[laughter]
[lasers firing]
[car crash]
[phone ringing]
Bud's Garage.
Again?
Bill, I'll find a way to pay for it.
What?
No, no I don't get paid by the pile.
Patrick!
I'll call you back.
What?
Your friends are here.
Hey.
I heard about your car.
Yeah.
Look, we got off to a bad start, and I
was thinking, if you and Linda are
going to be getting married, or whatever,
you're going to need money.
OK.
So?
So Tony thinks his dad would be willing to fix
your car for free.
Linda, being family and all.
[music playing]
Cut.
Ah.
Do you mind?
No, I don't mind bringing in the groceries
even though it's your turn.
Bill, you don't need to check the mirror
with your whole head.
Just glance with your eyes.
I was trying to show concern.
Hey, you should be concerned.
The corn's moving about 3,000 miles an hour.
Excuse me?
Corn's going by too fast.
The corn can never go by too fast.
You know what? This is stupid.
What's stupid?
This whole movie thing.
What do you think, one of these movies
is going to be seen by anyone
other than you, me, and your mom?
Bill.
You think having a premiere at the Public Library
is going to get you noticed in Hollywood?
OK, Bill, I'm sorry I said you're corny.
You're a good actor.
No, I'm not. I'm terrible.
But at least I know it.
Well, if you know you're so terrible,
why do you keep doing it?
Because it used to be fun.
Why do you keep doing it?
Because you certainly aren't having any fun.
[engine revving]
And when you're not having fun, you are definitely not fun.
I do it because I'm not terrible.
I'm just here.
Oh, so it's here that's the problem?
Here meaning all your well-meaning but talentless
friends holding you back, right?
No.
Fine, go to Hollywood so you can be not terrible there.
See how far that gets you.
[radio alarm]
[music playing]
[SINGING] Music radio WLS Chicago.
Don't be alarmed.
It's only the death breath of the Dark Lord.
"Star War" starts today at select theaters.
Rated PG.
Parental guidance suggested.
[bell ringing]
Good morning Mr. And Miss Warren High School.
And all geeks sitting on top of the buses,
looking into the girls' locker rooms.
This is your student body president, Bill Holmes.
And these are your morning announcements for--
[TOGETHER] May 25, 1977.
The menu today--
A day that will live in infamy.
[upbeat music]
All right, kids.
I'd like to send a special message to the entire Warren
family.
Jocks, brains, nerds, freaks, cheerleaders, Devilettes,
chess club members, valedictorians, thespians,
lesbians.
Can he say lesbians on the morning announcements?
No, he cannot.
Today is the last day of life as we know it on this planet.
Today, a new and golden age lies upon us.
Today is the day that every last character name, scene
description, and vocal sound effect
you've heard from these past few months
will entirely make sense.
Open the door, Holmes.
Don't be alarmed.
It's only the death breath of the Dark Lord.
Very bad, very bad.
Don't be scared.
It's only an Imperial Cruiser making the jump to lightspeed.
[lasers shooting]
Relax.
It's only a movie, and it's all for fun.
Director George Lucas and 20th Century Fox present--
When I find it, and I will--
"Star Wars."
Enjoy, lap it up, monkeys.
Parental guidance suggested.
It starts today at theaters everywhere.
Everyone meet at the Genesee at 3:00 PM.
The first 40 people to show up get in free!
[upbeat music]
[bell ringing]
[clears throat] Ah.
Ah.
What are you doing here?
Linda had a conniption fit because she had work for me
today.
So Dr. Kallen let her off the hook,
even though I called in sick.
So where's Linda?
She went to the mall.
She said she had to buy something
nice to wear for big event.
Is that your brother?
Genesee Theater, 3:00 PM.
- Come on. - No.
We've got to go, guys.
"Star Wars."
Never mind.
Ah, hey.
Come on, guys.
We got to go.
"Star Wars," 3:00 PM.
Where's Bill?
He's hiding in his car.
Hey, guys, don't forget there's a party at my house
tonight, 6:00.
Thanks, Ann.
That's great.
Drive, Bill.
Just drive.
I'll need your park ID.
Can he do that?
Uh huh.
Do you realize what you just did?
Yeah, I got my severance pay, which is more
than I would have gotten if I I'd
worked for another month, which means
I can now pay for the first 40 people to show up.
Oh, shit.
Oh, now you realize what you just did.
No, it's 2:14.
Time flies when you're throwing your life away.
No, I mean I got to cash this.
So we'll cash it.
The theater's 15 minutes that way.
My bank is 15 minutes the other way.
Pat, relax.
My dad will cash your check at the station.
It's five minutes away.
Sign it over to him.
I'll go get the cash and meet you at the mall at 2:45.
But, no, it takes 15 minutes to get to the theater.
We can get there in 10.
That gives 5 to buy your popcorn,
talk to manager into selling you the poster with all the money
you won't have, and still find the exact acoustical center
of the theater, OK?
OK.
Slow down, you're going to get all sweaty.
Girls hate that.
It's not like there's going to be a line around the block
to get in.
Hey.
Oh, hey.
Hey.
What are you doing here?
Picking you up.
Bill's meeting us at 2:45.
What?
I can't go.
Why not?
Mom needs me to take Misty to the vet.
Oh, we'll take her afterwards.
Tony is giving me a ride.
Why?
My car's in the shop.
Again?
Yeah, again.
Wow, that's-- that's convenient.
What's that supposed to mean?
Well, let's see.
First, Tony's dad can't seem to find the left front
Fender for a Ford Pinto for over a month.
And then after managing to finally scrape together
enough money to pay him.
He tells me he's been charging me a storage fee
on top of the original amount.
And now your car's back in the shop,
and suddenly Tony is the only one left with a car that works,
which you have to go back to your house in,
with your new underwear.
And no, can you tell me what's wrong?
Yeah, I can.
You don't know when to stop thinking.
What?
Wait.
Wait, what?
I'm the proud owner of a brain refined by 6 million years
of evolution.
How am I supposed to stop thinking?
Try feeling.
Oh, come on.
Wait, wait, wait.
Don't touch me.
I'm sorry.
Don't even talk to me, and don't call me either.
Wait, don't leave.
Don't leave.
Come on.
[MUSIC - ALAN PARSONS PROJECT, "DAY AFTER DAY"]
Don't leave.
[SINGING] Gaze at the sky and picture
a memory of days in your life you
knew what it meant to be happy and free with time
on your side.
Remember your daddy when no one was wiser.
Your ma used to say that you would go farther than he ever
could with time on your side.
[robot malfunctioning]
[SINGING] Think of a boy with the stars in his eyes.
I said I'd meet you here.
I didn't say I'd go to bed with you.
Why would you agree to meet me in a hotel room room
if you weren't going to go to bed with me?
I can't believe you're being such a bitch.
Hey, open this door.
[SINGING] Sadly you'd say someday, someday.
What the hell do you want?
I want you to leave my sister alone, you punk.
OK.
[SINGING] But--
[smack]
[SINGING] --day after day, the show must go on.
"Star Wars," a billion years in the making, and it's
coming to your galaxy this summer.
[crash]
[SINGING] Any castles in Spain.
The chance had gone by.
[explosions]
Hey!
She's ready to go!
[SINGING] With nothing to say--
When you got the dough.
[SINGING] --and no one to say it to.
Nothing has changed.
You still got it all to do.
Surely, you know the chance has gone by.
[car horn]
So did you see it?
No.
I thought you were going to be first in line.
Things got messed up.
What happened?
Dodgeball accident, then I missed the bus.
And next thing I know, it starts raining,
and Jody saw me walking home.
You should have run him over.
What's wrong with her?
She's 16.
She's a girl.
Plus, she hates me.
She doesn't hate you.
I do so.
If she hated you, why would she drive you home?
So she could enjoy not driving me to the theater.
Can I borrow the van?
Eric took it down to O'Hare.
What for?
To ship a dog I sold some people in Atlanta.
They wired the money, thank God.
Great.
Could I borrow $200?
I don't know.
When you walked by the runs did you
notice 2 million piles of poop?
What the heck do you need $200 for?
To pay for 40 of my friends to get in to see "Star Wars."
You know, they say if you have three good friends
in your entire life you're a very lucky--
Mom, this is really serious.
I need to get as many people as I can to the Genesee
Theater, especially me.
Well, it stopped raining.
Why don't you ride your bike down to the theater?
No, I sold my bike to buy film for "Requiem
for the Planet of the Apes," remember?
What about Eric's bike?
Reshoots.
OK, what about Jody's bike?
It's pink.
It's here.
It's got tassels.
It's got wheels.
It's got a lock.
You can use my bike.
[chatter]
Hey, can you hold on to this for a sec?
Hey.
Hey, Pat.
I was just heading out to find you.
Where the hell have you been?
Jeez, will you relax?
Relax?
I missed the 3:00 PM showing of Star Wars because of you,
and the 5:15, and the 7:30.
And the 9:45 starts at 25 minutes,
and it takes 20 minutes to get to the Genesee Theater.
Will you calm down?
It's the damn movie.
No, it's not just a damn movie.
I've waited my whole life to see this movie.
You've been waiting your whole life to get laid too,
but I don't see a yelling at Linda Altastiniac.
OK, you know what?
Forget it.
I'll go by myself.
Just give me my check, OK?
It's in my glove compartment.
I parked like a mile away.
Besides, what good is it going to do
without a place to cash it, and without me to take you there?
Why didn't you cash it before?
Why didn't you come back?
Remember that night last fall, when Robin gave you a ride home?
Yeah.
She came over later.
She was really drunk.
She told me, if I didn't want to marry her,
there was a guy she knew that would.
Bill.
I didn't come back because I found out who that guy is.
Look, just hang here for a little while.
Let me try to figure this out with Robin,
and I'll take you to the midnight show.
[phone ringing]
Hey, Pat.
Hey, Donny.
How was "Star Wars?"
It was great.
Yeah, it was great, in fact, that I went
to the 5:15 and the 7:30 show.
I mean, later I'm going to the 9:45.
Hey, what is this movie about?
[vocalizing]
What's with Johnson?
And R2-D2's bouncing around going [vocalizing]..
A smudge mark on her boob is gone,
and her hair's all different, and she hands Luke and Han
medals.
And everybody turns around, and literally
this crowd, hundreds of rebel soldiers,
all give him a standing ovation.
And that's the end.
All right.
So I just have one question.
What?
What the hell are you on?
[laughter]
Fine, fine, laugh it up, laugh it up.
But in a few days, you'll all be going up
to the door of the art, and just pounding on it and screaming,
"let me in, let me in!"
[MUSIC - LEON RUSSELL, "STRANGER IN A STRANGE LAND"]
[SINGING] How many miles will it take to see the sun?
And how many years till it's done?
Kiss my confusion away in the night.
Lay by my side till the morning comes.
Hey.
What the hell was that look for?
What the hell were you doing making out with Doreen Blandis?
I thought you said you were going
to work things out with Robin.
Yeah, well I also said I'd get you to your movie,
and I'm going to get you there.
So come on. Let's go.
[SINGING] Strangers in a strange land.
Hey, Moon Watcher, you can't get there from here,
this ain't Cape Kennedy.
And it sure as hell ain't Hollywood.
It's just Gurney.
I'm not even from Gurney.
I'm from Wadsworth, population 750, the edge
of the edge of nowhere.
Hey, a lot of famous people came from the edge
of the edge of nowhere.
Ray Bradberry grew up in Waukegan, and Jack Benny.
And Marlon Brando went to high school
right over in Libertyville.
Yeah, and where are they now?
Ray Bradbury, California.
Jack Benny, California.
Marlon Brando.
Tahiti!
Woo-hoo!
Yeah!
[splash]
What?
Is this how you want to live?
What, in a big house with a bunch of people having fun?
Sure.
Yeah, but what are you going to do?
What are you going to be?
What do you want from the one shot that you get at living?
I don't know, money, a big house, a wife and 2.3 kids.
I have no fucking idea.
Bullshit.
You want to make people laugh.
That's what you want.
That's who you are.
OK, Pat.
Let's do our fight thing.
Ready, ready?
No.
Now.
You want to be an actor or comedian.
No, I don't.
That's what you want me to be so you
can feel like you're not the only one chasing
after an impossible dream.
React.
Oh.
But you're lying.
That's all you've ever wanted.
And yet-- but you're too afraid of failing to try.
Oh.
You hit me in the forehead, man.
I didn't hit you.
Yeah, you did.
No, I didn't.
Oh, so you-- you act like you don't care.
Shut up and fight.
Come on.
You go along with the rest of the herd that
needs to believe that being intelligent and having hopes
and dreams is for nerds, or geeks, or dorks.
But inside, you know it isn't.
Come on.
Cut it out, man.
What do you care what I do, huh?
What are you still hanging around for?
Just go.
They do this all the time.
What are you waiting for?
I'm waiting for you.
Why?
You don't need me to drive you to California.
You don't even need me to drive you to the Genesee Theater.
Shit, Pat, you could have walked there and back five times
today.
I'm not the one who's afraid here.
It's you, man.
You're afraid you're going to go see this movie and everything
will be the same.
You'll still be Pat Johnson making his little movies
in his backyard.
They're not little.
Oh.
[chatter]
We've just got a big backyard.
Pretty good right hook too.
Orson Welles.
What?
Orson Welles grew up in Kenosha.
That's like 10 miles from here.
Oh, it doesn't matter where he grew up.
OK?
What matters is that he's not sitting around
some house full of people who don't care about anything
but getting stoned so they can forget about the fact
that they're going to spend the rest of their lives
wondering why the hell they're still here.
I mean, really, somebody, anybody, do something new,
do something interesting.
[MUSIC - ALAN PARSONS PROJECT, "I WOULDN'T WANT TO BE LIKE
YOU"]
[SINGING] I wouldn't want to be like you.
Whoa, I don't care--
OK.
[SINGING] --what you do.
I wouldn't want to--
I wouldn't want to be like you.
Oh.
Oh, man.
Marry me.
[laughter]
Did you just get engaged?
[mumbling]
[scream]
What time is it?
9:55.
Why do you want everyone to see this movie so bad?
I don't know.
I guess it's just--
if everyone sees it, and everyone likes it,
then I won't be the only sci-fi movie geek in town anymore.
Pat, if every person in town loved this movie,
you would still be alone because to everybody else,
movies are something to do when you're tired of real life.
To you, real life is something to do when you're
tired of watching movies.
But I'm never tired of watching movies.
My point exactly.
Some people live to work, other people work to live.
Yeah, well I'm going to do both because, unlike everybody
else around here, I'm going to love what I do for a living.
How do you know?
Well, because I've always known.
I started making movies when I was nine years old.
Why?
Why what?
Why did you start making them when you were nine?
Why that age in particular?
Because-- I don't know.
What the hell kind of question is that?
You started making movies to keep your family together.
What?
Like it or not, that's the truth.
You are so full of shit.
Where do you come up with that crap?
Advanced placement psychology.
You were my term paper.
Come on, Pat.
Your parents start talking divorce,
you start making movies.
Why?
Because I like to.
You did it to get their attention.
So they'd have something else to think about,
like you had something other than them that made you happy.
You figured, if they saw they were losing you,
maybe they'd stop fighting.
Sorry, Sigmund, but you're wrong on this one, OK?
So what happens?
Your mom fawns over every frame,
thinks every shot is wonderful.
And you know it's not true.
So you start to distrust her.
She's not leveling with you.
She's just treating you like her little baby
that needs protecting.
And your dad, who's drunk half the time,
can only see you as his younger self
who wanted to be an artist
till his dad threatened to disown him
if he didn't go to med school, right?
So here you come with your first little Super
8 "Planet of the Apes" movie, and what does he do?
OK, Donny.
He shits all over it.
OK, Donny, enough.
It looks like a model. You ever hear of focus?
And they invented tripods for a reason, you know?
And how about this little gem, is that like a Charlton Heston?
It looked like a 12-year-old with delusions of grandeur.
You were a 12-year-old with delusions of grandeur.
Donnie, shut up, OK? Just shut up.
Fine, as soon as you admit
the real reason you want to make movies.
Because it cuts through all the stupid high school social caste
system bullshit, OK?
OK.
It gets past all those stupid goddamn armor everyone wears.
Go on.
When you're watching a movie, you're
sitting with 500 people who wouldn't even sit next to you
in lunch.
And you're laughing at the same jokes,
and crying at the same painful moments,
and you're jumping at the same scares.
There aren't any cliques in the movie theater.
There aren't any jocks, or geeks, or nerds, or brains, OK?
And as long as it's dark, and there's
something you've never seen before on the screen,
it's like you're family, where nobody
yells or fights or leaves.
Oh, shit.
You know, years from now, are you
going to pay someone hundreds of dollars
to do what I just did for free?
[laughter]
Congratulations. It's a fist.
[laughter]
You've got her hand out?
Oh, no problem with that.
Doctor gave her a little muscle relaxant.
Here.
You may need just for the drool.
[laughter]
What?
Come on, I'll take you home.
Wait, what about "Star Wars?"
Gah!
It's dark in the theater.
[music playing]
[SINGING] Music Radio WLS Chicago.
[MUSIC - ALAN PARSONS, "I CAN'T GET THERE FROM HERE"]
It's me.
I told you not to call.
I know.
I'm sorry.
It's just-- I realized something tonight.
I thought that it was going to be the most important day
of my life because it would finally give me the strength
to go out to LA and start up a life I thought we both wanted.
But when today finally came, it wasn't enough
for me to just see "Star Wars" by myself.
I felt I had to take everyone I knew with me because I think
what I really wanted was for everyone
to finally understand me and approve of me.
So that it would change this place enough, in my mind
and in my heart, that I wouldn't have to leave it because I
don't really want to go.
[SINGING] There were dreams we kept inside.
I just want to belong.
OK, Linda-chan.
I go to work now.
OK.
Drive carefully, mom.
[SINGING] I can't get there from here.
And you can't--
Pat, you've been waiting a really long time
for this night.
And maybe I didn't seem as interested as you sometimes,
but I really did want to be with you the first time.
And I really want to be with you.
[SINGING] Nowhere.
OK, then.
Come and get me.
[SINGING] Touch the sky.
If you don't, when you grow old, you'll wonder why.
You did just what you were told.
No one will cry for you.
And all you do is long to fly.
I can see--
Beam me up, Jody.
[SINGING] The final curtain calling, let it be.
[knocking]
[SINGING] Listen to the voices calling out to all who hear.
You ready?
[SINGING] Don't let your fear push life beside.
I can't get there from here.
And you can't get--
Oh.
[SINGING] --here from there.
And we can't go anywhere.
Why the long face?
Ah!
Sorry, sorry. I'm sorry.
I can't help it.
Making jokes, it's what I do.
Duh.
Are you sure about this?
Uh huh.
[SINGING] Far beyond all the things we know.
Mm-mm.
Wait.
[SINGING] The world of our dreams.
[television chatter]
[SINGING] Calling to us--
You want to watch baseball?
[SINGING] --but we don't go.
I want the neighbors to think we're watching baseball.
Plus, it'll cover any, you know, noise we might make.
Now, close your eyes.
[SINGING] You can't get here from there.
And we can't go anywhere.
As long as we're still standing on the road that leads nowhere.
When I was a kid, they used to show these short films
before the feature called serials,
and they weren't very good.
In fact, they were actually kind of terrible in a wonderful sort
of way because you could almost imagine the actors suddenly
turning to look out at you and saying,
look, we know you can tell we made these sets out
of cardboard, and we know you can see the wires holding up
our spaceships, but look how much fun we're having.
And those stupid little films meant more to me
than any big budget Hollywood extravaganza
because they gave me hope that, with a little allowance,
a little ingenuity, and a little stolen time with my dad's
old wind-up movie camera, I could make movies too.
And I did.
Boy, did I.
How much do you want to be a director, Patrick?
I want it more than anything I've ever wanted in my life.
Are you-- are you really sure about this?
Do you need to be one?
Then you might just make it.
You really think so?
If it can happen to me, it can happen to you.
[thunder]
So how was it?
It was amazing.
How about for you?
I meant "Star Wars."
Oh.
I don't know.
Too many things came up.
You could go tomorrow.
I could maybe get off work.
No, I have to work.
I got to start saving up for everything we want.
I'll try to see it on my next day off, if it's still playing.
The crowd's loving it.
Now the big guy, hitting .342 with 92 RBIs.
More baseball after these messages.
Hey, Pete Rose, what do men really
want from his after shave?
Are you sorry we did this?
No.
No fancy perfumes or fancy bottles.
Did you want to wait till you get
married before your first time?
Uh-uh.
A man wants to smell like a man.
That's why I like--
And so Refreshing and masculine.
What? What?
What did I say?
Shut up. Just shut up, OK?
What?
What did I do?
You didn't do anything.
OK, well then tell me what's wrong.
This wasn't my first time.
Oh.
Well, that's OK.
No, it's not.
I don't care.
I care.
Why?
What does it matter what we did before we met, right?
I don't have to be your first.
I just have to be your best and your last.
It matters!
What?
It matters because my first time was
while you were in Hollywood.
I didn't know if you'd be coming back.
You were so excited about going and maybe getting a job.
I didn't know you'd come back just for me.
You were the only reason I came back, OK?
You said you loved me.
I do love you.
Well, you have a funny way of showing it.
You know, this wasn't your first time either.
Yeah, it was.
No, it wasn't.
Your first time was the day you saw the coming
attractions for "Star Wars."
What?
[MUSIC - ALAN PARSONS PROJECT, "DON'T LET IT SHOW"]
When it was over, I looked over at you,
and you had tears in your eyes.
So?
So how could I ever hope to compete with that?
Why Tony?
Huh?
What the hell is so great about him?
Is it his car, or his gold chains,
or his feeble little mustache?
His zip code.
What?
He's here.
I am here.
But he's not going anywhere, and I'm OK with that.
In fact, it's what I want.
[SINGING] Though it's getting harder to take what they say,
just let it go.
Just let it go.
And if it hurts when they mention my name,
say you don't know me.
And if it helps when they say I'm to blame,
say you don't own me.
Just remember something, life doesn't
move at 24 frames per second.
It moves a lot faster.
[SINGING] Even if it's taking the easy way out.
And on this picture--
[SINGING] Keep it inside of you.
You only get one roll film.
[SINGING] Don't give in.
Don't tell them anything.
Don't let it-- don't let it show.
Even though you know it's the wrong thing to say,
say you don't care, say you don't care.
Even if you want to believe there's a way,
I won't be there.
But if you smile when they mention my name,
they'll never know you.
And if you laugh when they say I'm to blame,
they'll never own you.
Ooh.
Hey.
[SINGING] Even if you feel you've got nothing to hide.
Mom wants us to go grocery shopping.
[SINGING] Keep it inside of you.
Don't give in.
Come on.
[SINGING] Don't tell them anything.
Why are you helping me?
[SINGING] Don't let it--
Because numbskull, how could you leave without a car?
[SINGING] Don't let it show.
Bye.
[engine revving]
Patrick Read Johnson!
What are you still doing in your backyard?
[dog barking]
[crickets chirping]
[barking]
Where do you think you're going?
To get my car.
Is that so?
Yeah, I paid all I'm going to pay for it.
Besides, you don't need to hold it hostage anymore.
I'm not going to stop you.
Scrawny piece of shit.
You couldn't stop rain from hitting the ground.
Yeah, well, I'll tell you what, I'll try to gain weight,
you try to gain intelligence.
We'll see who wins.
Huh, I already know who wins, and it ain't you.
And you're going down.
Oh.
[music playing]
Get up.
Oh, jeez, Tony.
Down, up, make up your mind.
I said get up.
It's time someone kicked your ass.
What's wrong?
Don't you think you've done enough to me?
What are you talking about?
You knew that Linda was scared to go with me,
and you played on it until you finally brought her down
to your level.
My level?
Oh!
What's my level, huh?
I work for a living.
I don't expect the world owes me fame and fortune like you.
You know, you think because you can direct little Super 8
movies you can direct how people's lives are
going to turn out?
I mean, come on.
How are you going to direct your way out
of me dislocating your shoulder if I want to, huh?
How are you going to direct your way out
of me shoving your face into the dirt
until you choked to death, if I want?
Huh?
Your brain may think of better fantasies than mine,
but it ain't going to think of nothing if I beat it out
of your head with a fucking tire iron now, is it?
Is it?
Oh!
[coughs]
Never fuck with a Kubrick fan.
A what?
We may be geeks on the outside, but on the inside,
we're all killer apes.
You're fucking nuts is what you are.
Oh, no, I'm not nuts.
I'm evolved.
My ancestors touched the monolith.
Your ancestors watched.
Jesus, back off, man.
Jesus.
You mated with my mate.
What?
You rained on my evolutionary parade.
No, wait, wait.
You want to compete with me for scarce resources
on this dusty African plane?
Well, step to the plate.
I am Moon Watcher.
Hear me roar.
No, stop!
We didn't really do it, OK?
I tried, but she wouldn't go for it.
She said she was in love with you.
She wanted to be with you, I swear.
She waited for you.
We never did it.
Than why would she tell me you did?
[triumphant music]
[engine rumbling]
Popcorns, two Cokes, and one Sugar Baby.
Is this film ever going to stop showing here?
OK, bye.
What are you doing here?
Why is that up there?
Why is what up where?
That, that-- that's not-- that's not what's playing here.
Yes, it is.
Todd, OK.
I know you're most likely messing with me right now.
And it's funny.
It really is.
And any other day, I would laugh at it.
I would find it thoroughly amusing.
This is the thing, I just want you to tell me
that "Star Wars" is playing here,
and then we can just, you know, be friends after that.
And I just want you to be honest with me now.
Please, buddy.
Todd, I love you.
Come on, just tell me what's playing here.
"Star Wars," right?
"Star Wars."
"Star Wars?"
Yes, yes!
"Star Wars."
OK, you know what?
Look.
"Star Wars!"
"Star Wars" starts today, today, at theaters everywhere.
Theaters everywhere.
This isn't everywhere.
[laughs] This is Lake County.
[laughs] Everywhere.
Todd.
[laughs] Oh.
Todd.
Oh, really killing me.
Todd.
[laughs]
Todd.
[engine revving]
[bell ringing]
[music playing]
Your muttloaf, sir.
What are you doing here, Johnson?
Eating muttloaf.
Huh.
Well, it's Senior Skip Day.
Why aren't you skipping?
More muttloaf for me.
You're a weird kid, Johnson.
Not weird enough, apparently.
Don't underestimate yourself, Patty.
Let's go.
Where?
Someplace dark and quiet, where I can take away your virginity.
Well, you're too late.
I don't think so.
[music playing]
The lobby cards are gone, and I still want all of the posters.
They just picked the locks and ripped them
right out of the cases.
I was afraid they were going to take the film,
so I put Eddie on guard outside the projection booth.
Hey, hey, balcony's closed!
[music playing]
[20TH CENTURY FOX INTRODUCTION THEME]
[applause and cheering]
Just don't forget I did this.
Never.
[star wars introduction theme]
Patrick Reed Johnson!
What happened?
[MUSIC - ALAN PARSONS PROJECT, "BLUE BLUE SKY"]
Just remember, if you end up seeing farther than others,
it's only because you've stood upon the shoulders of Giants.
Who are you?
See ya.
[SINGING] I only know--
Hey, buddy.
[SINGING] --what I can see.
Make good movies and watch out for girls.
Oh, I'll try.
Have a nice trip.
[SINGING] So I imagine what could be.
He'll be back in a week.
Shut up, Jody.
[SINGING] Where the horizon cuts the air--
You don't have to say anything.
Yeah, I did.
[SINGING] --look for me out there.
Thank you.
[SINGING] Someday I'll touch the blue, blue sky.
Go on.
Go West, young man.
I'll shout if I need you.
[SINGING] Someday I'll touch the blue, blue sky.
If I could kiss this Earth goodbye,
and cruise the neverending sky, where the horizon cuts the air.
Wait for me down there.
Someday I'll touch the blue, blue sky.
Whoa.
Someday I'll touch the blue, blue sky.
Hey.
Forgot something.
Why didn't you just give me this last week?
Because you didn't really need it last week.
Now you do.
Practicality, Pat, that's what I'm all about.
I'll leave the fantasy stuff up to you, Mr. Hollywood.
Hollywood's just my monolith.
It might be a door.
It might be a wall.
I won't know till I touch it.
What the hell are you talking about?
Forget it.
Just don't come back as a giant baby floating over the Earth.
[engine revving]
[MUSIC - RINGO STARR, "PHOTOGRAPH"]
[SINGING] Every time I see your face,
it reminds me of places we used to go.
All I've got is a photograph, and I realize
you're not coming back anymore.
I thought I'd make it the day you went away,
but I can't make it till you come home again to stay.
I can't get used to living here while my heart is broke.
My tears I cried for you.
I want you here to have and hold as the years and go by
and we grow old and gray.
Every time I see your face, it reminds me
of the places we used to go.
All I've got is a photograph.
And I realize you're not coming back anymore.
Every time I see your face, it reminds me
of the places we used to go.
But all I've got is a photograph,
and I realize you're not coming back anymore.
[applause and cheering]
Thank you.
Thank you very much.
[MUSIC - ALAN PARSONS, "I CAN'T GET THERE FROM HERE"]
[SINGING] Seize the day.
That was what you always told me.
Find a way you would say as you would hold me.
Get away from here.
It's oh so clear, you can't stay.
Long ago we were old enough to love
but not to know there were dreams
we kept inside but didn't show.
And now, we don't know how to let go.
I can't get there from here, and you can't get here from there.
And we can't go anywhere as long as we're still
standing on this road that leads nowhere.
Touch the sky.
If you don't when you grow old, you'll
wonder why you did just what you were told.
No one will cry for you.
If all you do is long to fly.
I can see our final curtain falling.
Let it be.
Listen to the voices calling out to all who hear.
Don't let your fear push life aside.
I can't get there from here.
And you can't get here from there.
And we can't go anywhere as long as we're still
standing on this road that leads nowhere.
But out there it gleans far beyond all the things we know.
The world of our dreams calling to us, but we don't go.
I can't get there from here.
And you can't get here from there.
And we can't go anywhere as long as we're still
standing on the road that leads nowhere,
the road that leads nowhere.