The Goonies: Official Collector's Souvenir Magazine

UTTHE GOONIES {#~ \.~] ...

A STEVEN

SPIElBERG PRESENTATION ARICHARD DONNER FILM

THE STARS

...~ ){

THE MOVIEMAKERS ~

. . EXCLUSIVE INTERVIEWS W hole Photo Story In Full Color

IONUS I Cyndi Lauper's Goonies Music & Video 01

0

E

N

I

inside or chicken out? • Welcome to the Ugbt· bouse Lounge, also the hideout of the Fratelli

Gang.

CONTENTS

e

• Tbe Goonies Cast ••• • Tbe Goonies Crew • On a rainy summer day, Jake FrateiU busts out of jail. Cauldron Point and the Goon Docks kids will never be the same. • Meet Chunk, Mouth, Mikey, Brand, and Data - The Goonies. And the Truffle Shuffle.

• What or who bas Mikey found in the Fratellls' basement? He also un· covers a secret under· ground entrance. • The other Goonles are

tured by the Fratellis. • The Goonles discover Chester Copperpot's skeleton, his mysterious medallion, a booby trap, and bats. • Andy takes the Goony oath, while Chunk makes a hungry new friend. • The Mast Over Troubled

Waten keepa cast and crew on their toes. • The Fratellls are bot on

HE GOONIES is the story of a rag-tag friends who are dra"" n together during an mcredible adventure. Mikey, his brother Brand, &ta live ~ith their middle-cia$ families in Cauldron Point's seaside Goon Docks. Thus they the Goomes Their homes are about to be destroyed ·to make way for the country club's new Mikey is especial~· depressed about it but what can he do? Will this be the la5t Goonies While rummaging around in h1s parents attic. others find an old map and a mysterious doubloon. Data recalls the local pirate legend of One-Eyed hidden treasure .that no one has ever located. Can the Goonies find "the rich stuff," Mikev the Goon Dock.c;? Joined by two local girls, Andy and Stet. the <Jx>nies stt out in search of One-Eyed Willy's booty They cleverly unravel the map's tricky riddles, which lead them to an abandoned lighthouse. They enter, only to learn that it's also the hideout of the notorious Fratelli Gang, a fumbling threesome of counterfeiters. Eventually, the <Jx>nies sneak into the basement, where they come across a strange creature - Sloth - ?nd the secret entrance to a maze of underground tunnels. But as the others crawl down inside, Chunk is captured by the Fratellis and locked up \\>ith "it." The Fratellis figure out what the kids are op to and they go off in pursuit The <Jx>nies meet with all sorts of perilous obstacles as they wind their way through the spooky tunnels: eerie skeletons. deadly booby traps, screeching bats, a treacherous bridge over raging waters, the threatening Fratellis. a menac· ing organ made from human bones, a water slide that leads to

A the Goonies' beets, but

-'The mule goes

Slick Shoes slows them

aud the GoonJes eod up with a cliffhanger. ;JI's a bumpy ride, bat tie water slide ia o trageou. ·~reka! Oae-Eyed Wlll)'s lost pirate ship. Who'a ~bing Stefa leg aader· water?

down. • Andy bones up oo ber plano playing when the kids enter the skeletal organ chamber.

lOili'

• The IDferDo wu a monamentallabor of love. • It looklllke the Goonies have struck It rich .. . • ... Bat Mama and the boya break ap the party. Not even the Intimidator cu help them. • Aa the ldda walk the

plank. Sloth aod Chuk

lwiDI to the reseuel

• Tbe ldveotue almoit blows ap Ia their faces, bat the GooDies eeeape. • They ftnd the jewels aod the Goon Docb are saved. A rom&Dtie, happy

eadJ.al.

• Aa the GooDies rejoice, Oae-Eyed WlUy ud tbe ln/emo Uve apinl

• Meet the GooDies • Meet the Moviemakera • Cut & Crew Credita. Pablbblag Acknowledgements • Tbe GooDie~ Mule & VIdeo, Cyndl Laaper, rockln' wrestlers, and Dave Grusln.

ABOUT THE SOUVENIR MAGAZINE· This Official Col· lector's Edition is compiled from preproduction art. ~mes artifocts, storyboards, still photograph!> taken during filming. and exclusive inter· views with members of the cast and crew. In taking you behind the scenes or The Goonies, the magazine also presents our chronologiCal recreation of the film's story. Bear in mind that certain scenes and material featured here mar hare been altered in the fmal editing of the film Then. too, you may spot some of One-Eyed Willy's pirate pranks living on these

pages.e

SEAN

J EFF

AST I N Mikey

B. C 0 H EN Chunk

MARTHA PLIMPTO N

Stef

KERR I GREEN Andy

J 0 SH

CO REY FELDMA N Mouth

ROBERT

DAVI

Jake Fratelli

Mama FrateUi

JOH N MATUSZAK Sloth

JOE PA NTOL I ANO

RICHARD DONNER (above right) Director & Producer

HARVEY BERNHARD (above left) Producer KATHLEEN KENNEDY (above right) Executive Producer

STEVEN SPIELBERG (right) Executive Producer

CHRIS COLUMBUS Qeft) Screenplay Writer MICHAEL RJVA (below) Production Designer

MATT SWEENEY SPECIAL EFFECTS Special Mechanical Effects A (tEVfl< DEVICE" Foil.

R.~ N~ A RA681f Ovl"

Of A

f4...T •• .

\Nl>\lSTRlA\. UGHT & MAG\C (0\v. of \.ucasfl\m Ud.) Special Visual Effects

M\CHA£.1. KA}\N, A.C.E. (abOve)

f.ditor

:>

FEEDING TIME IN PRJson, but it looks like

f

~

i

swinging COD Jake Fratelli won't be eating. Look Jailer. Great balls fire! It's a break, with a blazing assist from

Francis! , ,

...

~I

--·r

,-

-~-

---·-..:.~ f'

l' I

.. ,

~

..', + . ..•' ! ,.~

,,,'\t

t1

-::::

inhabit them ... at least for the time being.

HE GOONIES opens with the frenzied jailbreak, during which we meet the Fratellis- Francis, Jake, and Mama. The jailbreak scene quickly establishes the dual identity of the Fratelli Gang, at one moment clever criminals, the next moment cartoon cutups. Here they've staged Jake's daring escape complete with Molotov cocktail. But when he reaches the getaway car, his brother Francis fumbling madly to get the car door unlocked.The ensuing chase by the cops through town introduces seven local kids- the Goonies-all but one oblivious to the uncommon ......,, _ ... ·ovl'itom''"' in this otherwise sleepy town. Shift to the Walsh house, home of Goonies Mikey Brand. What the artist's rendering cannot show is the original state of the house. found the location and really liked it," says Production Designer Michael Riva. "It ~v~~·KS the whole bay and port of Astoria" But the house was in disrepair; not moviemakmaterial. 'The morning we chose the house," Riva continues, "we asked the woman who owns it if she'd like us to restore it for her. She looked at us as if we were crazy. We said wewere from Hollywood, and she understood immediately. We redid the house , inside and out, and now she has abeautiful home." And the Goonies have a terrific loca'tion for the beginning of their outrageous adventure.

T

II.

I

I

J..\

WORKER ANTS, the Astoria crew is all over the Walsh boose. The weather during the shoot was typical Pacific Northwest fare: foggy, rainy, cool. Bot that did Httle to dampen the ef. forts of the spirited crew and cast.

rrs CALLED THE TRUF· fie Shuffle, Chunk's twisting, shaking, belly juggle. He gives a com· mand performance before the other GooDies activate the Rube Goldberg device (oppo1ite page, lower rigbf) that finally opens tbe gate outside the Walsh's. Eat your moon· walking heart out, Jl

RIGINALLY CALLED 'The Goon Kids," the idea for The Coomes, recalls Screenplay Writer Chris Columbus, came from Steven Spielberg. "He knew there was a bunch of kids. The concept was: What do you do on a rainy summer day and you're bored? The kids live in the Goon Docks, and each has a strange quirk." Director Richard Donner credits the casting directors, Mike Fenton and Judy Taylor, for finding the right kids. "Each of the kids is real~ his nickname in real life," says Donner. Jeff (Chunk) is chunky, Key (Data) is fascinated with electronics, Corey (Mouth) never shuts up." Spielberg sums up just who the Goonies are: 'They are an often ridiculous, rag-tag, junk-food bunch of American kids whose biggest enemy- besides the local bullies and snobby girls-is weekend boredom. Never bore a Goony or you'll be facing an adventure bigger than the entire neighborhood and stumbled upon by sheer outrageous accident. To play these 'reja:ts,' Dick Donner and Isaw hundreds of faces. Our selections were based on gnarly behavior, inexhaustible energy, and big quantities of weird humor. Every kid in The Goonies has a mushy, sentimental center. Donner has the mushiest, which is why he worked so brilliantly with them." And speaking of mushy, how about Chunk's Truffle Shuffle? Jeff Cohen describes it. 'The only way they let me in the Goonies club is if I do this dance. I make rumbling chicken noises and chicken movements with my arms, while moving my stomach in and out."

MIKEY EASILY SOLVES the Al Jaffee fold·ln on the back cover of Mad. His knack pays off In spades later that day.

ONE BY ONE, THE GooDies gather at Mikey and Brand's. Mouth, nicknamed for his wit, enters. Data, a secret· agent type, makes a dar· ing if somewhat flawed swing over from his house next door. Chunk shuffles in next. Brand, the jock, is unimpressed. Says his asthmatic brother Mikey in between shots from his breathallzer: ''Nuthin' ex· citing ever happens around here anyway." Ha! Just you wait ....

ii'~'~'~"'#'C

...

--

~-"'-'-=~

,.. ;:k.l./1.4 <S¥"T ..,...~,-~

L~~ ~ .

~ ::t;.::;."''~'

<"'",...Jtl;lr«,

/1

i

f(M

J c~-r:.~WWv~

1~(, ~•• ,.,_

~l ~~~ t.t

trrf(,'> h

Ptl

"""a:;~~

~oi M~ ~.A"" r£1" TC'E.J:it.ret' - .... -vr-1 ·'V-'1:;.1 ~ n .; ~N ....AI"" ~ s:7r ~.<; - ""'l.ltfA~ '

MOUTH TRANSLATES the Spanish phrase that headlines the map: "Ye Intruders beware, rushing death and grief, Soaked with blood, Of the tres· passing thief."

EFORETHE adventure begins, a conflict is introduced in this scene, pitting the middle-class Goonies and their homes against the country-dub set and their golf course. The Goonies love excitement, but they love their homes, too, and are willing to defend them. The scene also portrays the ultimately close relationship between Mikey and Brand, and how Mikey resolves to find a solution to the Goonies' plight. Says Josh Brolin about this scene on the porch: "Brand is a very dominating older brother, but I try to bring out different perspectives of the character. Mikey's feeling is that this is it, that the Goon Docks are gone. I come up and he runs into my arms. I tell him it's going to come out all right. I felt so much that I broke down and cried. Then Igo back to slapping him around, but it's a nice, real moment." Sean Astin talks about Mikey's determination to save the Goonies. "Mikey's depressed because he's going to have to move. Then he finds what he thinks could be the way out, and that's all he thinks about through the rest of the movie, how we cannot move. There are a lot of underlying things that Mikey has to think about, too, but his overall view is: I've got to save my home, my parents, my brother, and my friends." Portraying the little brother is not a completely new role for Sean. Offstage, he has two older brothers, and he explains how this drew him to the part of Mikey. "I felt close to the part because, in a way, Mikey is like me. He's got an older brother. One of my older brothers was the 'big man on campus,' and I was always trying to be like him." And as a result of their close working relationship during The Goonies, Sean has built an offcamera kinship with Josh. "I consider him my big brother, my buddy."

ber when the leisuresuited country club snobs band Brand the Walsh's eviction notice. The Goon Docks are to be tom down to make way for a golf coune. Mlkey is especially depressed about it, and his big brother tries to console him.

IKEY'S RELATIONSHIP with One-Eyed Willy is the key to the Goonies' treasure hunt. The pirate prankster has left a 300-year-old riddle behind, and he dares Mikey to figure it out. Production Designer Riva explains how he worked with Director Richard Donner to flesh out this association. "We wanted to make Willy an interesting, eccentric character. The job was to translate this into the film with the use of mechanical devices [such as the map and doubloon]. We also injected frivolity and humor into his devices. By making Willy more interesting, we made Mikey more interesting, since he discovers all the stuff that Willy is doing. So it really became a challenge bet\veen the t\Vo characters." In the film, the shot of Mikey lining the doubloon up with the rocks in the ocean is actually a special-effects composite from Industrial Ught & Magic. The doubloon and the kids were filmed in front of a blue screen, which was later matched to~ matte painting of the rocks and a shot of the rest of the background.

ITILE DO the Goonies know what adventure lies waiting for them inside-and below-the decrepit Lighthouse Lounge. This scene demonstrates the incredible lengths Director Donner and the production crew went to bring verisimilitude-complete believability-to the film. What appears to be an abandoned logging camp, complete with a beat-up mess hall and lighthouse, is really an intricately constructed set. It was erected in a state park overlooking Cannon Beach, south of Astoria. The original idea, says Production Designer Riva, was to have a cemetery on the hill, with the Goonies hiding behind gravestones. But owing to the area's rich lumbering history, they opted for the logging camp look. It took about 3~ weeks to build the set; the crew was hampered much of the time by 60 mph winds. The paint department weathered the lumber and even created "moss" on the wood by mixing sawdust with green paint. The top of the lighthouse looks like it's been through a fire; the crew fastened some charred pieces of wood up there. The crowning touch was to shatter the railings, walls, and windows, to give it that run-
r \ ., \

\

\

·.

. \.

BEFORE THE GOONIES go down to tbe Lighthouse Lounge to see if that's where the treasure might be buried, two "customers" walk Into the ramshackle restaurant. Chunk is uneasy about the whole thing and would rather go home for dinner. But Mikey insists that they "joint the case."

J

.

~

NSTEAD OF treasure, the Goonies find the menacing yet farcical Fratellis inside the Lighthouse Lounge. From their hideout, the thugs aren't serving up seafood but rather counterfeit money. While the Fratellis (which means "brothers" in Italian) pose a threat to the Goonies, they are classic bumblers, in the Three Stooges tradition. Director Donner explains: 'ihe Fratellis have to be an honest threat, because they push us through the story. When the kids meet them, they scare the heck out of them. But the way the audience sees them, not only are they threatening they're hilarious, too. They're just a bunch of wonderful screw-ups." Anne Ramsey talks about her role: "Mama is a mother who loves her boys; they can do no wrong. The tatoo Iwear is sort of the essence of my character: It says 'Son.' In the end, I want to be the kind of villain the audience loves to hate." Touche, Darth Vader. Not knowing whether it was cut out or not, Anne recalls a funny finale to this scene inside the Ughthouse Lounge. 'The kids have just left. I'm exhauuf. f lean back on the door and say, 'Kids suck.'" Although Mama loves both her boys, she plays favorites andthey are always hassling each other. "Francis is basically Maina's boy," says Joe Pantoliano of his role. "And if she's frustrated with him, she takes ~ out on Jake." Says Robert Davi of Jake: "Marna ~es me a haql time. I can't figtit her. so I take the brunt d it ~I loSe my patience with Francis. because he JikSI; male me look bikt."

what's supposed to be water all around. Mouth is his wisecracking self and quickly draws the wrath - and switchblade - of Mama, who'd like to sharpen the blade on his precious tongue.

USPENSE SETS in during this sequence. The Goonies find themselves underground and now their adventure really begins. Director Donner explains that amajor challenge throughout the film was to create the sense of jeopardy that surfaces here. "Jeopardy," he says, "like the shot of the kids in the Fratellis' basement, thinking among themselves: What the heck are wedoing here and how are we going to get out?" We also now meet Sloth, who at first is another threat. At this point, all we know is that this huge, hairy, deformed, growling creature is another Fratelli son. He's kept chained in the basement, watching 1V all day. Donner speculates on Sloth's origins. "He's a throwback. Maybe the Fratellis were walking past the circus one day, saw baby Sloth, and in amoment of compassion .. .. Or maybe Sloth is from another planet." Wherever he came from, Sloth eventually turns out to be ahero. Spielberg describes the character: •My concept for Sloth was to effect asort of modern-day Hunchback of 1ot.re Dame, the one \\ith Charles Laughton - a big, super-Goony that you're at first repelled by but very shortly grow to like, if not outright want to hug."

into the basement. They hear the frightening growls of the "thing" Mlkey saw earlier. They discover a counterfeiting machine, a dead body In the freezer, and "Wanted" posters bearing the Fratelll's mngs - just u the gang returns. Now they're really In trouble! Lucidly, tbey also nncover a hidden entrance under the fireplace leading them to who knows where ...

ter COpperpot, an unlucky treasure hunter, pinned under a boulder - a vic· tim of One-Eyed Willy's booby trap. Mikey finds a mysterious medallion, Data some flares.

ANDY'S SPOOKED. SHE darts ahead and triggers another booby trap. Giant boulders drop from above. Each one barely misses the Goonies as they run for their lives. Indy Jones never bad it so tough! But unlike poor Chester, the kids slip through One-Eyed Willy's prank.

HESTER COPPERPOT, SO years earlier than the C:oonies, was also hot on the trail of "the rich stuff." One-Eyed Willy cooled him off. Luckily, the C:oonies don't suffer the same crushing defeat. The intrigue and hair-raising action that mark this sequence combine the talents of set designers and mechanical-effects wizards. Production Designer Riva talks about creating the ambience in the caves: "We tried to stay away from the Journey to the Center of the Earth feeling; we didn't want large crystals and things like that." Riva adds that lighting was a big challenge. 'The kids find some lanterns and they create a certain ambient light. We also assumed that this close to the surface, there's some light coming through cracks in the ground." Finally, for the benefit of the actors, they contacted a perfume expert and had him make up some fragrances of damp caves and musty old rooms. Matt Sweeney's FX crew added cobwebs - spun like cotton candy from a plastic solvent - and spiders - made from pipe cleaners singed with a torch. They built and riP8ed the boulders (chunks of painted plastic foam) that fall at the kids' heels, and they shot the "bats" out of an air cannon. Actually, the horde of bats consists of dozens of pieces of crumpled, black crepe paper - an impromptu idea, or "dream up," from Steven Spielberg.

MACHO BRAND MUScles aside the boulder that's dead-ended the tun· nel. Then his vocal cords unleash a swarm of bats.

Chunk but find the doubloon. Thus they find out what the others are up to and set off in pursuit. Locked up with Sloth and scared to death Chunk whips out a Baby Ruth, and they become fast friends.

NDY IS from the other side of the tracks - the wealthy side - and she nearly abandons the Goonies for the good life before Mikey in,spires her to stay and take the Goony oath. Kerri Green recalls her portrayal of Andy in the Wishing Well scene. "She proves herself a Goony. She has a chance to get out but decides to stay and battle it out with the rest of them. She sees how important it is to Mikey and how the treasure can help save the Goonies. I think she gets caught up in the adventure, too." Chunk, in the meantime, is caught up in fright. The Fratellis have chained him up with Sloth. Jeff Cohen remembers how Chunk reacts. "I can only see the back of his head. Then he turns and he's got this terrible face. I start jumping around in my chair because I'm so scared. Then I say, 'Hey, I've got a candy bar,' and I throw the Baby Ruth at him. But he can't reach it and he gets real mad. He pulls the chains out of the wall to get the Baby Ruth, breaks it in two, and gives me half. From then on, we're good friends." John Matuszak tells how Sloth felt about making a friend. "It made him realize somebody else had it as bad as I did."

KISS is just a kiss. Unless it's from the lips of Sloth. Witness Chunk's reaction: "Man! You smell like Phys Ed!" Creating Sloth combined many talents. "We wanted to make Sloth a Goony who hadn't yet joined the club," says Screenplay Writer Columbus. "He could be the president of the Goonies. It was our intention, too, to make Sloth a hero at the end of the film. We also wanted him to be an older version of Chunk. They both like to eat and watch TV, and each, in his own way, has been blocked off from the world." Once the concept jelled, the makeup was the trick. "This is probably the most difficult makeup I've ever done, and I don't know of another that has as many pieces [IS overlapping sections in all] or this much involvement .. .and such a hell of a guy to wear it," says Makeup Chief Tom Burman during one of the daily four-hour sessions. Each morning, he and his wife Bari and brother Sonny labored to transform Matuszak into Sloth. Their proprietary foam latex was sculpted, fresh each day, around a mechanical headpiece that allows Sloth's droopy eye and Dumbo ears to move, via radio controls. Nonetheless, the character was nowhere without the abilities of former Raiders defensive lineman Matuszak. Says Director Donner: "I think the best thing I can say about Sloth is that about 10 minutes after we've met him, everybody's going to want to own a Sloth. But a lot of Sloth is Matuszak. He's one of the sweetest, most sensitive, and interesting actors I've worked with." Finally, Matuszak offers his own impressions of the character. "Sloth is a big old boy, who was born deformed but has a heart of gold. Even though he's mistreated by his criminal family, he sees his way clear to be a kind and good kid."

Sloth go down into the tunnels, they stop at the Fratellis' freezer for a brief feeding frenzy. Part of this scene (upper lef~, in which Sloth devours a frozen T-bone, was cut. At left are sequences of the incredible makeup pro· cess for actor John Matuszak (above, seated). The makeup was created by The Burman Studio team (from left), Bari, Tom, and Sonny.

dead end. Mouth trans· lates another Spanish phrase on the map: "Cop· per bones, Triple stones, Westward foams." Mikey deciphers the riddle. He fits Copperpot's medallion into three stone pegs in the wall. He turns it ...

out of a secret compart· ment. In Rube Goldberg fashion, it sets off a chain of events. The floor be· neath Data flips open and he disappears. But hold everything ... His Pinch· ers of Peril have saved the pint-size 007, and he spots a new passageway.

HEN THE going gets tough - which seems to be the only way things go for the Goonies - they always manage to come out on top. This time, with the Fratellis closing in and bullets whizzing past their ears, Data pulls yet another gadget out of his bag of secret-agent tricks. But wait ... don't most of his contraptions go haywire?Thank goodness, his Slick Shoes (~il the bad guys. Making sure they did was another special effects show of ingenuity. F'X Coordinator Sweeney explains. "We took a pair of regular shoes and slit the heels. We hollowed that area out and _.;mt in a spring and latch on the back. Then we tool< vinyl tubing and ran it out the back; it goes up Data's leg to a pressure pot out of which we squirt a black oily substance. That's glycerine, water, and food coloring. Glycerine gives it the texture, thickness, and slipperiness of oih and the food coloring gives it the right look. It's also water soluble, so we could wash it off the mast for other takes." The effects of the concocted slipperiness were felt most directly by Jake and Francis, who slip, slide, bump, and grind across the mast. Robert Davi did his own stunt work; a stunt double performed Francis' ree-quarter back flip."

lbe lUSt is a skall1baped opeaiDg lbal's aare to lead lbe Goooiea to yet aootber

perilous moment.

l J

"JERK ALERT!" Mouth. It's Mama taking aim with her pistol. Two shots just miss and a third's about to come. Data thinks fast on his feet ... Uterally. He pulls a cord inside his shirt and sc.reams, "SUck Shoes!" From bis heels shoots a slippery black oil that sends Mama flying before she gets ber shot off.

UBULAR BONES! One-Eyed Willy has outdone himself this time. The C'mnies must play the pirate king's skeletal organ perfectly in order to escape with their own lx>nes intact. ''We needed a big action sequence at this point," says Screenplay Writer Columbus. "And it gives us a little more background on Andy's character; she can play the piano." Actress Kerri Green recalls how her character felt during this breathless scene: "In the organ chamber, everybody is depending on Andy. That was really scary. Andy took piano lessons for acouple of months when she was a little girl. Now she doesn't know whether she can play the bone organ or not. But this is where she proves herself, as aC'mny and as astick-through-it type." FX Coordinator Sweeney explains that the organ itself is built from real bones and pieces of bamboo. The actual music that Andy plays was dubbed in later, but Sweeney's crew added wonderful visual accompaniment. "We put in little puffs of dust, coming out of the organ tubes." The results of the music, however, make this scene a real cliffhanger. THE MAP REVEALS smudged music notes and another riddle: "To move on, play the tune, As each note Is said, For too many mistakes, Ye will surely be dead." Stef recalls that Andy can read music. Her recital brings down the bouse.

'

~ l ,

..

'• \'

•t

sketches of the so-called "bone organ," show some of the intricate details builder Doyle Smiley fol· lowed to complete this amazing set.

.·

VERYONE IS petrified! With but a final note lefi for Andy to play, the Goonies once more stand at the brink of disaster. If she strikes the wrong one, it's byebye time. This scene's nailbiting tension results from the collaborative efforts of the mechanical~ffects crew and the wizards at Industrial Light &Magic OLM). "The bone organ chamber was quite a deal," recalls FX Coordinator Sweeney. "We built a large set with six floor sections designed to fall away on cue. They drop - bang! Just like that - five and a half feet. In fact, the whole stage shakes." Patty Blau, Production Coordinator for ILM, explains the special visual effects. "There are matte paintings and miniature sets designed to give the organ room a sense of depth and jeopardy to it. When the kids are leaning over the edge, it will look as if they're leaning over a pit that's 100 feet deep. Amatte and miniature set will give the sense of looking up at these little kids in this little cave at the top. Rocks falling past the camera will be added later by blue screen." Chris Evans, Frank Ordaz, and Caroleen Green are the ILMmatte artists.

NOTE BY NOTE, ANDY

serenades the ghost of One·Eyed Willy. Each cor· rect note moves the rock obstructing the exit another inch. When she's off key, a different section of the floor falls into a deep , deadly cavern below. And the Fratellis are gradually approach· lng. There are only a few more notes ... and pre· cious lillie floor left!

.~ ANDY'S MUSICAL TALfNr leave. something to be deai.red. It al$o leave. fbe Gooniea hiUlging for dear ~ Ute from fbe chamber's one remaining section of floor. The final note is completely obscured, so she blindly hit. a random key. Encore! The rock opens, barely Wide enougb for fbe kids to escape -just a& fbe floor and fbe organ tumble in· to oblivion.

'"

....... (

... "

VEN THEwater slide poses another scary adventure for the Goonies. But with the Fratellis close behind, it's the only way out. Production Designer Riva talks about building this incredible set. 'The water slide is about 250 feet long, with various sweeping curves in it. It's a wonderful ride. It's got walls about 20 feet high on either side, and it's covered with seaweed and hanging vines. The iong slide is actually a big fiber~ass slide, which we purchased from a New Jersey company [Langford Surf Coaster Corp., Cape May Court House, N~. We added walls to the sides and the seaweed and vines. In a couple of places are hanging skeletons, and there are some wooden stakes that the kids have to watch out for." The Goonies shoot down the one long slide, which then splits in two near the bottom, just before the kids drop into the water. The FX crew employed a huge diesel pump to keep water flowing continuously through the system. Equally tricky as building and outlitting the slide was filming the Goonies zipping down it. But it was done, with the camera following the kids, head{)n, right into the water. 'We built a little traveler for the cameraman," says FX Coordinator Sweeney. "It's a kind of sled, that keeps the correct distance between the cameraman and the kids. First we built one from wetsuit rubber, with a nylon lining on the outside. Then we switched to a piece of semi-rigid foam, kind of like a long, flexible boogie board. The cameraman hung onto the camera, which was in a special waterproof bag supplied by Panovision. They just shot down the slide and ran out into the drink."

E

the bottom. Finally, the water slide spits the GooDies out into a pool of water. They've landed in an enormous, magical cavern, Its high cellings and walls lined with sparkling rocks.

map: "Ye intruders beware, Crushing death and grief, Soaked with blood, Of the trespassing thief." This is it, says Mikey, and the kids tear the boards away. They dimb up into a large room filled with ....

WITH A LOOK OF TOTAL respect and admiration, Mikey stands alone before One-Eyed Willy. He in· troduces himself. "Here we are. We made it, all in one piece ... so far. " Curious, he reaches over and lifts Willy's eye patch. There's no eye socket, just solid skull! So that's how he got his name. Mikey grins. "One-Eyed Willy, you were the original Goony."

THE GOONIES ARE EC· static. The Goon Docks will be saved! They load themselves up with riches. Mikey fills his marble bag with rare jewels. Suddenly, the frateiJis crash the party. The fun's over! But not before Data yells, "In· timidator!" His little body starts to expand - Hulk· style - bigger and bigger and ... boom! It explodes. He yanks every other cord, but all his contrap· tions fail. Looks like cur· tains for the Goonies.

OGETHER AT last ... the C'ilonies and One-Eyed Willy. The legend of the pirate king is told in Chris Columbus' script by Francis Fratelli. "William B. Pordobel, better known as One-Eyed Willy, was one a' the most ingenious pirates of the 16th Century. The guy started out as a court jester but was banished from five Spanish courts because of his off-color stories and practical jokes. So Willy formed this pirate band, and they set sail on this ship, the Inferno. Willy and his men marauded hundreds of the King's ships. They accumulated atreasure worth millions. Legend has it that while bein' attacked by three of the King's ships, Willy steered his stricken ship into ahidden, underground cavern, which the British sealed with their cannon fire. Willy and the other survivors spent the next couple of years hidin' out, tryin' to repair the Inferno. They built abunch of underground caves, loaded with all kindsa' weird booby traps, toprotect the treasure. One of his men escaped to tell Willy's story." For amoment,

it looks like the C'ilonies will inherit the pirates' fortunes, but Mama and her boys have different plans. As she raises her pistol at the kids, Data raises Cain with his Intimidator. FX Coordinator Sweeney describes the workings of the outrageous device. "Data's got rubber bladders inside his clothing that make him swell up. They reach a certain JX>int, they JX>p, and then he shrinks back to normal. Even his shoes raise up. We had a section of the floor \\~th shoe cut-outs, and we had an apparatus that raises him up three inches." The smoke is created with simple pyrotechnics. Does this mean that the Cilonies entire adventure has just blown up in their faces?

WEETROMANCEhas been an undercurrent throughout The Coomes. Mikey is infatuated with Andy, who has a crush on Brand. The younger brother even sneaks a blind kiss from Andy back in the tunnels. Now, safely on shore, away from the claustrophobic caves, Brand makes his move. Another "thing" has been brewing between Mouth and Stef. It takes her touching gesture on the plank to move Mouth to words free of sarcasm. The Goony kids talk about the romantic entanglements in the movie. "Andy has a boyfriend, Troy," says Josh Brolin. "But they're on the wealthy side of the tracks and the Goonies are on the other side. She and I have something going; lots of looking at each other. We did the kissing scene on the beach at Bodega Bay [California]. We got an applause for it." Kerri Green talks about Andy's predicament. "She has a crush on Brand, and Mikey has a crush on Andy. But Andy's main role, besides getting through all this alive, is to kiss Brand." Corey Feldman explains Mouth's view ofStef. "I think she's the greatest thing in the world, and through the course of the movie she starts liking me more - but neither of us wants to admit it. Until on the pirate ship when she offers me her air." Martha Plimpton gives Stefs side of the story. "Stet's relationship with Mouth is a real love/hate kind of thing. We don't get along unless we're in a life-and-death situation."

THE GOONIES ESCAPE to the beach, where their parents and the cops are waiting. Rosalita finds Mikey's stash of jewels, which means the Goon Docks will be saved! Finally, Andy and Brand find each other.

CHI EYING THEdramatic shot of the Inferno sailing off in the horizon called on the optical-effects and model-building talents at Industrial Light & Magic. Afive-foot replica of the Inferno was constructed from wood and plastic, with silk sails. It resembles the fullscale vessel perfectly, right down to the cannonball hole on its side and the rips in the sails. Actual footage of the ocean, combined with ILM animation, allow the miniature Inferno to ride the high seas as the credits roll. Director Donner contemplates this inspiring closing scene. "There's a treasure out there for all of us. I don't mean just wealth, but the treasure of life. One-Eyed Willy is sailing off from his captivity that he's been in for hundreds of years. Your dreams can come true." Steven Spielberg talks about the overall effect of The Goonies. 'What it's really about is friendship. And sticking together. It is every kid's dream, I think, to be in control of his or her own destiny, if only for one Saturday. This is a 'wouldn't-it-be-great-if movie. The magic is less a part of what the Goonies actually discover as much as what they become to each other in real emotional ways." In other words, after seeing this movie, everyone will want to join the adventure and take the oath. "... I am proudly declared one of the Goonies!"

1

.

. .,. '"'.... - .

~.-....-.-:, ~

........

- c:J

WHILE THE GOONIES including the newest one, Sloth - rejoice the hap-• py ending to their incredible adventure, a wondrous sight appears out the ocean: One-Eyed Wil- ~ ly's pirate ship sailing off to sea. As everyone stares ~~ in awe, the magical vessel heads for the· horizon.

inn

•

workers at Lucasfilm's ILM shop lovingly built a miniature of the Inferno that sails away at the end of the film. The five-foot replica has incredible details, including one that many moviegoers might miss. In the photo above,

- ~· . ~1

The seven young actors who play the Goonies come from variety of backgrounds, and each has a strong, unique personality. Most important, though, is how wonderfully they work together as a group of friends entangled in the adventure of a lifetime. No doubt, The Goonies will put all of these up-and-coming kids on Hollywood's map. Here, each Goony talks about his or her personal background and the characters they portray in the film.

displays Jeffs physique, too. ''You see, Chunk has a compulsive eating habit, so he's a real good character for me." Although this is Jeffs first movie role, he's no newcomer to acting. "I've done a lot of lV, such as Fads of life, Family Ties, and Webster." Besides his natural acting talents, Jeff is one funny 11 year old. He's sort of a small version of John (SC!V, Stn"pes, Splash) Candy. He's quick with a joke and even quicker with impersonations, imitating everyone from Mr. T to Mae West to Groucho Marx. While shooting The Goonies, Jeff was forever the film student, wanting to know how everything was done. "I can run a dolly and the camera, and Dick Donner showed me how to direct." So when will he direct his first movie? "As soon as I get my own production company," he says with conviction. In the meantime, Jeff is content to continue his education, acting ... and rather peculiar hobby of collecting hats. "Yeah, hats. I've got about 530 of them." After seeing him do his thing in The Goonies, there should be lots of moviegoers taking theirs off to Jeff B. Cohen.

JEFF B. COHEN

JOSH BROLIN

is Lawrence "Chunk" Cohen. Loveable, laughable, full of stories, pudgy, funny, talented. These are just a few of the adjectives describing the actor and the character. "Chunk looked like a pretty good part for me after I read the script," says Jeff, the youngest member of the cast, and who ·actually first read for the part of Mouth. "Chunk is the one everybody loves but they don't let him know it. They like me a lot, but they never believe me." For example, in the beginning of the movie, when Chunk tries to tell the other Goonies about the incredible cops-and-robbers chase he's just seen, they don't believe him. Instead, they make him perform his hilarious Truffle Shuffle. This comical dance

is Brand Walsh, the handsome, muscular jock pretty much the opposite of his younger brother Mikey. Josh describes his character with such words as dominating, tough, the one who keeps the others out of trouble. The biggest and oldest of the Goonies, Brand is always trying to keep his little brother in line. But he's also right there when Mikey and the others need Brand's strength and leadership. And, like the others, Brand has his quirk. "He has claustrophobia," says Josh. ''I'm in these little caves throughout the movie and slowly going nuts. I don't really want to be there, but I'm also trying to keep everybody together. And there's the romantic part," he adds, referring to his on-going

MEET THE GOONIES

flirtationswith Andy, thepretty cheerleader who wins her place among the Goonies, as well as Brand's heart. Even though hecomes from an acting family, this is Josh's first role. "My father James (HoteQ Brolin, always told me not to get into the business, and so I'dset my mind todo other things. Then, in my junior year in high school, I took an acting class, just to see what it was like. I played Stanley in A Streetcar Named Desire. I loved it, other people loved it, and I was hooked. There's no looking back." At 17, Josh is lookingahead to asuccessful acting career. And somewhat like his character in The Goonies, he's quite athletic. He's intosurfing, karate, scuba, mountain climbing, skiing, and motorcycling.

SEAN ASTIN is Mikey Walsh. He may play Brand's little brother, but he has a big part as the Goony who's out to unravel OneEyed Willy's prankish riddles leading to the treasure. Mikey deals with being an asthmatic (he's always taking shots from his breathalizer) and having a one-way crush on Andy, but his main quest is the "rich stuff." "In this movie, what I want most in life is to get this treasure." Sean, 14, also comes froman acting family. His parents are John (TheAddams Family) Astin and Patty (Hail to the Chief) Duke. His younger brother, Mackenzie, is a regular on 1Vs Facts of life. Despite the fact that this is Sean's first feature film part (he appeared in two 1V specials), he makes and stars in his own Super 8 movies. "I write the scripts, I raise the money (by mowing lawns), I do the casting with my friends, and I shoot the movies. I even do the credits on my

home computer." This considered, it's no surprise hearing what Director Dick Donner has to say about Sean. "I think he'sgoing to be the director of the crowd. My problem with Sean - and don't get me wrong, ! love the kid - is that he's always saying to me, Why don't you do it this way?' And half a dozen times he came up with ideas I've never thought of and they're smashing." For now, director-to-be Sean is content to continue making movies on the home front and to pursue hisactingcareer. Healso considers himself an all-around athlete, who enjoys baseball, grass hockey, and football, plus aplayer of another field. "I love girls," he says. "They're right up there in front of sports and moviemaking."

ICERIII GREEN is Andrea "Andy" Carmichael. Andy is one of the Hillsiders, who live on the wealthy side of the tracks, opposite the Coon Docks. As thepretty cheerleader gets caught up in the Goonies' treasure hunt, she gives up her Hillsider boyfriend Troy for Brand and takes the Goony oath. "I like the character," says Kerri. "She's a dreamer, an idealist, who's been pampered. But she's not obnoxious or bratty. Deep in her heart she wants to be a Goony and to be accepted by them. She's torn between what her family says and what Troy says - but she comes into her own in the end." At 18, Kerri is coming into her own, too. She makes her moviedebut in The Coomes, but while growing up in New Jersey, she did a number of modeling jobs (including Jordache jeans) and had parts in 1V soap operas, such as Search for Tomo"ow and Another World. She'll attend a prestigious Northeast college in the fall; she plans tostudy fineart. A former high school cheerleader and star gymnast, she recently began practicing martial arts. Kerri's comea long way since her junior high school acting part as Woodstock in Youre AGood

Man, Charlie Brown. She's been looking forward Goony parts, Ke's role as Data was certain from to college for a long time, "but I don't want to the start. "After Indiana Jones," Ke recalls, "Steven

give up acting." From the looks of things, she doesn't have to worry. Hot off her role in The Goonies. she just completed filming Carl Reiner's Summer Rental, co-starring John Candy.

told me he was making another movie and he said, 'You're going to play a character called Data.' And I said, 'Great, it sounds wonderful.' "I was born in Vietnam, but I'mChinese," says Ke, who is very close with his family, including six sisters and two brothers. In fact, his mother is always on the set with Ke and has even been known to prepare exotic Chinese meals for the crew. Wonder if she'll do the same once he's the director he dreams of becoming?

MARTHA PLIMPTON ICE is Stephanie "Stef' Steinbrenner. Even though HUY•QUAN she's from the Goon Docks, the daughter of a is Data, the high-tech Goony who fashions himself after James Bond. Yet unlike Secret Agent 007's flashy gadgets, Data's homemade contraptions usually go kaput. Even so, his Bully Blinders, Pinchers of Peril, Slick Shoes, Intimidator, and other gags are a riot in the movie. ''That's why he's funny," says Ke. "He invents all these gadgets and thinks everything works, but his friends know they don't." What does work is Ke's onscreen presence and acting ability. Millions already know the 13 year old's happy face from Steven Spielberg's Indiana Jones and the Temple ofDoom, in which he plays Indy's sidekick Short Round. Although Spielberg and Donner looked at hundreds of kids for the

fisherman, her best friend is Andy. "Stef is kind of a punk nerd," Martha says about her character. "And although Stef is a little bit more on the ball than Andy, they're very good friends." Stef dresses a bit weirdly ("She wants to be like Cyndi Lauper'), right down to her fishinglure earrings. Adding another dimension to the character, Stef has a funny sort of "thing" for sarcastic Mouth. At 14, Martha is an experienced actress. She has starred in The River Rat with Tommy Lee Jones and wa.S featured in Rollover with Jane Fonda and Kris Kristofferson. She's also the tomboy star of several Calvin Klein jeans ads. New York City native Martha comes by her acting abilities honestly; her mother Shelly is an accomplished stage actress and her father is actor Keith Carradine. And, yes, she is related to celebrity author George Plimpton. Martha sees acting as her future, but ''I'd like to change and grow," she adds. That means college and perhaps branching into directing

and producing. With her impressive list of previous credits and her funky role in The Goonies, Martha should have no problem changing and growing into anything she likes.

COREY FELDMAN is Clarke "Mouth" Devereaux, the wisecracking son of a plumber (played by Director of Photography Nick McLean). Quick on the wit, Mouth is also a rather hip Goony with his New Wave haircut and Prince T-shirts. Mouth's tongue gets him into trouble - like when Mama Fratelli nearly slices it up like an Italian sausage - but it's also a key to the Goonies treasure hunt. Mouth is the only one who can translate the Spanish riddles on One-Eyed Willy's map. "None of us would get through this adventure without each other," says Corey.

should be able to talk himself into even more challenging roles.

JOHN MATUSZAK is Sloth, the forgotten Fratelli son and the newest member of the Goonies. Th~ gentle giant, chained in the basement by his corrupt but comical family, teams up with Chunk to save theother kids from Mama and the boys. "He's basic· ally a good, big kid,'· says John, who, at 6'8" and 300 lbs., knows what big is all about. But "Tooz," as his friends call him, also brings aheap of natural sensitivity to the role - and ahearty appetite. "Sloth loves candy, ice cream, steak, salami ... he loves to eat." John's had a smashing movie career thus far - . he's a familiar face in North Dallas Forty, Caveman, and Ice Pirates, as well as many 1V guest appearances - but he'd previously done his own smashing on the football field as an All-Pro defensive lineman for the Oakland (now Los Angeles) Raiders. He proudly sports two Super Bowl rings. The character of Sloth - huge but huggable - applies toJohn off-camera, too. He's very active in charity youth organizations and does regular benefits. As such, he finds a beautiful message in Sloth's actions. "I'd like thepublic to realize that no matter how you look or how big you are, you're capable of wonderful things." John has recently formed his own production company, Tooz Productions. Obviously, we can expect giant things from Tooz in the future.

"We all do somethingthat helps us get through." Like Ke, Corey is aSpielberg veteran. He co-starred in last summer's Gremlins, directed by Joe Dante. He followed that astarring role in Friday the 13th, The Final Chapter. Yet, Corey, 13, began his acting career at age three with a 1V commercial that ran for five years. He appeared in nearly 60 other commercials over the next four years and has numerous 1V credits, including The Bad News Bears and Mork and Mindy. In between acting chores, Corey likes listening to music, playing video games, baseball, .._................._~ swimming, and horseback riding. Following his appearance as Mouth in The Goonies, Corey

MEET THE MOVIEMAICERS

RICHARD DONNER Director & Producer

The Goonies are seven extraordinary kids who come together for one day to share an incredible adventure. Bringing this story to life on the silver screen combines the talents of literally hundreds of dedicated individuals, from actors to camera operators to specialeffects wizards to film editors. Yet two men - Director Richard Donner and Executive Producer Steven Spielberg-deserve the major credit for bringing The Coomes all together. Separately, Donner and Spielberg have reached dizzying heights in filmdom. Native New Yorker Donner, 52, began his career as an OffBroadway actor-turneddirector. He established himself right away in live 1V productions in ew York. He moved to Los Angeles in 1958. He assembled an impressive list of credits, including pilot episodes of Wanted: Dead or Alive, Kojak, and Bronk, and the highly acclaimed 1V movie Portrait of a Teenage Alcoholic. In 1976, Donner launched his film-directing career with the occult thriller The Omen. This was followed by Superman - The Movie, the Warner Brothers box-Qffice blockbuster that proved a man could Hy. Superman also proved beyond adoubt that Dick Donner is an exceptional director. Since then he has reiterated the fact with his films Inside Moves, The Final Conflict, The Toy, and just prior to the release of The Goonies, wdyhawke, a medieval romantic adventure executive produced by The Goonies Producer Harvey Bernhard. Oddly enough, it was another of Donner's directorial masterpieces that drew the attention, long ago, of Steven Spielberg. "''ve been a Donner fan ever since he directed my favorite Twilight Zone episode, ' ightmare at 20,000 Feet,'" says Spielberg. 'We first met in a sushi bar in 1973, and I haven't stopped laughing since. His voice is like the public-address system at Candlestick Park. His big-kid sense of fun and prank is infectious to be around. I thought the pairing up of Donner and the Goonies was ideal casting. Dick can so easily combine big-screen values with tender human emotions, which for me was the main reason why Superman worked as well as it did."

As easily as Spielberg chose Donner to bring his original story idea to cinematic life, Donner chose to work on The Goonies. However, he quickly realized that you can't always judge a script by its words. "At first, I thought it was going to be asnap," Donner recalls, after reading the Chris Columbus screenplay. "It was a fun adventure picture, and I always wanted to do something like it. Just go out and shoot a bunch of kids in natural locations, I thought, and I'll be done in 10 weeks. But then, as we got into it, and I started surrounding myself with people like [Production Designer] Mike Riva, it took on a much larger scope. What I thought was going to be a little shoe-in turned into probably the most difficult pic· lure I've ever done." More difficult than making Superman fly? "This is more difficult because you have seven kids in almost every scene. Sometimes their attention span is about 10 seconds. Although I love them dearly - I've become incredibly attached to these kids - it's mind blowing." Added to that, says Donner, were the monstrous sets, some just in themselves achallenge to shoot, and the huge number of intricate physical effects. from falling boulders to a giant octopus. There were ways to prepare for the other challenges, but with kids it's different, the director says. "Either you like kids and get along with them [or you don't]. And I love kids, I have fun with them." Even so, Donner had to take on many roles as the film's ringmaster. "I became somewhat of a disciplinary figure, a confidante, a father at times, brother, buddy. . . . It's brought me into a new at· titude, a relationship with children that I never had before: that they'reamazingly deep and convoluted." The mixture of Donner's attitude and skills, plus the seven young actors' natural abilities, blended perfectly. ''I'm in awe," says Donner. ''I'm the kind of person who takes ascript as an idea, but I don't stay married to it. I ask the actors to improvise and expand. And I am awed with these kids and what came out of their minds. They came up with themost wonderfully imaginative, romantic, exciting, funny things I've ever seen. Their acting method is in their madness." Another unique feature of Donner's work on The Goonies was, again, something he hadn't anticipated but that turned into aremarkably positive experience. "When we got into this thing," he says, "and realized how difficult it was going to be, I had to have a second unit." In moviemaking terms that means Donner would direct the main action scenes while a second director and crew coordinate background

1 box-office smash of all time. He last directed Indiana Jones and the Temple of Doom.

Through his independent production company, Amblin Entertainment, Spielberg has been intimately connected with Poltergeist, Gremlins, and Twilight Zone - The Movie. At Amblin, he teams up with Kathleen Kennedy and Frank Marshall, who have served in executive production roles in several Spielberg films. Both are executive producers of The Goonies.

shots, close-ups, and other secondary elements in the same scenes. "I asked Steven if he could do it, and he sa.id, 'Oh, could I?!' " Two such dynamic directors working on the same movie might create havoc in other situations, but in The Goonies, the combination is ideal, says Donner. "As far as I'm concerned, what he's done is a blessing and I love him for it. It's been an amazingly good relationship. What's directed is our style, which is fast, choppy, non-analytical, move-on-to-the-next-piece. Both our styles are very similar in that way." Spielberg, too, thoroughly enjoyed the rare experience. "I had such a good time working with the cast and second-unit crew," he says, "especially with my cinematographer, Bobby Stevens, that it became a real pleasure." To be sure, Steven Spielberg is no stranger to the principal director's chair. At 37, he has strung together an unmatched chain of motion-picture gems in a little more than a decade. Beginning as a young, backyard home-moviemaker in Phoenix, Spielberg made his first big mark while in college. After ~iewing his student film, Amblin', Universal Studios put the filmmaker under contract. Subsequentially, he directed the 1V movie Duel, and his first feature film was Sugar/and Express. Then, with Jaws and Close Encounters of the Third Kind, his career skyrocketed. Following 1941, he teamed up with George (Star Wars) Lucas to make Raiders of the Lost Ark.

In 1982, Spielberg made Hollywood history with E. T - The Extraterrestn'a/, which remains the No.

Spielberg describes how his idea for The Goonies came about. "I was the original Goony in my early stage of adolescence. Unlike acne, the problem never cleared up. I am also somewhat of a fanatic about Mark Twain and his legendary collection of characters. This, combined with my love of pirate lore - Treasure Island, Tom Sawyer, Sea Hawk are among my favorite 'lust for gold' adventures prompted me to come up with the idea for this film." From there, he had numerous skull sessions with Screenplay Writer Chris Columbus. Spielberg describes the script's development. "Like myself, Chris Columbus is still a Goony. I know this from working with him on Gremlins. He was my first and only choice as the writer for The Goonies. We sat down one day and began throwing around ideas, set pieces, and all sorts of crazy notions like a 'technicolor tossed salad,' until something resembling a narrative and something resembling this club of little adventurers began to flesh out. The next week, Chris went home to New York and returned several months later with a first draft. On and off, we spent the next several months working on the revisions. When Dick Donner came on board, he contributed another layer of 'Goonisms' from his own memories of growing up." The rest is history, and like all his previous works, Spielberg sees The Goonies as a unique opus. "What's good about The Goonies is that it is not like any of my other pictures. It's easy to liken it, perhaps too easily, to a Raiders-ish blend of spills and thrills, stirred in with a lot of the same sort of humor Donner put into Superman." But, Spielberg concludes, the distinction of The Goonies is that it's a kids movie, ultimately dealing with emotions, friendship and sticking together through thick and thin. When it comes down to it, those same words could easily sum up the friendship and working relationship between Dick Donner and Steven Spielberg. Like the seven kids from the Goon Docks tell each other in the Goony Oath, they'll "stick together until the whole world ends."

STEVEN SPIELBERG Executive Producer

Second Assistant Camera TONY FRANCESCO T H E

C A S T

Mikey . . . . •. . • . . . . . . . . . . . . ..... . . .. . ... . . .. SEAN ASTIN Brand ..................•......................JOSH BROUN Chunk ........•....................•.... ...... .JEFF COHEN Mooth . . . . . . . . . . . . . . . . . . . . . . . . ............ COREY f'ELDMAN Andy . . . . . . . . . . . . . . . . . .. .• .. •................. KERRI GREEN Stel . . . . . . . . . . . . . . . . . . . • . . . . . . . . . ...... MARTIIA PUMPTON Data ... . ...... •...... . ... •.... •.............. KE HUY QUAN Sloth.. . .. . ... ............. . ......... . ... .. JOHN MATIJSZAK Jake .............. . .. •........... ...... . . . . .. ROBOO DAVI Francis ................... . ... •............ JOE PANTOUANO Mama Fratelli . . . . .. . .. •............ . .... . .... . .ANNE RAMSEY Rosa! ita . .. .. .. . .. ............ •........ . .... LUPE ONTIVEROS Mrs. Walsh .. . ... .. . ... . .... . ... . ... . ... MARY EllEN TRAINOR Mr. Walsh .. . . .. .. . . . . .. . .... . ... .. .. .. .. ... . .KEITH WAU<ER Mr. Perkins . . . . . .. .. . ... . ... . .... . .. ... .. .. . .CURTIS HANSON Troy Backup . . . .. . .. . . .. ... ...... .. ..•.. . .. Cl.AY GREENBUSH Troy . .. .. . . .. .. .. .. .. .. ... . ... . ... . . .. . . . . .. . .STEVE ANTIN Sheriff . .. .. .. .. .. .. .. . . .. . . . . ... .. .. .. .. . . ... . PAUL TUERPE Prison Guard ... . . . . .. .. .. .. ......• .. .. . . .GEORGE ROBOTHAM Gas Station Attendant ....... . ... .. .. .. ... . .... .. .. OWEN BUSH Chunk's Father . .. . . .. . .. . . .. .. .. ... . .. . . . .CHARLES McDANIEL Chunk's Mother .. . .. .. . ... . ... .. .. .. ELAJNE COHEN McMAHON Data's Father . .. . . .. .. .. ... . .. . . . .. .. ... .MICHAEL PAUL CHAN Mouth's Father ... .. ........ . .... . .. GEORGE NICHOLAS McLEAN Keesler . .. .. .. . . . .. .. ..• . ... . ... . ... .. .. .MICHEU.E MARIANA Bert .. .. . . ... . ... .. .................... . . . .... BILL BRADLEY Cop ... . . .. . .... ................ •... . ... ... . KENE HOWDAY Troy's Friend ~1 ........ • . . .. • ....... • . ... . ... . . . . JEB ADAMS Troy's Friend "2 . . . . . . . . . . . . . . . . ........ .ERIC BRIANT WELLS Man in Shower 1 1 .•...•. •..•.......••..•...... . .. GENE ROSS Man in Shower "2 ............................... .MAX SEGAR Man in Shower "3 .. .. .. .. . .. . .. .. . . HEWTON DENNIS ARNOlD Simon (Photo Double) . . . . . . . . . . . . . . . ........ ANDY STEINFEW Reporter "I .. . .. .. . .. .. • .. .. .. ........... .. JACK O'LEARY Reporter "2 .. .. . .. .. . .. .. .. .. .. . ........ PATRICK CAMERON Tennis Player . . . . . . . . . • . . . . . ............ . . ... ERWIN HARVEY Gorilla Driver . . ............. ................ JAKE STEINFElD Gorilla Driver Wile . . ... ......... . .. •. ... . ... .. ... .. EVE SMITH FBI Man & Dead FBI Man ........ •....... •... . .TED GROSSMAN

T HE

C R E W

Directed by RICHARD DONNER Produced by RICHARD DONNER and HARVEY BERNHARD Story by STEVEN SPiELBERG Screenplay by CHRIS COWMBUS Executive Producers STEVEN SPIELBERG FRANK MARSHALL KATHLEEN KENNEDY Director ol Photography NICK McLEAN Production Designer J. MICHAEL RIVA Film Editor MICHAEL KAHN, A.C.E.

Still Photographer JOHN SHANNON Post Production Supervisor ARTHUR F. REPOLA ~rvising Soond Editor

HARD L ANDERSON

Soond Editors MICHAEL J. BENAVENTE MARTIN J. BRAM TERESA ECKTON DONAW FUCK WARREN HAMILTON, JR., MPSE JAMES CHRISTOPHER Supervising ADR Editor ANDREW PATTERSON ADR Editors BURTON WEINSTEIN GEORGE BERNDT AVRAM D. GOLD MARY ANDREWS BETH BERGERON Music Editor ELSE Bl.ANGSTED

Music Score by DAVE GRUSIN

Product.ion Sound Mixer WIWE BURTON

Unit Production Manager ROBIN S. CLARK JAMES HERBERT

Boom Man MARVIN LEWIS Cable Man BOB HARRIS

first Assistant Director DA.~

KOLSRUD

Second Assistant Director PATRICK COSGROVE SHARON GERHARD

Se! Decorator UNDA DeSCENNA Art Director RICK CARTER

Camera Operators MIKE O'SHEA STEVE Sf. JOHN First Assistant Camera HORACE JORDAN MICHAEL CHAVEZ

Re-recording Mixers BILL VARNEY B. TENNYSON SEBASTIAN II ROBERT THIRLWELL Assistant Editors MARTIN COHEN CRAIG BASSETT KATHRYN CAMP Assistant Music Editor JIM Fl.AMBERG Assistant Sound Editors DAVID WIWAMS GIL HAIMSOHN JANET F. MASON Foley Services TAJ SOUNDWORKS

Assistant to Mr. Repola JUDY THOMASON "SWTH" Makeup Created By CRAIG REARDON THOMAS R. BURMAN BARJ DREIBAND BURMAN EWS BURMAN ''SWTH" Makeup Executed By THOMAS R. BURMAN BARJ DREIBAND BURMAN EWS BURMAN "OCTOPUS" Designed &Created By THE BURMAN STIJDIOS INC. Assistant Art Directors DALE PELTON, JR. JOSEPH NEMEC Ill Set Designers VIRGINIA L. RANDOLPH CARROLL.,moBbJOHNSTON DONALD 00 RUFF Illustrators JACK JOHNSON SHERMAN LABBY PAUL POWER THOMAS SOUTHWELL Lead Person RIC McELVIN Swing Gang STEVEN CURTIS HUSCH WIWAM J. FOLEY WIWAM Mcl.AUGHUN DONAlD W. KRAFFT Gaffer THOMAS STERN

Electrical Best Boys ED AVER ERIC SMITH Rigging Gaffer VICfOR PEREZ Key Grip CHARLES SALDANA Grip Best Boys BRUCE SPELLMAN JOE HICKS Dolly Grip WIWAM YOUNG Script Supervisor BETSY NORTON

Director of Photography BOB STEVE.I\S

First Assistant Director NEWT AR.'\ OLD

Second Assistant Director

STEVECOH~

Script Supervisor LLOYD NELSO~ Camera Operator I..EI.AI'\0 NAKAHARA SpeciaffJfects

Location Manager TONY AMATIJLLO

GREG JE.\ SEN

Special fJfects Foreman JON BELYEU

StumCoordinator GEORGE ROBOTHAM

Assistant Cameraman DO~ FAUI\11..EROY

Special Effects BILL ALDRIDGE CALVINJ. ACCORD KEN EBERT GUY FARIA JERRY HART JOHN HAMES DAVID PETERSON DON PUCK PAUL SABOURIN HAROLDSEUG DOYL£ SMILEY U.:ONDA M. STRUB

Unit Publicist ROB HARRIS Richard Donner's Assistant MICHAEL THAU

Sound Mixer DON JOHNSON Boom Man JULES STRASSER

Executive Assistant to Mr. Donner JENNIE LEW

Galler J. MICHAEL MARL£1T Property

Special fJfects Coordinator MAIT SWEENEY

Property Master

ERIK ~ELSON

Assistant Property Master DAVID NEWEU.

Property A~NE REEVES GERALD T. TIRADO

Costume Designer

RICHARD LaMOTTE Xlen's Costume Supervisor ROGER GALLO GARCIA

Ladies' Costume Supervisor AIDA SWINSON Wardrobe Elfects ERIC FIEDLER ~lake Up Artist TONY LLOYD

Assistant to Mr. Bernhard LAURA HOFFMAN Production Secretary PATTY HUGHES

Production Accountant JANE GOE Controller BOX~E RADFORD Assistant to Mr. SpiElberg Jt;UE MOSKOwnz Assistant to Mr. MaiShall MARY RADFORD Assistant to Ms. Kennedy KATE BARKER Office Assistants ILYSE SELWYN TIM PALLADINO DEBORAH SCHILDT JUUE YARRISH Construction Coordinator BOB SCAIFE

RICK WPfl

HOWARD COLE Key Grip GUY POLZEL

MakeUpArtisl \VIWAM nJR,~ER

Hair Stylist CHARIL'\E MURRAY Special fJfects Foreman MIKE snPE

VISUAL EFFECTS Produced at l~DUSTRIAL UGHT & MAGIC, Marin County, California Supervisor of VISUal fJfects MlCHEAL McAUSTER

PUBL I SHING ACKNOWLEDGEMENTS This publication represents the combined efforts of many indi· viduals whose behind·thescenes cooperation helped make the souvenir magazine possible. These contributors indude members of The Goonies cast and crew who granted us interviews. the entire Goonies production staff, members of Warner Brothers' lkensing and Publicity staffs, and the helpful individuals at Amblin Enter· tainment. We are also indebted to The Goonies Still Photographers John Shannon and Randy Tepper. as well as Jeff Glancz, who provided our own special photographic effects. Thanks to Foote & Davies/ Mid-America Webpress, Kable News Co., and Toppan Printing Co. SPECIAL THANKS TO· Laura Adler, Laurie Arnow. Pat· ti Blau, Luana Chambers. Jill DiDomenico. Sam Epstein. Rob Friedman, Jess Garcia, Adam Gellman, Blossom Gratz, Rob Harris, Laura Hoffman, Jennie Lew. Julie Moskowitz, Mike Riva and The Goonies art department, Dave Wolff. and Max and Susan Feleppa Woods. Front Cover art by Drew Struzan. ·

THE GOONIES MUSIC AND VIDEO B\ ttself The Goonies is a feast of actton-packed thrills and chills. ~o", extract some clips from the film, add a heap of funky Cyndi Lauper music, aringful of rockin' wrestlers, adash of zaniness, and you've got. .The Goonies RGood Enough. That's Jhe name of Cyndi's hit single and two-part music video, directed by Dick Donner. A "teaser" version of the video aired a few weeks before the movie's release, the other just after it opened. Cyndi's single is also included on the Epic/CBS Records soundtrack album It features the film's fabulous Dave Grusin score and original songs by The Bangles. Phillip Bailey, REO Speedwagon, Luther Vandross, Teena Marie, Arthur Baker's Goon Squad. and Joseph {son of composer John) Williams. In Lauper's patented off-beat style, the videos tell thStGoonies-like tale of Cyndi, her boyfiiend Greasy Dave (Dave Wolff, Cyndi's manager), Captain Lou Albano, Wendi Richter, and Ca-

trine Dominique (Cyndi's mom). Their gaudy gas station and veggie -burger stand are being taken over by a bunch of the wrestlers: Roddy Piper, The Iron Sheik, FredBlassie, and Moolah ... plus the Benihana chefs. tCan ~ndi save the day? If only there were a t~re .... Well, he may not be as prankish as OneEyed Willy. but Lou's great, great grandfather, Captain One-Eyed Peg-Legged Rum-Guzzling Mean Lou Albano, gives her a secret map. Like Alice in Goonyland, Cyndi climbs into ahidden tunnel, where she catches up with the Goony kids, who are in the middle of their movie. They show her - and the 1V \iewers - clips from the film. Yipes! Now they're being chased by aband of cutthroat pirates - none other than our villainous Wrestlers, plus Nicholai Volkoff and his cow. They're tr~pped. Who can help them? Faster than you can "extraterrestrial," we're whisked off to the wild

office of Steven Spiel~rg. Cyndi asks him how they can get out of their predicament. He says. ,.' I donl o" Cut to: STAY TI ~ED ffOR PART lWO The second video opens w1th~ zippy montage of first. right up to the cliffhanger. Shift like magic the deck oft Inferno, when! the pirate wrestlers ha\ E enslaved even by a sea hag yed by Cyndi's . While the par animals gorge octopus sushi and Greasy Da\'e wriggles hiS chains and frees .e others. They find the chest, filled with e movie clips and, of cou After scoopng up some jewels, the ship and run ~k through the tu gas station Cyndi pa·.-s off The Iron Sheik. Her b~ friend, Andrei the t. forces the unruly wrestlers to scram. Thus C\nher far-out friends, and the Goonies all hve hap- ever after. Yeah. yeah, yeah! Jave Grusin took a more conventional. though ally artistic approach to his melodic score for The GJ 'li~. Beginning with the rousing Goonies theme. 'TlUSicall~ tracked the action - from sad to funny ""WSterious to romantic to scary to victorious. C'l!sin began the proJect after preliminary d1scus-

sions with Spielberg and Donner and viewing clips from the film He developed certam themes. some that repeat themselves For example. there are continuing themes for the pirate<> \likey and One-Eyed Will~ Chunk and Sloth, and the Fratelhs In general. Gruc;m says, he chose a lar~e symphonic score, interspersed with contemporary electronic elements He conducted the orchestra and lavered in h1s own electromc instrumentatiOns afterward. The Coomes marks Grusin s firc;t work with Sptelberg but surely not \fith film sconng. His 23 film scores have earned four Academy Award nominations. His credits include The Graduate (the soundtrack album won a Gram my). Heaeen Can ~'l11i. The Champ Electn'c Horseman On Golden Pond TootSie, and Racing u 1th the .Worm Grusm has also \\ ritten themes for hit 1V shows. such as Houde. It Takes a Thief, and St. Elsewhere. He has won high acclaim for his own jazz instrumental albums (the latest is One Of a Kind) and has arranged, composed, and performed with a host of popular mus1cians. mcluding QuinC\'. Jones, AI Jarreau Billv. Joel. Paul Simon, Donna Summer. and Phoebe Snov•. Final!~. Grusin and his long·time assoctate Larry Rosen produce albums on their Grusin/Rosen Records label.

SCENES Of THE VIDEO. from left: In the end, the good guys always win; Andrei gives Cyodi a lift; Capt. Lou and great, great grandpa; the Goonies sing.

BROUGHT TD ~DU 8~ VllniE RRTTDLLE

vinn ierd ttolle .blosgspot.com