did not like what they were seeing they did not understand his vision and they were so afraid they'd hired the wrong director and that he was making this crazy ass Grand Guignol nonsensical thing that was neither a comedy nor a horror film nor for kids nor for adults. "I was like, ‘This is either going to be like an absolute masterpiece, or it's going to be unwatchably bad.’" The studio had a similar worry: "Warner Bros.
That's not to say he didn't have misgivings before principal photography began in earnest in the summer of 1986. It just kind of reminded me that, ‘Well, at the end of the day, it's an entertaining movie,’ which is why I think it’s stood the test of time." And not in a disparaging way - it's such a specific movie to the times. I was just in London, we showed it at the Prince Charles Cinema in London, in Soho.
"It felt like a movie for the ‘80s, about the ‘80s, and that it would be done when the ‘80s were done. "It's such an idiosyncratic movie, that it never occurred to me that it would survive its era," admits Winter, who would become a household name two years later with the release of Bill & Ted's Excellent Adventure.
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In fact, The Lost Boys marked the professional starting point for several longtime Hollywood veterans such as Kiefer Sutherland and Alex Winter - the latter of whom never expected to see the film live past the decade in which it was made.
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This was only the beginning of an impressive production design career for Welch, whose resume would go on to include Beetlejuice, Batman Returns, Men in Black, the first Thor, Land of the Lost, and Netflix's A Series of Unfortunate Events (among others). There were tremendous people involved in this thing." He remained as producer and was just an incredible positive energy towards the execution of this movie.
Had Donner gone through with The Lost Boys, however, it might have turned out "like vampire - Goonies," Welch posits. "But that would have been sad to follow up Goonies with a Goonie-age bracket vampire thing. Richard Donner - the filmmaker responsible for mega-box office hits like Superman and The Goonies- was originally slated to helm the project until he was forced to abdicate the director's chair over his commitment to Lethal Weapon. Joel nailed the sexy young vampire thing." "Prior to that, it was always scary, ancient Peter Cushing or the classic old Dracula," the movie's production designer, Bo Welch, tells SYFY WIRE over Zoom. "So that really was big when you see what happened in subsequent years with vampire movies. Thirty-five years ago, the late director known for his stylish flare and finely-calibrated sense of camp quite literally invented the coming-of-age vampire sub-genre with a little picture called The Lost Boys. Without Joel Schumacher, we probably wouldn't have Buffy the Vampire Slayer, Twilight, The Vampire Diaries, or even Peacock's upcoming Vampire Academyseries.
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