WEBVTT - Talking Bettlejuice, Bettlejuice with Screenwriter Al Gough

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<v Speaker 1>Bloomberg Audio Studios, podcasts, radio news. This is Bloomberg Business

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<v Speaker 1>Week with Carol Messer and Tim Stenebeck on Bloomberg Radio.

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<v Speaker 1>You're saying that someone.

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<v Speaker 2>Called Beetle Joe say his name. If you say his

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<v Speaker 2>name three times, he will appear.

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<v Speaker 1>I know this is a big step for you, but

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<v Speaker 1>in the words of doctor Clickman, I'm gonna give you

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<v Speaker 1>the push you need. Beetlejuice, Beetlejuice, Beetle Juice, Beetle.

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<v Speaker 3>Beetle Juice, beetle Juice, beetle j Wait.

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<v Speaker 4>It turns out saying it three times isn't all that

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<v Speaker 4>bad though, guys.

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<v Speaker 5>Relax, Okay, here's why Beetlejuice Beetlejuice, a sequel to the

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<v Speaker 5>nineteen eighty eight spooky comedy hit movie, brought in one

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<v Speaker 5>hundred and eleven million dollars in ticket sales in its

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<v Speaker 5>domestic opening over last weekend. Our team report this on Monday.

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<v Speaker 5>It drew in younger filmmakers or film goers, I should say,

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<v Speaker 5>as well as those nostalgic about the original picture.

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<v Speaker 3>Thirty six years ago.

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<v Speaker 4>Amazing, the Warner Brothers Discovery film exceeded the company's expectations.

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<v Speaker 4>It had forecast ninety million in box office receipts going

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<v Speaker 4>into the weekend. So delighted to have with us Al Goff.

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<v Speaker 4>He's Beetlejuice, Beetlejuice screenwriter. He's joining us from Los Angeles.

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<v Speaker 4>Also with us here in studio is our own Mark Lydorf.

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<v Speaker 4>He reviewed the movie. So we just want to kind

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<v Speaker 4>of have a round table. First of all, Al, thank you,

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<v Speaker 4>thank you, thank you so much for joining.

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<v Speaker 3>Us nineteen eighty eight. I had to think.

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<v Speaker 4>Back kind of where I was the first Beetlejuice movie,

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<v Speaker 4>thirty six years.

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<v Speaker 3>Why did it take so long?

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<v Speaker 4>Or why are we now getting a sequel after thirty

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<v Speaker 4>six years.

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<v Speaker 2>Well, I can't answer why it took so long, But

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<v Speaker 2>about three years ago Tim approached us on the set

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<v Speaker 2>of season one, and when Temburg and tim burgk thank

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<v Speaker 2>you and sorry and and asked us to write the sequel.

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<v Speaker 2>He had been thinking about it for a long time.

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<v Speaker 2>He'd been having conversations with Michael Keaton and Winona Ryder

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<v Speaker 2>and he said it's the movie that he's asked most about,

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<v Speaker 2>and people have been begging for a sequel for years,

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<v Speaker 2>and he I think he was ready to do it.

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<v Speaker 2>We met with him. We kind of went through all

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<v Speaker 2>of his ideas what he wanted in the movie, and

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<v Speaker 2>we went off and wrote an outline and pitched it

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<v Speaker 2>to him. He really liked it. We wrote the script.

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<v Speaker 2>I mean, Miles Miller, my my writing partner, and I've

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<v Speaker 2>been partners for thirty years, and this is probably the

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<v Speaker 2>smoothest and fastest movie we've ever had. From from you know,

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<v Speaker 2>from you would you guys write the script? Two three

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<v Speaker 2>years later, here we are the movies out in theater,

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<v Speaker 2>so you know, it's been an incredible thrilling experience for us.

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<v Speaker 6>Now you and Miles. This is Mark led Or, who

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<v Speaker 6>I had the pleasure of seeing the movie in Mexico City.

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<v Speaker 6>I wanted to see this movie so bad. I asked

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<v Speaker 6>them if I could review it on vacation. And I'll

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<v Speaker 6>tell you, the kids in this industry's greening were all

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<v Speaker 6>in their twenties, and I know you and I are

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<v Speaker 6>about the same age, I think, But so I thought

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<v Speaker 6>assumed you'd be writing it for my generation kids who

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<v Speaker 6>loved it in the eighties, and the folks in Mexico

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<v Speaker 6>just ate it up. And they were all a lot

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<v Speaker 6>younger than me. So congratulation and mister Miller are no

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<v Speaker 6>strangers to success. Of course, you also created Wednesday, which

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<v Speaker 6>I think I read is the most viewed Netflix series

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<v Speaker 6>in English. Is that correct?

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<v Speaker 2>It's the that is correct.

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<v Speaker 6>That's kind of increasing.

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<v Speaker 2>By the way, it is incredible. We can't believe it ourselves.

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<v Speaker 6>But that also was a Tim Burton project. And my

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<v Speaker 6>first question for you would be, what is it like

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<v Speaker 6>writing for an O tour like that, someone with such

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<v Speaker 6>a specific esthetic and kind of quirky sensibility. Is it

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<v Speaker 6>harder or is it easier?

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<v Speaker 2>Well, the two things. What's interesting is we had written

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<v Speaker 2>the first episode of the pilot episode of Wednesday, and

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<v Speaker 2>we sent it to Tim, and because he was our

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<v Speaker 2>first choice to direct it, which by the way, is

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<v Speaker 2>like is like shooting a satellite into space and hoping,

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<v Speaker 2>you know, you get an answer, right, So, and because

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<v Speaker 2>you know he'd never done TV, we didn't know. But

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<v Speaker 2>you know, you know, my first jobs were all in sales,

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<v Speaker 2>and if you don't ask the answers, no, So we

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<v Speaker 2>sent it to Tim and literally four days later we

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<v Speaker 2>got a text from his agent saying Tim read the script,

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<v Speaker 2>he loved it, he wants to FaceTime with you guys,

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<v Speaker 2>and so again it's one of those like dream scenarios

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<v Speaker 2>for us. And we FaceTime with Tim. He said he

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<v Speaker 2>loved the script. He'd always he'd circled the Adams family,

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<v Speaker 2>you know, several times in his career, but never had

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<v Speaker 2>found a way in, and he loved it. He Wednesday

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<v Speaker 2>was his favorite character in the Adams family. He said

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<v Speaker 2>he would have dated in high school and and then,

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<v Speaker 2>which by the way, felt very on Brands.

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<v Speaker 5>I was going to say, it's not surprising to hear that,

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<v Speaker 5>and so.

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<v Speaker 2>That's that's really how it how it started. But I

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<v Speaker 2>think when you when you look at Tim's movies, what's

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<v Speaker 2>what's really incredible is the majority of them are family

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<v Speaker 2>dramas with his unique perspective on the world which is

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<v Speaker 2>so incredibly unique and specific but somehow is incredibly universal.

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<v Speaker 2>And that is something I think he is singular in

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<v Speaker 2>as a filmmaker in that respect. So so I think

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<v Speaker 2>I think for us it was, you know, Beetlejuice. Beetlejuice

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<v Speaker 2>to us is really the most joyful movie you'll see

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<v Speaker 2>this year about death and grief.

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<v Speaker 4>Well, can I just say from someone you guys all know,

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<v Speaker 4>our audience knows. I'm from a large family, one of

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<v Speaker 4>seven kids. I mean, every family has its love, its quirkiness.

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<v Speaker 4>It stresses you know, Tim, you're from you know, you've

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<v Speaker 4>got a bunch of sipls.

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<v Speaker 5>To three siblings.

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<v Speaker 3>We can relate to this, right, you can relate to this.

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<v Speaker 5>I'm curious about what Tim Burton's role is, as you

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<v Speaker 5>guys are the screenwriters. Where does he get involved and

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<v Speaker 5>where do you kind of where do you? Where are

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<v Speaker 5>you involved?

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<v Speaker 4>Now we have about a minute and then we'll come

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<v Speaker 4>back and do some more conversation.

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<v Speaker 2>Sure, well, the quick answer with this one, because it's

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<v Speaker 2>so personal. He gave us his ideas. We came back,

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<v Speaker 2>we broke the story, we wrote the script, and then

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<v Speaker 2>we spend a year, you know, going through drafts. And

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<v Speaker 2>I think what Tim does is it's like a tuning

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<v Speaker 2>for it. He could read something. There might be a

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<v Speaker 2>section of a script where he's like, something isn't feeling

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<v Speaker 2>right here, you know, I think let's focus on this area.

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<v Speaker 2>He'd have some ideas. So it was incredibly collaborative that

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<v Speaker 2>way with him. So and I think because we've gone

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<v Speaker 2>through and done Wednesday with him, we could we could

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<v Speaker 2>speak Burton a little more fluently, So it helped a.

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<v Speaker 4>Lot, Burtans, I mean to a language learning app near you. Listen,

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<v Speaker 4>we gotta do a little bit of news, and we're

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<v Speaker 4>going to come back and talk some more because I

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<v Speaker 4>am curious about you know. The first call was it

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<v Speaker 4>also to Michael Keaton or second call to Michael Keaton,

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<v Speaker 4>like would you do this with us?

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<v Speaker 3>So don't answer. We're going to come back.

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<v Speaker 4>We're going to continue with Al Goff, screenwriter at Beetlejuice

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<v Speaker 4>Beetle Juice, joining us from LA and of course with

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<v Speaker 4>us in studios, our own Bloomberg business Week reviewer of films,

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<v Speaker 4>Mark Lydorff. We've got lots more conversations to come. You're

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<v Speaker 4>listening and watching Bloomberg Business Week on this Friday, Carol

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<v Speaker 4>Messer along with Tim Steadabek.

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<v Speaker 3>We'll come back in just a moment, all right, everybody,

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<v Speaker 3>we want to get right to it.

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<v Speaker 4>Al Goff still with us, Beetle Juice, Beetle Juice, screenwriter

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<v Speaker 4>joining us from Los Angeles, and also here in studio

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<v Speaker 4>Bloomberg business Week film reviewer Mark Lydorf.

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<v Speaker 3>And of course I'm here with Carol. I'm Carol today you.

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<v Speaker 4>Are It's Friday, the thirteenth, like crazy things happen.

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<v Speaker 3>Just adcophobia there we have it.

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<v Speaker 4>Hey, al So, Mike, Michael Keaton, I'm just curious what

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<v Speaker 4>that phone call was like, was he in from the

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<v Speaker 4>get go? Did he said yep, sure, yes, know what

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<v Speaker 4>like what happened?

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<v Speaker 2>We know it's it's Tim was talking to Michael. So

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<v Speaker 2>when we wrote the script, we were like, we really

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<v Speaker 2>have an audience of two. It's Tim and Michael. So

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<v Speaker 2>I think once we had the script and we'd gone

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<v Speaker 2>through a couple of rounds with Tim and he had

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<v Speaker 2>a draft he felt really good about, he sent it

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<v Speaker 2>to Michael and.

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<v Speaker 3>You guys wrote it before even Michael was on board.

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<v Speaker 2>Yes, yes, Tim, Like I said, Tim had been having

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<v Speaker 2>conversations with him, but he hadn't read the script and

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<v Speaker 2>he could have said no, And you know he he was,

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<v Speaker 2>you know, very complimentary of the script and you know,

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<v Speaker 2>really liked it. And you know, we got a lovely

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<v Speaker 2>email from him. So we were like, you know, there's

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<v Speaker 2>three emotions in show business, depression, surprise, and relief, and

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<v Speaker 2>we were relieved. So yeah, we were we were relieved.

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<v Speaker 6>Well, speaking of Michael Keaton, I wondered watching the film.

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<v Speaker 6>You know, he seems to be improvising a lot. I

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<v Speaker 6>suspect he's not. And I just wonder if there is

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<v Speaker 6>room with an actor like that, a character like that,

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<v Speaker 6>if there is room for improvisation, and how you write

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<v Speaker 6>around that.

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<v Speaker 2>The answer is there is room for improvisation. We wrote

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<v Speaker 2>it in because the character he created with Tim in

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<v Speaker 2>the first movie, which, by the way, we went back

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<v Speaker 2>and read the Beetlejuice shooting script and that character in

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<v Speaker 2>terms of there's a Beetlejuice in it, obviously, but that

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<v Speaker 2>voice was really something that Michael and Tim and you know,

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<v Speaker 2>created on set, the whole look and the thing. So

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<v Speaker 2>the good news is it was he's such a classic

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<v Speaker 2>specific characters, we were able to write to that voice.

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<v Speaker 2>And we always treated Beetlejuice as an agent of chaos,

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<v Speaker 2>which is what he is in the movie. So and

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<v Speaker 2>the thing that we were all cognizant of Michael probably

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<v Speaker 2>the most, was you don't want him into much of

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<v Speaker 2>the movie. A little Beetlejuice can go a long way.

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<v Speaker 2>You don't want it to, you know, so, and I

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<v Speaker 2>think because of that, when he's on screen, he's that

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<v Speaker 2>much more impactful.

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<v Speaker 6>Right, Well, he's not, Actually he's not actually the main

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<v Speaker 6>character of the film, of either film, he's sort of

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<v Speaker 6>the hardest working supporting character. I would say, Yeah, I'm

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<v Speaker 6>wondering if there are specific jokes. Not to spoil anything

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<v Speaker 6>too much, but are there specific visual gags or jokes

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<v Speaker 6>that you wish could have made it to the final edit,

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<v Speaker 6>you know, like things that things that you wrote into

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<v Speaker 6>the script that sadly got lost gooy goofy stuff.

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<v Speaker 2>You know, it's funny. I'm I'm sure there are and

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<v Speaker 2>I can't remember any at the moment.

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<v Speaker 1>Well, there's a lot.

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<v Speaker 2>There's a lot, Yeah, I mean, you know, and and

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<v Speaker 2>what and what. You know, we're really sort of thrilled

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<v Speaker 2>with how the movie, you know, how the movie turned out,

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<v Speaker 2>and you know, we haven't you know, destroyed people's childhood memories.

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<v Speaker 2>That was always the big fear.

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<v Speaker 3>That's a good thing.

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<v Speaker 4>Hey, what I wonder because how much of this must

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<v Speaker 4>have felt like this ground and reunion right of bringing

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<v Speaker 4>back so many people who had obviously worked on the original,

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<v Speaker 4>Like what what it was like on the set.

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<v Speaker 2>Well, we weren't on the set because unfortunately it was

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<v Speaker 2>during the writer's strike, so we couldn't go so with which,

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<v Speaker 2>by the way, sucked. Yeah, that's that sucks. But I

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<v Speaker 2>think it was, you know, certainly for for Michael and

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<v Speaker 2>Wenona and Catherine and Tim, I think it was it

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<v Speaker 2>was like a family reunion. And you know, having having

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<v Speaker 2>spoken to all of them obviously after you know, the

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<v Speaker 2>shooting and during this whole process leading up to it,

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<v Speaker 2>I mean they they you know, could not be nicer,

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<v Speaker 2>could not be more thrilled. They're genuine, genuine love and

0:11:44.120 --> 0:11:49.040
<v Speaker 2>affection for each other is really, you know, evident. And

0:11:49.120 --> 0:11:51.760
<v Speaker 2>I think for Tim from what all accounts we heard

0:11:51.880 --> 0:11:54.840
<v Speaker 2>is he he loved just being on set and making

0:11:54.880 --> 0:11:58.520
<v Speaker 2>the movie. So and and again, I think the directors,

0:11:59.040 --> 0:12:02.920
<v Speaker 2>especially with Tim, but in the that sort of director's

0:12:03.320 --> 0:12:07.400
<v Speaker 2>DNA and his love of what he's doing is and

0:12:07.440 --> 0:12:09.760
<v Speaker 2>his passion for it, I think it gets on the

0:12:09.760 --> 0:12:12.280
<v Speaker 2>film somehow, not that there's film anymore, but you know

0:12:12.320 --> 0:12:12.720
<v Speaker 2>what I mean.

0:12:13.120 --> 0:12:16.400
<v Speaker 6>Speaking of Windona writer, my big question about the movie

0:12:16.440 --> 0:12:19.280
<v Speaker 6>is Lydia eats and the few knocks I've heard on

0:12:19.320 --> 0:12:21.240
<v Speaker 6>the movie is for people who you know, like me,

0:12:21.320 --> 0:12:24.240
<v Speaker 6>love the original and thought, oh no, she's a disaster.

0:12:24.520 --> 0:12:28.560
<v Speaker 6>She's not that confident, stylish, fabulous, fearless kid that she

0:12:28.800 --> 0:12:32.400
<v Speaker 6>was and me personally, I loved that she's a basket case.

0:12:32.559 --> 0:12:35.280
<v Speaker 6>I'm not ruining anything too much, and she's a basket case.

0:12:35.320 --> 0:12:38.319
<v Speaker 6>She starts the movie popping pills. Her life is a mess.

0:12:39.440 --> 0:12:41.200
<v Speaker 6>I'd like you to speak about that. Why was it

0:12:41.240 --> 0:12:44.720
<v Speaker 6>important for you to have Lydia be so hobbled?

0:12:45.880 --> 0:12:48.319
<v Speaker 2>Well, you know, part of it is we looked at her.

0:12:48.360 --> 0:12:50.920
<v Speaker 2>It's like and you're right, like, she's this and it's

0:12:50.920 --> 0:12:55.560
<v Speaker 2>the Winona we all remember from our youth. But I

0:12:55.600 --> 0:12:57.640
<v Speaker 2>think it's it's you know, it's thirty six years and

0:12:57.640 --> 0:13:01.240
<v Speaker 2>we're like, how would a person who sees ghosts every day?

0:13:01.440 --> 0:13:04.320
<v Speaker 2>How would they be thirty six years on? Like, that's

0:13:04.360 --> 0:13:07.480
<v Speaker 2>got to drive you crazy, and it makes you so

0:13:07.559 --> 0:13:09.640
<v Speaker 2>when we meet her, you know she isn't in a

0:13:09.679 --> 0:13:14.320
<v Speaker 2>great place. He's obviously, you know, monetizing her ability. She's

0:13:14.360 --> 0:13:17.920
<v Speaker 2>in a she's in a terrible codependent relationship which everyone

0:13:17.920 --> 0:13:20.920
<v Speaker 2>around her can see. And you know she's kind of

0:13:21.000 --> 0:13:25.000
<v Speaker 2>lost that spark, you know that that we saw and

0:13:25.040 --> 0:13:27.840
<v Speaker 2>then I and then she has this not great relationship

0:13:27.880 --> 0:13:30.120
<v Speaker 2>with her daughter, and then I think through the course

0:13:30.160 --> 0:13:32.400
<v Speaker 2>of the movie, you start to see her regain that

0:13:32.559 --> 0:13:35.880
<v Speaker 2>confidence and find herself again. So I think I think

0:13:35.880 --> 0:13:39.120
<v Speaker 2>for us it was like, yeah, let's like light hasn't

0:13:39.120 --> 0:13:41.360
<v Speaker 2>been great. It's it's been hard for her, right, And

0:13:41.440 --> 0:13:43.079
<v Speaker 2>I think for us it was just interesting.

0:13:43.400 --> 0:13:44.480
<v Speaker 3>Real couick ten seconds?

0:13:44.559 --> 0:13:49.200
<v Speaker 4>Is there going to be a Beatle Jeuice three?

0:13:50.120 --> 0:13:52.240
<v Speaker 2>You can't say his name three times? You know what happened?

0:13:53.120 --> 0:13:55.640
<v Speaker 2>That is all in the hands of Tim Burton, So

0:13:55.720 --> 0:13:58.280
<v Speaker 2>I know I can't speak to that.

0:13:58.480 --> 0:14:00.360
<v Speaker 6>Well, let's help listen.

0:14:00.400 --> 0:14:04.120
<v Speaker 4>This was so much fun. Congratulations and have a great weekend.

0:14:04.160 --> 0:14:07.320
<v Speaker 4>So appreciate it. Al GoF screenwriter a Beetlejuice Beetlejuice, and

0:14:07.320 --> 0:14:11.040
<v Speaker 4>of course our own Mark Light or Bloomberg BusinessWeek film reviewer.

0:14:11.200 --> 0:14:13.880
<v Speaker 3>So appreciate it. Thank you so much, and just got

0:14:13.920 --> 0:14:16.160
<v Speaker 3>to say shout out to our team. You guys know

0:14:16.200 --> 0:14:19.480
<v Speaker 3>who you are. You're incredible. Thank you so much. Have

0:14:19.520 --> 0:14:22.120
<v Speaker 3>a good weekend.

0:14:23.040 --> 0:14:26.240
<v Speaker 1>This is the Bloomberg Business Week podcast of a Little

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