WEBVTT - Beetlejuice Beetlejuice Screenwriter Al Gough Talks Hit Movie

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<v Speaker 1>Bloomberg Audio Studios, podcasts, radio news. Beetlejuice, Beetle Juice, Beetle Gerald. Wait,

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<v Speaker 1>it turns out saying it three times isn't all that

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<v Speaker 1>bad though, guys.

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<v Speaker 2>Relax, Okay, here's why Beetlejuice Beetle Juice, a sequel to

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<v Speaker 2>the nineteen eighty eight spooky comedy hit movie, brought in

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<v Speaker 2>one hundred and eleven million dollars in ticket sales in

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<v Speaker 2>its domestic opening over last weekend. Our team reported this

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<v Speaker 2>on Monday. It drew in younger filmmakers or film goers,

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<v Speaker 2>I should say, as well as those nostalgic about the

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<v Speaker 2>original picture.

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<v Speaker 1>Thirty six years ago. Amazing, the Warner Brothers Discovery film

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<v Speaker 1>exceeded the company's expectations. It had forecast ninety million in

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<v Speaker 1>box office receipts going into the weekend. So delighted to

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<v Speaker 1>have with us Al Goff. He's Beetlejuice, Beetlejuice screenwriter. He's

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<v Speaker 1>joining us from Los Angeles. Also with us here in

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<v Speaker 1>studio is our own Mark Lydorf. He reviewed the movie.

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<v Speaker 1>So we just want to kind of have a round table.

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<v Speaker 1>First of all, Al, thank you, thank you, thank you

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<v Speaker 1>so much for joining us nineteen eighty eight. I had

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<v Speaker 1>to think back kind of where I was the first

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<v Speaker 1>Beetlejuice movie thirty six years? Why did it take so long?

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<v Speaker 1>Or why are we now getting a sequel after thirty

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<v Speaker 1>six years?

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<v Speaker 3>Well, I can't answer why it took so long. But

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<v Speaker 3>about three years ago, Tim approached us on the set

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<v Speaker 3>of season one of Wittemburg and Tim Burton and Sorry

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<v Speaker 3>and asked us to write the sequel. He had been

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<v Speaker 3>thinking about it for a long time. He'd been having

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<v Speaker 3>conversations with Michael Keaton and Winona Ryder, and he said,

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<v Speaker 3>it's the movie that he's asked most about, and people

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<v Speaker 3>have been begging for a sequel for years, and I

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<v Speaker 3>think he was ready to do it. We met with him,

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<v Speaker 3>We kind of went through all of his ideas what

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<v Speaker 3>he wanted in the movie, and we went off and

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<v Speaker 3>wrote an outline and pitched it to him. He really

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<v Speaker 3>liked it. We wrote the script. I mean, Miles Miller,

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<v Speaker 3>my writing partner, and I've been partners for thirty years,

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<v Speaker 3>and this is probably the smoothest and fastest movie we've

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<v Speaker 3>ever had. From from you know, from would you guys

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<v Speaker 3>write the script? Two three years later, here we are

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<v Speaker 3>the movies out in the theater, so you know, it's

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<v Speaker 3>been an incredible thrilling experience for us.

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<v Speaker 4>Now, you and Miles, this is Mark Lydorf, who I

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<v Speaker 4>had the pleasure of seeing the movie in Mexico City.

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<v Speaker 4>I wanted to see this movie so bad I asked

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<v Speaker 4>them if I could review it on vacation. And I'll

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<v Speaker 4>tell you, the kids in this industry's greening were all

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<v Speaker 4>in their twenties, and I know you and I are

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<v Speaker 4>about the same age, I think, But so I thought

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<v Speaker 4>assumed you'd be writing it for my generation kids who

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<v Speaker 4>loved it in the eighties, and the folks in Mexico

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<v Speaker 4>just ate it up, and they were all a lot

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<v Speaker 4>younger than me. So congratulation. You and mister Miller are

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<v Speaker 4>no strangers to success. Of course, you also created Wednesday,

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<v Speaker 4>which I think I read is the most viewed Netflix

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<v Speaker 4>series in English. Is that correct?

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<v Speaker 3>It's the that is correct. That's kind of increat it

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<v Speaker 3>by the way, it is incredible. We can't believe it ourselves.

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<v Speaker 4>But that also was a Tim Burton project. And my

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<v Speaker 4>first question for you would be, what what is it

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<v Speaker 4>like writing for an o tour like that? Someone with

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<v Speaker 4>such a specific aesthetic and kind of quirky sensibility. Is

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<v Speaker 4>it harder or is it easier?

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<v Speaker 3>Well, the two things. What's interesting is we had written

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<v Speaker 3>the first episode of the pilot episode of Wednesday, and

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<v Speaker 3>we sent it to Tim and because he was our

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<v Speaker 3>first choice to direct it, which by the way, is

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<v Speaker 3>like is like shooting a satellite into space and hoping,

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<v Speaker 3>you know, you get an answer, right. So, and because

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<v Speaker 3>you know he'd never done TV, we didn't know. But

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<v Speaker 3>you know, you know, my first jobs were all in sales,

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<v Speaker 3>and if you don't ask the answers, no, So we

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<v Speaker 3>sent it to Tim, and literally four days later we

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<v Speaker 3>got a text from his agent saying Tim read the script,

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<v Speaker 3>he loved it. He wants to FaceTime with you guys.

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<v Speaker 3>And so again it's one of those like dream scenarios

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<v Speaker 3>for us, and we FaceTime with Tim. He said he

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<v Speaker 3>he loved the script. He'd always he'd circled the Adams family,

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<v Speaker 3>you know, several times in his career, but never had

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<v Speaker 3>found a way in. And he he loved it. He

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<v Speaker 3>Wednesday was his favorite character in the Adams family. He

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<v Speaker 3>said he would have dated Or in high school and then,

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<v Speaker 3>which by the way, felt very on brands, and so

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<v Speaker 3>that's that's really how it how it started. But I

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<v Speaker 3>think when you when you look at Tim's movies, what's

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<v Speaker 3>what's really incredible is the majority of them are family

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<v Speaker 3>dramas with his unique perspective on the world which is

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<v Speaker 3>so incredibly unique and specific but somehow is incredibly universal,

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<v Speaker 3>and that is something I think he is singular as

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<v Speaker 3>a filmmaker in that respect. So so I think I

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<v Speaker 3>think for us it was you know, Beetlejuice. Beetlejuice to

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<v Speaker 3>us is really the most joyful movie you'll see this

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<v Speaker 3>year about death and grief.

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<v Speaker 1>Well, can I just say from someone you guys all know,

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<v Speaker 1>our audience knows. I'm from a large family, one of

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<v Speaker 1>seven kids. I mean, every family has its love, its quirkiness,

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<v Speaker 1>its stresses. You know, Tim, you're from you know you've

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<v Speaker 1>got a bunch of siblings too, three siblings, Like we

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<v Speaker 1>can relate to this, right, you can relate to this.

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<v Speaker 2>I'm curious about what Tim Burton's role is, as you

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<v Speaker 2>guys are the screenwriters. Where does he get involved and

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<v Speaker 2>where do you kind of where do you where are

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<v Speaker 2>you involved?

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<v Speaker 1>Now we have about a minute and then we'll come

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<v Speaker 1>back and do some more conversation.

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<v Speaker 3>Sure, well the quick answer with this one, because it's

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<v Speaker 3>so personal. He gave us his ideas. We came back,

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<v Speaker 3>we broke the story, we wrote the script, and then

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<v Speaker 3>we spend a year, you know, going through drafts. And

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<v Speaker 3>I think what Tim does is it's like a tuning

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<v Speaker 3>for it. He could read something. There might be a

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<v Speaker 3>section of a script where he's like, something isn't feeling

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<v Speaker 3>right here, you know, I think let's focus on this area.

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<v Speaker 3>He'd have some ideas. So it was incredibly collaborative that

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<v Speaker 3>way with him. So and I think because we've gone

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<v Speaker 3>through and done Wednesday with him, we could we could

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<v Speaker 3>speak Burton a little more fluently. So it helped a lot.

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<v Speaker 1>Burtan ees coming to a language learning app near you. Hey,

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<v Speaker 1>al So, Mike, Michael Keaton, I'm just curious what that

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<v Speaker 1>phone call was like? Was he in from the get go?

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<v Speaker 1>Did he said yep, sure, yes? Know what like what happened?

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<v Speaker 3>It's Tim was talking to Michael. So when we wrote

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<v Speaker 3>the script, we were like, we really have an audience

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<v Speaker 3>of two. It's Tim and Michael. So I think once

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<v Speaker 3>we had the script and we've gone through a couple

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<v Speaker 3>of rounds with Tim and he had a draft he

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<v Speaker 3>felt really good about. He sent it to Michael and

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<v Speaker 3>so you guys.

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<v Speaker 1>Wrote it before even Michael was on board.

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<v Speaker 3>Yes, yes, Tim, Like I said, Tim had been having

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<v Speaker 3>conversations with him, but he hadn't read the script and

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<v Speaker 3>he could have said no. And you know he he was,

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<v Speaker 3>you know, very complimentary of the script and you know,

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<v Speaker 3>really liked it, and you know, we got a lovely

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<v Speaker 3>email from him. So we were like, you know, there's

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<v Speaker 3>three emotions in show business, depression, surprise, and relief, and

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<v Speaker 3>we were relieved. So yeah, we were relieved.

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<v Speaker 4>Well, speaking of Michael Keaton, I wondered watching the film.

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<v Speaker 4>You know, he seems to be improvising a lot. I

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<v Speaker 4>suspect he's not, and I just wonder if there is

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<v Speaker 4>room with an actor like that, a character like that,

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<v Speaker 4>if there is room for improvisation, and how you write

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<v Speaker 4>around that.

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<v Speaker 3>The answer is there is room for improvisation. We wrote

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<v Speaker 3>it in because the character he created with Tim in

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<v Speaker 3>the first movie, which by the way, we went back

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<v Speaker 3>and read the Beetlejuice shooting script and that character in

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<v Speaker 3>terms of there's a Beetlejuice in it. Obviously, but that

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<v Speaker 3>voice was really something that Michael and Tim and you know,

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<v Speaker 3>created on set, the whole look and the thing. So

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<v Speaker 3>the good news is it was he's such a classic

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<v Speaker 3>specific character. Is we were able to write to that voice,

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<v Speaker 3>and we always treated Beetlejuice as an agent of chaos,

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<v Speaker 3>which is what he is in the movie. So, and

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<v Speaker 3>the thing that we were all cognizant of, Michael probably

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<v Speaker 3>the most, was you don't want him into much of

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<v Speaker 3>the movie. A little Beetlejuice can go a long way.

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<v Speaker 3>You don't want it to, you know, so, and I

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<v Speaker 3>think because of that, when he's on screen, he's that

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<v Speaker 3>much more impactful.

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<v Speaker 4>Right, Well, he's not. Actually he's not actually the main

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<v Speaker 4>character of the film, of either film. He's sort of

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<v Speaker 4>the hardest working supporting character. I would say, Yeah, I'm

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<v Speaker 4>wondering if there are specific jokes. Not to spoil anything

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<v Speaker 4>too much, but are there specific visual gags or jokes

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<v Speaker 4>that you wish could have made it to the final edit?

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<v Speaker 4>You know, like things things that you wrote into the

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<v Speaker 4>script that sadly got lost. Goofy goofy stuff.

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<v Speaker 3>You know, it's funny. I'm I'm sure there aren't. I

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<v Speaker 3>can't remember any at the moment.

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<v Speaker 4>Because well, there's a lot, there's a lot, Yeah, I.

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<v Speaker 3>Mean, you know, and and what and what you know,

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<v Speaker 3>we're really sort of thrilled with how the movie, you know,

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<v Speaker 3>how the movie turned out, and and you know, we

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<v Speaker 3>we haven't you know, destroyed people's childhood memories. That was

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<v Speaker 3>always a big fear.

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<v Speaker 1>That's a good thing. Hey, what I wonder because how

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<v Speaker 1>much of this must have felt like this grand reunion,

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<v Speaker 1>right of bringing back so many people who had obviously

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<v Speaker 1>worked on the original, Like what what it was like

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<v Speaker 1>on the set?

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<v Speaker 3>Well, we weren't on the set because unfortunately it was

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<v Speaker 3>during the writers strike, so we couldn't go so with which,

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<v Speaker 3>by the way, sucked.

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<v Speaker 1>That's a bummer.

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<v Speaker 3>Yeah, that's that sucks. But I think it was you know,

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<v Speaker 3>certainly for for Michael and Wenona and Catherine and Tim,

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<v Speaker 3>I think it was it was like a family reunion.

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<v Speaker 3>And you know, having spoken to all of them obviously

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<v Speaker 3>after you know, the shooting and during this whole process

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<v Speaker 3>leading up to it, I mean, they you know, could

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<v Speaker 3>not be nicer, could not be more thrilled. They're genuine

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<v Speaker 3>genuine love and affection for each other is really you

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<v Speaker 3>know evident. And I think for Tim from what all

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<v Speaker 3>accounts we heard is he he loved just being on

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<v Speaker 3>set and making the movie. So and again I think

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<v Speaker 3>the directors, especially with Tim, but in that sort of

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<v Speaker 3>director's DNA and his love of what he's doing is

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<v Speaker 3>and his passion for it, I think it gets on

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<v Speaker 3>the film somehow, not that there's film anymore.

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<v Speaker 4>But you know what I mean, speaking of Winona writer,

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<v Speaker 4>my big question about the movie is Lydia d eats

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<v Speaker 4>and the few knots I've heard on the movie is

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<v Speaker 4>for people who you know, like me, love the original

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<v Speaker 4>and thought, oh no, she's a disaster. She's not that confident, stylish, fabulous,

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<v Speaker 4>fearless kid that she was. And me personally, I loved that.

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<v Speaker 4>She's a basket case. I'm not ruining anything too much.

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<v Speaker 4>She's a basket case. She starts the movie popping pills.

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<v Speaker 4>Her life is a mess. I'd like you to speak

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<v Speaker 4>about that. Why was it important for you to have

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<v Speaker 4>Lydia be so hobbled?

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<v Speaker 3>Well, you know, part of it is we looked at her,

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<v Speaker 3>it's like and you're right, like she's this and it's

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<v Speaker 3>the Winona we all remember from our from our youth.

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<v Speaker 3>And but but I think it's it's you know, it's

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<v Speaker 3>thirty six years and we're like, how would a person

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<v Speaker 3>who sees ghosts every day, how would they be thirty

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<v Speaker 3>six years on? Like, that's got to drive you crazy

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<v Speaker 3>and it makes you so when we meet her, you know,

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<v Speaker 3>she isn't in a great place. She's obviously, you know,

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<v Speaker 3>monetizing her her ability. She's a she's in a terrible

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<v Speaker 3>codependent relationship which everyone around her can see. And you

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<v Speaker 3>know she's kind of lost that spark, you know that

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<v Speaker 3>that we saw and then I and then she has

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<v Speaker 3>this not great relationship with her daughter, and then I

0:11:58.040 --> 0:11:59.800
<v Speaker 3>think through the course of the movie you start to

0:11:59.800 --> 0:12:03.240
<v Speaker 3>see her regain that confidence and find herself again. So

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<v Speaker 3>I think I think for us it was like, yeah,

0:12:06.120 --> 0:12:09.800
<v Speaker 3>let's light hasn't been great. It's it's been hard for her,

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<v Speaker 3>And I think for us it was just interesting.

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<v Speaker 1>Real quick ten seconds, is there going to be a beetlejuice?

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<v Speaker 2>Three beetle?

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<v Speaker 3>You can't say his name three times? So you know

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<v Speaker 3>what happened? That is all in the hands of Tim Burton.

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<v Speaker 3>So I know I can't speak to that.

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<v Speaker 1>Well, let's hope listen, this was so much fun. Congratulations

0:12:31.800 --> 0:12:33.959
<v Speaker 1>and have a great weekend. So appreciate it. Al GoF

0:12:34.000 --> 0:12:36.839
<v Speaker 1>screenwriter A Beetlejuice Beetle Juice, and of course our own

0:12:37.000 --> 0:12:40.840
<v Speaker 1>Mark ld Or Bloomberg Business Week Film reviewer. So appreciate it.

0:12:40.960 --> 0:12:41.800
<v Speaker 1>Thank you so much,