DID YOU READ

How “Little Shop of Horrors” got its ending back

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“Little Shop Of Horrors: The Director’s Cut” hits shelves today, and for those involved with assembling this version of the 1986 big-screen musical, the task amounted to more than just cutting and pasting a few archived scenes and adding the original, 20-minute ending that was scrapped after test audiences found it too dark and depressing. In many ways, the process of restoring the initial ending for the film — in which an army of monstrous alien plants destroys the nation’s largest cities — was an archeological quest of cinematic proportions, complete with missing frames scattered around the world, some creative editing of existing material, and the chance to right a few wrongs that left key figures in the film’s development out of the picture until now.

Leading the charge to give “Little Shop Of Horrors” the director’s cut it deserved was Kurt Galvao, Warner Bros. Pictures’ Vice President of Assets & Technology/Post Production, whose work on 2007’s “Final Cut” edition of Ridley Scott’s “Blade Runner” earned high praise from fans and stands out as one of the most highly praised (both for its content and quality) versions of the sic-fi classic to date.

During a recent press junket for the Blu-ray release of the “Little Shop” director’s cut, IFC spoke with Galvao and director Frank Oz about the painstaking process of giving the world the ending the film should’ve had from the start.

“The most important thing was not to draw people away from the story because of the new ending,” Galvao told IFC. “Going into this, I knew it had to have the same amount of grain and the same warmth, color-wise. And I wanted to make sure, sound-wise, that it sounded the same [as the rest of the movie] and just… flowed. To achieve that, first we had to find the parts of each of the original pieces.”

And this was no small task, according to Galvao, whose team found themselves digging through piles of reels in Los Angeles, London, and Kansas in order to locate the missing film. With much of the film initially shot in London, the masters stored in L.A., and a massive vault of reels archived in Kansas (in order to protect the material from earthquakes), pulling everything together quickly became a globe-hopping endeavor.

Finally, on top of any logistical concerns, the rushed re-shoot of the film’s ending more than two decades ago left elements like the music, sound, and portions of the footage that would’ve been tweaked before release painfully incomplete.

“I started searching at Warner Bros., obviously, and from there to the deep mines of Kansas where there were some films, and followed the paperwork trail to London,” laughed Galvao.

“It was difficult finding all the pieces,” he said. “They weren’t where the boxes said they were, but we went through every piece, and I had guys on boxes for weeks looking at every frame. It took about a year and a half to pull it all together. And then on the sound side, we had to locate the original track of singing, get the original tracks in there, and find the dialogue tracks from the dailies. Some of them had damage, so we had to filter out the damage in some cases.”

Along with filtering out some of the negative effects of time, Galvao and his team were also called upon to add upon the existing material — a task that was actually made easier by the 26 years that had elapsed since the film’s premiere.

“We’re lucky to be in a digital world where we can scan the original negatives and have that as our base, then find all of the other elements of the other parts and recreate what they were originally trying to finish,” explained Galvao. “That included a lot of the optical effects, but back then the visual effects were all optically based. They didn’t have digital effects. So what I tried to do with our team was to stick with using all those frames of optical effects at whatever extent they were finished at, and then finish them digitally. But we always had to keep that look from the optical effects. We didn’t want it to be squeaky clean, so we actually had to add some grain here and there.”

Restoring the ending for “Little Shop Of Horrors” also gave Galvao and Oz the opportunity to see some of their favorite elements from the original finale returned to their proper place in the film. Oz told IFC he was particularly happy to give model designer Richard Conway a call to let him know that the massive amount of miniatures he had created — and subsequently destroyed — for the final montage of plants conquering the world would finally get its time in the spotlight.

For Galvao, one of the highlights of the restoration process was putting actor Paul Dooley back into the film. In the original ending for “Little Shop,” Dooley appears as a businessman who tells Seymour (Rick Moranis) that, thanks to some cuttings he took from the plant, his company has plans to mass-market “Audrey II” seedlings and make it the next big thing to fly off the shelves. This is followed by scenes of shoppers buying up the plants all around the country, which then leads into the destruction they cause around the world.

When the call came down for re-shoots, Dooley wasn’t available to film new scenes, and James Belushi was swapped in for Dooley’s role. Dooley was later given a “Special Thanks” in the credits, but never appeared in the theatrical version of the film.

“One thing that was really, really great was finding the piece with Paul Dooley and putting it back in there,” said Galvao.

For Galvao, when it comes to these restoration projects, the task of piecing everything back together is more than just a job — it’s personal.

“It becomes my baby, too,” he laughed. “I know Frank is the genius and the one who created it, but when I take one of these on, it’s my child. It’s a labor of love doing one of these, just like it is originally creating it. I just can’t stand seeings something that was slapped together put out there, so I like getting it down to the exact way it was meant to be and then making it as pretty as possible.”

“Little Shop Of Horrors: The Director’s Cut” is available now on Blu-ray. Make sure to checkout our extended interview with director Frank Oz and star Ellen Greene here on IFC.com.

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Grow TFU

Adulting Like You Mean It

Commuters makes its debut on IFC's Comedy Crib.

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Jared Warner, Nick Ciavarella, and Tim Dean were once a part of Murderfist, a group of comedy writers, actors, producers, parents, and reluctant adults. Together with InstaMiniSeries’s Nikki Borges, they’re making their IFC Comedy Crib debut with the refreshingly-honest and joyfully-hilarious Commuters. The webseries follows thirtysomethings Harris and Olivia as they brave the waters of true adulthood, and it’s right on point.

Jared, Nick, Nikki and Tim were kind enough to answer a few questions about Commuters for us. Here’s a snippet of that conversation…

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IFC: How would you describe Commuters to a fancy network executive you met in an elevator?

Nick: Two 30-somethings leave the Brooklyn life behind, and move to the New Jersey suburbs in a forced attempt to “grow up.” But they soon find out they’ve got a long way to go to get to where they want to be.

IFC: How would you describe Commuters to a drunk friend of a friend you met in a bar?

Jared: It’s a show about how f*cking stupid people who think they are smart can be.

IFC: What’s your origin story? When did you all meet and how long have you been working together?

Jared: Nick, Tim, and I were all in the sketch group Murderfist since, what, like 2004? God. Anyway, Tim and Nick left the group to pursue other frivolous things, like children and careers, but we all enjoyed writing together and kept at it. We were always more interested in storytelling than sketch comedy lends itself to, which led to our webseries Jared Posts A Personal. That was a show about being in your 20s and embracing the chaos of being young in the city. Commuters is the counterpoint, i guess. Our director Adam worked at Borders (~THE PAST!!~) with Tim, came out to a Murderfist show once, and we’ve kept him imprisoned ever since.

IFC: What was the genesis of Commuters?

Tim: Jared had an idea for a series about the more realistic, less romantic aspects of being in a serious relationship.  I moved out of the city to the suburbs and Nick got engaged out in LA.   We sort of combined all of those facets and Commuters was the end result.

IFC: How would Harris describe Olivia?

Jared: Olivia is the smartest, coolest, hottest person in the world, and Harris can’t believe he gets to be with her, even though she does overreact to everything and has no chill. Like seriously, ease up. It doesn’t always have to be ‘a thing.’

IFC: How would Olivia describe Harris?

Nikki:  Harris is smart, confident with a dry sense of humor but he’s also kind of a major chicken shit…. Kind of like if Han Solo and Barney Rubble had a baby.

IFC: Why do you think the world is ready for this series?

Nikki:  I think this is the most accurate portrayal of what a modern relationship looks like. Expectations for what your life is ‘supposed to look like’ are confusing and often a let down but when you’re married to your best friend, it’s going to be ok because you will always find a way to make each other laugh.

IFC: Is the exciting life of NYC twentysomethings a sweet dream from which we all must awake, or is it a nightmare that we don’t realize is happening until it’s over?

Tim: Now that i’ve spent time living in the suburbs, helping to raise a two year old, y’all city folk have no fucking clue how great you’ve got it.

Nikki: I think of it similar to how I think about college. There’s a time and age for it to be glorious but no one wants to hang out with that 7th year senior. Luckily, NYC is so multifaceted that you can still have an exciting life here but it doesn’t have to be just what the twentysomethings are doing (thank god).

Jared: New York City is a garbage fire.

See the whole season of Commuters right now on IFC’s Comedy Crib.

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C'mon Fellas

A Man Mansplains To Men

Why Baroness von Sketch Show is a must-see.

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Mansplaining is when a man takes it upon himself to explain something to a woman that she already knows. It happens a lot, but it’s not going to happen here. Ladies, go ahead and skip to the end of this post to watch a free episode of IFC’s latest addition, Baroness von Sketch Show.

However, if you’re a man, you might actually benefit from a good mansplanation. So take a knee, lean in, and absorb the following wisdom.

No Dicks

Baroness von Sketch Show is made entirely by women, therefore this show isn’t focused on men. Can you believe it? I know what you’re thinking: how will we know when to laugh if the jokes aren’t viewed through the dusty lens of the patriarchy? Where are the thinly veiled penis jokes? Am I a bad person? In order: you will, nowhere, and yes.

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Huge Balls

Did you know that there’s more to life than poop jokes, sex jokes, body part jokes? I mean, those things are all really good things, natch, and totally edgy. But Baroness von Sketch Show does something even edgier. It holds up a brutal funhouse mirror to our everyday life. This is a bulls**t world we made, fellas.

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Oh Canada

After you watch the Canadian powerhouses of Baroness von Sketch Show and think to yourself “Dear god, this is so real” and “I’ve gotta talk about this,” do yourself a favor and think a-boot your options: Refrain from sharing your sage wisdom with any woman anywhere (believe us, she gets it). Instead, tell a fellow bro and get the mansplaining out of your system while also spreading the word about a great show.

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Dudes, that’s the deal.
Women, start reading again here:


Check out the preview episode of Baroness von Sketch Show and watch the series premiere August 2 on IFC.

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Happy Tears

Binge Don’t Cringe

Catch up on episodes of Documentary Now! and Portlandia.

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Photo Credit: GIFs via GIPHY

A brain can only take so much.

Every five minutes, all day, every day, ludicrously stressful headlines push our mental limits as we struggle to adapt to a reality that seems increasingly less real. What’s a mind to do when simple denial just isn’t good enough anymore?

Radical suggestion: repeal and replace. And by that we mean take all the bad news that keeps you up at night, press pause, and substitute it with some genuine (not nervous, for a change) laughter. Here are some of the issues on our mind.

Gender Inequality

Feminist bookstore owners by day, still feminist bookstore owners by night, Toni and Candace show the male gaze who’s boss. Learn about their origin story (SPOILER: there’s an epic dance battle) and see what happens when their own brand of empowerment gets out of hand.

Healthcare

From Candace’s heart attack to the rise of the rawvolution, this Portlandia episode proves that healthcare is vital.

Peaceful Protests

Too many online petitions, too little time? Get WOKE with Fred and Carrie when they learn how to protest.

What Could Have Been

Can’t say the name “Clinton” without bursting into tears? Documentary Now!’s masterfully political “The Bunker” sheds a cozy new light on the house that Bill and Hill built. Just pretend you don’t know how the story really ends.

Fake News

A healthy way to break the high-drama news cycle is to switch over to “Dronez”, which has all the thrills of ubiquitous adventure journalism without any of the customary depression.

The more you watch, the better you feel. So get started on past episodes of Documentary Now! and Portlandia right now at IFC.com and the IFC app.

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