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Famed ’70/80s director Randal Kleiser on “Getting It Right” and giving up on big-budget Hollywood films

Famed ’70/80s director Randal Kleiser on “Getting It Right” and giving up on big-budget Hollywood films (photo)

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With the possible exception of Steven Spielberg, no 1980s filmmaker was responsible for more watershed Generation X films than Randal Kleiser: starting with “Grease” in 1978, Kleiser created a seemingly neverending series of coming-of-age films, including “Summer Lovers,” “The Blue Lagoon,” “Flight of the Navigator” and “Big Top Pee Wee,” that continue to entertain and resonate with audiences. Recently, MGM’s DVD-on-demand service released “Getting It Right,” another of the director’s films from that era, and although it was set in London and featured decidedly more R-rated content than its predecessors, it too was another tale of a young person finding his footing in an adult world.

IFC caught with Kleiser to talk about the release of “Getting It Right”; additionally, the accomplished filmmaker offered some insights into how he managed to make so many terrific, iconic ’80s films, and reflected on his history as one of Hollywood’s great purveyors of films about growing up.


This film came right after “Big Top Pee-Wee” and before “Honey I Blew Up the Kid.” Was this an especially personal film, or how did you end up doing something sort of out of left field like this?

Well, once I did “Grease,” everyone was offering me studio pictures in a similar vein – you know, popcorn movie. But when I was in USC film school in the ’60s, I saw a whole bunch of these great films from England, like Morgan, Darling, Alfie, The Knack, and they all had the same kind of feel. They were all about sort of quirky people and their relationships in swinging London, and when I read this book, “Getting It Right,” it just felt like those films. So I got this obsession of wanting to go to England and make this movie in the style of those films I’d seen in college, and I was able to get the money up and go and do it. So it was really kind of a labor of love, dream-come-true type of thing, because it was generated from something I really wanted to do and not an assignment that was given to me. And then I got this fantastic cast and it was just a great experience.

Watching it now, it feels like a predecessor to “The 40 Year Old Virgin” – maybe “The 31-Year-Old Virgin.” What did you see as the core story of the film, or what did you connect with?

Well, I’d done several coming of age stories, but the interesting thing was that guy was I think 30 in the book, and this idea that he’s trapped in his adolescence because he’s at home living with his mother who’s pushy and his father is very weak, and he goes to work every day, and he’s never had any luck with women because he’s such a nerd. It was just the idea that the way it was written, it was very funny, and I was charmed by the writing, and I just thought, wow, if I can get this on film and in the style of the ’60s movies, it will be great. Because it’s a story everyone can relate to, and everyone goes through something like this when they’re going through their adolescence, and this guy was quite delayed – and that was one reason why I thought it was funny.

This film has a real time-capsule kind of feel to it. How tough was it to faithfully capture both the feeling of the ’60s films that inspired you and the current era in which the story takes place?

I hired a production designer who had done lots of movies and knew this whole world and these characters and how they would live and what kind of props they would have in their house, decorations, and what kind of clothes they wear. I had really great people – I just hired people that knew their stuff and were English, and then I had all of the English actors who knew all of the subtleties.

For instance, Sir John Gielgud, when I worked with him that one day, he said, “this is a lower-class guy who’s trying to be upper class, right?” I said yeah, absolutely, so he said, “good – I’ve developed a little bit of an accent that shows that,” and I was just amazed to see how he threw in these little, wrong pronunciations of words to show that the guy was not as posh as he’s trying to be. So just drawing upon people, the cast and crew, and just guiding it through using my interest in this wonderful book, it was not difficult at all.

Having done many coming of age stories through your career, you’ve made many films that are now seminal to people of a certain generation. How much in retrospect is that just happenstance, and how much did those opportunities come because of the success of Grease, or even something that you had a specific affinity for?

Well, yeah, I had an affinity for that; yes, adolescence is a big time in anyone’s life, and I understood that pretty well. But because of “Grease,” these doors opened for these kinds of movies pretty easily for me. But if I wanted to do like a thriller, it would not have been easy, or a western; I was interested in all kinds of movies, but those were the ones that I could get off the ground at the time. So that’s where my career led, and the only time I went off on my own and did my own thing were “Getting It Right” and “It’s My Party” – those two films, I generated. Although I did generate “Summer Lovers,” although that was a coming of age story too.

Did you think at the time with any of them that they were going to have the longevity they do now?

No, never – I never really thought any of them were going to last. It was just that I was hoping they would make money so I could keep working – that’s all. Like I said I’d been offered studio pictures, and I came to a crossroads one time when I was doing a lot of Disney films and I wanted to break free and do something serious, and Jeff Katzenberg promised I could do one if I did “Honey, I Blew Up The Kid,” but then when I finished doing that he had left the studio, so I didn’t have a chance to do that next serious movie.

Then I was offered “George of the Jungle” and I decided that I had to make a switch, and that’s when I broke away and I did “It’s My Party” for a very, very low budget, and gave up the high budget studio films. And I’m glad I did it – it’s been great to just be independent, although it’s been much more difficult than just saying yes to studio films.

Do you have a favorite Randal Kleiser film? Let us know in the comments below or on Facebook or Twitter.

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A-O Rewind

Celebrating Portlandia One Sketch at a Time

The final season of Portlandia approaches.

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Most people measure time in minutes, hours, days, years…At IFC, we measure it in sketches. And nothing takes us way (waaaaaay) back like Portlandia sketches. Yes, there’s a Portlandia milepost from every season that changed the way we think, behave, and pickle things. In honor of Portlandia’s 8th and final season, Subaru presents a few of our favorites.

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Put A Bird On It

Portlandia enters the pop-culture lexicon and inspires us to put birds on literally everything.

Colin the Chicken

Who’s your chicken, really? Behold the emerging locavore trend captured perfectly to the nth degree.

Dream Of The ’90s

This treatise on Portland made it clear that “the dream” was alive and well.

No You Go

We Americans spend most of our lives in cars. Fortunately, there’s a Portlandia sketch for every automotive situation.

A-O River!

We learned all our outdoor survival skills from Kath and Dave.

One More Episode

The true birth of binge watching, pre-Netflix. And what you’ll do once Season 8 premieres.

Catch up on Portlandia’s best moments before the 8th season premieres January 18th on IFC.

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WTF Films

Artfully Off

Celebrity All-Star by Sisters Weekend is available now on IFC's Comedy Crib.

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Sisters Weekend isn’t like other comedy groups. It’s filmmaking collaboration between besties Angelo Balassone, Michael Fails and Kat Tadesco, self-described lace-front addicts with great legs who write, direct, design and produce video sketches and cinematic shorts that are so surreally hilarious that they defy categorization. One such short film, Celebrity All-Star, is the newest addition to IFC’s Comedy Crib. Here’s what they had to say about it in a very personal email interview…

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IFC: How would you describe Celebrity All-Star to a fancy network executive you just met in an elevator?

Celebrity All-Star is a short film about an overworked reality TV coordinator struggling to save her one night off after the cast of C-List celebrities she wrangles gets locked out of their hotel rooms.

IFC: How would you describe Celebrity All-Star to a drunk friend of a friend you met in a bar?

Sisters Weekend: It’s this short we made for IFC where a talent coordinator named Karen babysits a bunch of weird c-list celebs who are stuck in a hotel bar. It’s everyone you hate from reality TV under one roof – and that roof leaks because it’s a 2-star hotel. There’s a magician, sexy cowboys, and a guy wearing a belt that sucks up his farts.

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IFC: What was the genesis of Celebrity All-Star?

Celebrity All-Star was born from our love of embarrassing celebrities. We love a good c-lister in need of a paycheck! We were really interested in the canned politeness people give off when forced to mingle with strangers. The backstory we created is that the cast of this reality show called “Celebrity All-Star” is in the middle of a mandatory round of “get to know each other” drinks in the hotel bar when the room keys stop working. Shows like Celebrity Ghost Hunters and of course The Surreal Life were of inspo, but we thought it
was funny to keep it really vague what kind of show they’re on, and just focus on everyone’s diva antics after the cameras stop rolling.

IFC: Every celebrity in Celebrity All-Star seems familiar. What real-life pop personalities did you look to for inspiration?

Sisters Weekend: Anyone who is trying to plug their branded merch that no one asked for. We love low-rent celebrity. We did, however, directly reference Kylie Jenner’s turd-raison lip color for our fictional teen celebutante Gibby Kyle (played by Mary Houlihan).

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IFC: Celebrity seems disgusting yet desirable. What’s your POV? Do you crave it, hate it, or both?

Sisters Weekend: A lot of people chase fame. If you’re practical, you’ll likely switch to chasing success and if you’re smart, you’ll hopefully switch to chasing happiness. But also, “We need money. We need hits. Hits bring money, money bring power, power bring fame, fame change the game,” Young Thug.

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IFC: Who are your comedy idols?

Sisters Weekend: Mike grew up renting “Monty Python” tapes from the library and staying up late to watch 2000’s SNL, Kat was super into Andy Kaufman and “Kids In The Hall” in high school, and Angelo was heavily influenced by “Strangers With Candy” and Anna Faris in the Scary Movie franchise, so, our comedy heroes mesh from all over. But, also we idolize a lot of the people we work with in NY-  Lorelei Ramirez, Erin Markey, Mary Houlihan, who are all in the film, Amy Zimmer, Ana Fabrega, Patti Harrison, Sam Taggart. Geniuses! All of Em!

IFC: What’s your favorite moment from the film?

Sisters Weekend: I mean…seeing Mary Houlihan scream at an insane Pomeranian on an iPad is pretty great.

See Sisters Weekend right now on IFC’s Comedy Crib

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Reality? Check.

Baroness For Life

Baroness von Sketch Show is available for immediate consumption.

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Baroness von Sketch Show is snowballing as people have taken note of its subtle and not-so-subtle skewering of everyday life. The New York Times, W Magazine, and Vogue have heaped on the praise, but IFC had a few more probing questions…

IFC: To varying degrees, your sketches are simply scripted examples of things that actually happen. What makes real life so messed up?

Aurora: Hubris, Ego and Selfish Desires and lack of empathy.

Carolyn: That we’re trapped together in the 3rd Dimension.

Jenn: 1. Other people 2. Other people’s problems 3. Probably something I did.

IFC: A lot of people I know have watched this show and realized, “Dear god, that’s me.” or “Dear god, that’s true.” Why do people have their blinders on?

Aurora: Because most people when you’re in the middle of a situation, you don’t have the perspective to step back and see yourself because you’re caught up in the moment. That’s the job of comedians is to step back and have a self-awareness about these things, not only saying “You’re doing this,” but also, “You’re not the only one doing this.” It’s a delicate balance of making people feel uncomfortable and comforting them at the same time.

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IFC: Unlike a lot of popular sketch comedy, your sketches often focus more on group dynamics vs iconic individual characters. Why do you think that is and why is it important?

Meredith: We consider the show to be more based around human dynamics, not so much characters. If anything we’re more attracted to the energy created by people interacting.

Jenn: So much of life is spent trying to work it out with other people, whether it’s at work, at home, trying to commute to work, or even on Facebook it’s pretty hard to escape the group.

IFC: Are there any comedians out there that you feel are just nailing it?

Aurora: I love Key and Peele. I know that their show is done and I’m in denial about it, but they are amazing because there were many times that I would imagine that Keegan Michael Key was in the scene while writing. If I could picture him saying it, I knew it would work. I also kind of have a crush on Jordan Peele and his performance in Big Mouth. Maya Rudolph also just makes everything amazing. Her puberty demon on Big Mouth is flawless. She did an ad for 7th generation tampons that my son, my husband and myself were singing around the house for weeks. If I could even get anything close to her career, I would be happy. I’m also back in love with Rick and Morty. I don’t know if I have a crush on Justin Roiland, I just really love Rick (maybe even more than Morty). I don’t have a crush on Jerry, the dad, but I have a crush on Chris Parnell because he’s so good at being Jerry.

Jenn: I LOVE ISSA RAE!

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IFC: If you could go back in time and cast yourselves in any sitcom, which would it be and how would it change?

Carolyn: I’d go back in time and cast us in The Partridge Family.  We’d make an excellent family band. We’d have a laugh, break into song and wear ruffled blouses with velvet jackets.  And of course travel to all our gigs on a Mondrian bus. I feel really confident about this choice.

Meredith: Electric Mayhem from The Muppet Show. It wouldn’t change, they were simply perfect, except… maybe a few more vaginas in the band.

Binge the entire first and second seasons of Baroness von Sketch Show now on IFC.com and the IFC app.

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