This is it. This is the big one. The entire reason Lou wanted to write a blog in the first place. This is the post on the train sequence with Joel (Tom Cruise) and Lana (Rebecca De Mornay) in the magisterial Risky Business. But you know the parameters of the blog. In order to write a post, the inspiration must come from an item on sale at Vinyl Vogue. From day one, Lou has been searching for the Risky Business soundtrack. From what Lou is told this is not a hard find. It is not a holy grail record. Except for Lou. And Lou has come close to pay dirt in the bins at the Vogue. As you know, Spring Break was there. So was The Flamingo Kid, Fast Times at Ridgemont High, and Repo Man. All these movies were released around the time of Risky Business and in the case of Spring Break and Fast Times the movies are in the same exact genre: the teen sex comedy. No dice. The soundtrack eluded Lou’s sweaty, grasping hands. So, he looked for anything by Tangerine Dream, the band who made the soundtrack to Risky Business, which like the movie itself, is a work of art. In another record store, Lou found a copy of Phaedra, a Dream classic. But nothing by the gods of electronica was to be found in the bins on Main Street in Ellsworth. Things seemed bleak. Lou was ready to burst. He had things, important things, to say.
Then Lou found his opening. Sitting in new arrivals a familiar face stared at Lou, the round visage of Phil Collins on his solo album Face Value. This was all Lou needed. So, this post is tangentially about Collins’ Face Value, which you can buy at the Vogue if you are so inclined, but that is all Lou will say about Phil. The album opens with the smash hit, “In the Air Tonight”, and that is the opening Lou was looking for. Let this post begin.
The train scene in Risky Business begins with the ominous soundof “In the Air Tonight” as Joel and Lana enter the train station and get situated on the train waiting for passengers to exit and leave them alone to themselves and their desires. The Collins song is ominous and full of impending danger. There are the myths about this song and how it deals with the time Collins knew of a man who saw someone drowning and did nothing to save him. The real crime depicted in this song is the gated reverb drum sound. It is called the magic break. But it is shit and it dominated the 1980s soundscape.
In the song, there is menace galore. In the train scene, tension builds, anticipation builds. There are anxiety and fear. The musical background captures the emotions and adrenaline that must be coursing through Joel as he sits by Lana waiting. Lana is waiting too. Can you feel it in the air tonight? Oh Lord. One by one the passengers exit. The moment gets closer and closer. And you can feel it in the air tonight. Phil is nothing if not repetitive. Then a comic intermission to release the tension. A homeless man, who is obviously going to ride the train all night, is escorted out of the train and Joel just barely hops back on the train to as I said before, the waiting Lana. The music shifts and Tangerine Dream’s “Love on a Real Train” enters. What follows is one of the great sex scenes in the history of film, not just 1980s teen comedies. It is erotic to the extreme, largely because of the stylings of Tangerine Dream. The well-worn train metaphor for sexual passion and power is given new life here through the electricity of the Dream’s electronica. Train ride as sex. Tired, yes, but only because we as an audience are spent after watching such a heated scene. And the train goes on into the night. Release into the coming dawn.
The train scene in Risky Business ranks with the greatest melding of image and sound ever captured on film. Lou is partial to the Kilgore scenes with “Ride of the Valkyries” in Apocalypse Now. One of the greatest action scenes of all time. Or the screeching soundtrack of Psycho’s shower scene with Janet Leigh. One of the greatest horror scenes of all time. Like these masterful moments in film history, the train scene in Risky Business belongs in the pantheon. I would argue it is as great as any cinematic moment captured on celluloid, like Citizen Kane’s Rosebud (which for those in the know is a sex scene at heart, William Randolph Hearst holds the key to that scene, but Marion Davies is the lock which the key opens), but without a doubt it is one the Rushmores of the best sex scenes in film.
Notice I did not say nude scene. The train sequence in Risky Business is not a nude scene so that is why you do not see it listed on sites like Mr. Skin’s top nude scenes of all time. There is a panty drop. Lana naturally wears white panties. The black tie of panties. Classy. General consensus places Phoebe Cates’ nude scene in Fast Times at Ridgemont High at the top of the mountain. In many respects, that duly admired scene is like the Love on a Real Train sequence in Risky Business. The use of The Cars’ “Moving in Stereo” drives the scene as does the slow-motion cinematography. What send the scene over the top is the comedic money shot with Brad in the bathroom with the closer, “Doesn’t anybody knock?” We’ve all been there even if we haven’t.
The train sequence has that we’ve-all-been-there quality, in fantasy if not actual life. But in one’s teen years where privacy was at such a premium sex in public places, like the back seat of a car, if not a public train, was par for the course. As a teenager watching Risky Business Lou felt the train scene not so much in his pants as in his soul. This was desire at its apex. As an older man, the images of Joel and Lana on the train often came back to him as he dragged himself through a two-hour in, two-hour back commute to work on public transportation in the form of train and subway. Often while reading Greil Marcus’ Mystery Train, while listening to Robert Johnson’s train songs, Lou had flashbacks to Risky Business. As an image of something in the past and now out of reach. There was no Love on a Real Train for Lou on his commute, although an old woman came up to Lou one time and insisted that Lou was Steve Bannon. It was at that moment that Lou realized his looks were fucked.
To get back to 1980s nude scenes where Phobe Cates occupies supremacy in Fast Times, let’s not forget Phoebe in Private School or Paradise. Truly one of the greatest of all time in celebrity skin. We will get to Rebecca De Mornay, our beloved Lana, who all the boys in the suburbs lust for, in due time, but let’s not forget some of the other angels of our youth. In all the lists, Kelly Preston gets high marks in Mischief. Well deserved. Lou always enjoyed Joyce Heiser in Just One of the Guys. The nude scene reveal is classic but what Lou loved about Joyce’s character was that she was an aspiring journalist (albeit one with a rather shopworn journalistic premise), and that Lou might have been able to impress her with a copy of Fear and Loathing in Las Vegas or Slouching Toward Bethlehem. Perhaps they could have talked of new journalism and whether Tom Wolfe should have taken acid in The Electric Kool-Aid Acid Test. Lou hesitates to say it, but he was also partial to Michelle Johnson in Blame It on Rio, which may be one of the most cringe movies of the entire 1980s, but Michelle Johnson shimmers. A bonus was Demi Moore at the beginning of her career a long way from The Substance and Oscar consideration. You have to start somewhere.
There is just too much to say about 1980s nude scenes and the experience of being a teenager watching them, so Lou will provide some thoughts in concentrated form:
Surely you remember
Where you were
When you caught
A glimpse of bush
In Mischief
That Kelly Preston
Will surely be missed
We were all
Farmer Ted’s
Back in the day
Jake Ryan’s
Prom queen
Was too much
To handle
Surely you remember
Her nude scene
In Sixteen Candles
Rebecca De Mornay
Was the woman
Of our Tangerine Dreams
Of course sex
Was a Risky Business
I have to say
This is your brain
On drugs
Just say no
Or you’ll get AIDS
All we wanted was
To catch a ride
with Lana
And make love
On a real train
Each school day
was anything
But fast times
And I was
Anything but cool
Phoebe Cates
In the pool
Was my lady in red
As was Kelly LeBrock
Please don’t judge me
If I wore out a sock
But I have to say
I also had a thing
For Jennifer Jason Leigh
Back in the day
Phoebe was
Out of this world
But there’ll always
Be something
About a girl
Who goes all the way
We all went to
Our own Ridgemont Highs
And we were all
Just one of the guys
Watching all the movies
In the Porky’s franchise
There was something
Magical about 80’s nudity
When a naked woman
Was hard to see
I think of kids today
With porn thrust
In their faces
Watching their screens
In their cyberspaces
And I have to believe
Such easy access
Surely debases
The wonder of nude scenes
I saw as a lad
I for one am glad
I am not trading places
This is the time to discuss a controversy in mainstream nude scenes: the body double. Body doubles are the Hollywood stars that are hiding in plain sight. Brian De Palma used a body double (Denise Loveday) for Melanie Griffith in the movie Body Double. Griffith was mentored in her role by pornstar Annette Haven. This is meta shit, my friends. Jennifer Beals had a body double in Flashdance. Demi Moore used one in Striptease. Body Doubles are everywhere. The iconic image of Julia Roberts on the poster for Pretty Woman, is a body double, Shelley Michelle. A name dear to Lou’s heart. When watching nude scenes in mainstream movies, you can never know if you are getting the real thing. It could be argued that most mainstream nude scenes are a complete sham. Lou knows you want his take on this. Well, Lou feels the body double is like a professional athlete using performance enhancing drugs. Or Lester Hayes using all that goop on his hands in order to make an interception. Or a pornstar using a fluffer. Or not doing an anal scene. Or something. Let’s just say that Lou has strong feelings on the subject, but he has yet to get in touch with them. Or the body double prevents Lou from getting in touch with his feelings. Or getting in touch with himself. Or something. As Norm MacDonald would say the body double is a thorny issue. Let’s leave it at that.
Before we turn to Rebecca De Mornay (Lou apologizes for the delay, he knows you are champing at the bit), Lou must say that Risky Business is much more than its greatest scene. Excuse Lou, the greatest scene. To Lou, Risky Business is one of the great movies of the 1980s and, again for personal impact on this particular viewer, one of the greatest of all time. Lou cannot say it enough because it is just not spoken of. Once upon a time, in another life, Lou conducted an email correspondence with what can only be described as a hot librarian, or maybe more accurately a hip librarian. At the time she was married to a legendary rock star and was working with books. She emailed Lou unexpectedly with some questions but Jeff Nuttall’s My Own Mag, the greatest mimeo mag ever published. This led to some periodic conversation on popular culture. At one point, Lou expressed his feelings about Risky Business to which she shot back, “That is cute, Lou, but the best teen movie of the 1980s was River’s Edge.” Lou must admit that at first Lou felt kind of like a frat boy or feckless nerd after that retort. Clearly the librarian was an example of extreme cool. It was like if Lou said he loved Marianne Faithfull’s first album quite a bit and the librarian would respond you should be listening to Nico. The librarian was several levels of cool beyond Lou. And Lou felt it. That said, Risky Business, like Marianne Faithfull, is the real deal as time would tell. Marianne was every bit as authentic and OG as Nico, just as Risky Business with its take on 1980s materialism and ambition and teenage sexual fantasy was every bit as critical as River’s Edge’s bleak view of society. In some respects, Lou thinks we were both wrong and that Heathers was the tops in terms of 1980s teen movies. Like Blame It On Rio, although for different reasons, Heathers for some is tough to watch now, but the movie and Winona Ryder’s character were light years more nuanced and complex than the typical teen movie of the time. And it should be said that for many a teenager in the suburbs, like Tom Cruise’s Joel in Risky Business, what they really wanted was not Lana, who to be honest was just terrifying, but Winona Ryder, a girl you could ride and die with on a Friday night in the burbs.
We will get to Rebecca De Mornay Lou promises but can we for a second just state the obvious, Risky Business was the height of Tom Cruise’s acting career. Cruise peaked early and was never better than in 1983: Joel Goodsen in Risky Business, Stefen “Stef” Djordjevic in All the Right Moves, and Steve Randle in The Outsiders. Pretty fucking good. Lou is not a Top Gun guy. Cruise as cool guy is tough to believe. Lou saw Cruise on the Oprah’s couch. The guy is a clown show. So, The Color of Money and Days of Thunder are out. Do not get Lou started on Cocktail. Brian Flanagan in Cocktail encapsulates all the worst qualities in a bartender. At his core, Flanagan just wants to get laid. Anybody who is in a bar to get laid, bartender, owner, or patron, is a loser. Bars are for drinking, preferably alone with no TV or music, just the bartender to spend the time talking, not about politics or sports, but about the best nude scenes of the 1980s. Cruise the serious actor Lou also does not buy. Magnolia, Eyes Wide Shut, Vanilla Sky. Pretentious trash. Cruise the action star is laughable. The guy is a midget. Sorry, vertically challenged. The only role that stands up to Joel Goodsen is Jerry Maguire, which may very well be the same person. Jerry is Joel after Princeton and as a grown man.
Like Cruise, Curtis Armstrong, also known as Booger, puts on an impressive performance in Risky Business. Armstrong will forever be associated with his character from Revenge of the Nerds, truly one of the legendary comedic creations in all of film. But Armstrong, as Risky Business shows, was not a one-role actor. He was the Wilford Brimley of 1980s teen movies, just stealing scene after scene. It is hard to believe that Miles Dalby in Risky Business was Armstrong’s first movie role. He smokes. Is there a stronger opening to a career than Armstrong’s run from 1983 to 1985? Risky Business, Revenge of the Nerds, and Better Off Dead. “What is the street value of all that snow?” Then, some crap only to come back with Ack Ack Raymond in One Crazy Summer in 1986. Armstrong, in Lou’s opinion, never lived up to his promise, but how can you continue a heater like Armstrong’s opening his career.
In terms of Armstrong’s opening three-pack, the only comparable triple threat for what amounts to a character actor is Anthony Michael Hall in Sixteen Candles, The Breakfast Club, and Weird Science. Lou understands Hall resides in a slightly higher plane than Armstrong. Anthony Michael Hall is not, like Armstrong, a Wilford Brimley type. In Weird Science, Hall is the star. Excuse Lou. Kelly Le Brock is the star. Hall is the lead actor. But Lou often thinks of Anthony Michael Hall’s run from 1984-1985 in terms of Armstrong’s run over a similar period. Hall should have been awarded a best Supporting Actor award in Sixteen Candles as “Geek.” Lou prefers to refer to him as Farmer Ted. Hall lights up the screen and steals every scene he is in. Lou won’t mention Long Duk Dong as played by Gedde Watanabe in today’s climate. In fact, the Farmer Ted character becomes rather, err, complicated by the end of the movie as well.
Pivot: Let’s see who was up for the Oscar for Best Supporting Oscar for 1985:
Haing S. Ngor for The Killing Fields
Adolph Caesar for A Soldier’s Story
John Malkovick for Places in the Heart
Pat Morita for The Karate Kid
Ralph Richardson for Greystoke: The Legend of Tarzan, Lord of the Apes
Haing S. Ngor won for his role as Dith Pran. Lou gets it. Important movie, significant role, but let’s give Farmer Ted some love. (We should mention that given the nominees of 1984, which seems rather diverse for the times, the character of Long Duk Dong seems even more problematic.) Maybe there should be a sidekick or kooky dude award that is not quite up to the level of Supporting Actor. So, William Jacoby would be nominated for his role as Buddy in Just One of the Guys from 1985. You might think that Joyce Heiser’s breasts were the starring attraction, and Lou admits, Heiser as Terry Griffith is very underrated in the nude scene department. Heiser’s nude scene was the movie’s major plot twist for goodness’ sake. It was not gratuitous in the least it was essential to the movie. Come on. Anyway, William Jacoby eats up the scenery throughout the movie. Bravo, Buddy!! A dark horse in the kooky dude category, and maybe largely forgotten by those not immersed in 1980s teen sex comedies, is Courtney Gains (as Courtney Gaines) as Rag in Hardbodies from 1984. Dude, 1984 is a monster year in the sidekick department. If Rag is not the best sidekick of that year, he just might have the best scene when he flips off a fat punk in 48 different sign languages. Or something like that. Lou has not revisited the glory that is Hardbodies in quite some time. Like Blame It on Rio, Hardbodies has not aged well. To be honest, it was always suss.
Ok, it is time. Rebecca De Mornay time. If it is debatable whether Risky Business is the best role in Tom Cruise’s career (It is), then is Lou safe to say that Lana was De Mornay’s role of a lifetime. De Mornay crushes the assignment. There are other roles. Payton Flanders in The Hand That Rocks the Cradlemight be considered by some as her key role. For the horndogs, there is And God Created Woman a flesh fest that lacks the sophistication and soundtrack of Risky Business. Then there is Runaway Train, which is not a sequel to Risky Business that chronicles Lana’s adventures after hooking up with Joel. Missed opportunity. Lana is De Mornay’s iconic role and made her an object of fantasy for teenagers everywhere. As mentioned in the movie, all the boys in the burbs were looking for a Lana. As Lou touched on above, in reality this was patently untrue. No Joel in the burbs could handle Lana. In some respects, De Mornay’s Lana is as frightening a prospect as Payton Flanders.
Can we stop for a second and talk about the Curtis Armstrong to Rebecca De Mornay’s Anthony Michael Hall? Let’s shout out Deborah Foreman. She is probably best known for her starring role in Valley Girl, with a young Nicholas Cage and, yes, Deborah Foreman, like De Mornay in The Hand That Rocks the Cradle, is scream queen. You know Foreman’s work in April Fool’s Day for sure. And of course, you know Foreman from My Chauffeur. Come on, of course you do. Casey Meadows is one of the true smoke shows of the 1980s. But Foreman’s best role was as Susan Decker in Real Genius. A true bit part but she makes the most of it. This dialogue is up there with anything from Casablanca. Foreman: Can you hammer a six-inch spike through a board with your penis? Kilmer: Not right now? Foreman: A girl’s got to have her standards? If Foreman never did anything else, she would be a legend.
Now Lou is about to launch a hot take. Was the role of Chris Knight in Real Genius the pinnacle of Val Kilmer’s career, much like Joel Goodsen is without irony the highpoint of Cruise’s? Lou must admit that such a statement would be merely trolling. Just because Kilmer was in Heat. One of the most exhilarating in-theater experiences of Lou’s life. Lou watched Heat in a theater in Naples, Florida while on a Lithium regimen that left him as a zombie and despite the heavy medication watchingHeat gave Lou some juice. “The action is the juice.” RIP Tom Sizemore and a hello to Heidi Fleiss.
Top Five In-Theater Movie Experiences of Lou’s Life (in no particular order)
Heat as mentioned above
Revenge of the Nerds: Watched sitting next to his mother which made for many awkward moments, which added to the erotics of the experience
Aliens: Watched with about six or seven middle school friends. 137 minutes of pure adrenalin. Lou left the movie completely spent. A true roller coaster. Maybe only watching The Hitcherin his basement compares for shocks to the system
Jaws: The Revenge: Never before or since has Lou seen something so bad. It was so bad that Lou’s friends beat him up for making them see it
Jaws II: Watched on Block Island the scene when Brody wades out to the waves to pull out the water skiers remains out of the surf was so terrifying that Lou ran out of his seat and locked himself in the theater’s bathroom. The intensity of seeing this movie made Lou a Jaws fan for life and was the major reason why he went to see Jaws: The Revenge in the first place.
Honorable Mention: Julie & Julia: This movie had Lou bawling uncontrollably due to the fact that a blogger like Lou had found success, fulfillment, and happiness. Incredibly sadmoment for Lou. A true low point.
Now, for an over-the-hill loser on the downside of life like Lou, Lana does not hold much interest as that is kid’s stuff, even if too powerful for the kiddos. No, the real-life Rebecca De Mornay is the object of fascination. In the early 1980s, Tom Cruise was apparently infatuated with De Mornay, but she supposedly turned down a marriage proposal and had her romantic thoughts elsewhere. Before having an affair with Cruise during Risky Business, De Mornay was dating Harry Dean Stanton. No shit. The only actor who out-Wilford Brimleys Wilford Brimley. Stanton is THE character actor of his generation. He also seems like a bit of a used-up loser. It seems like Stanton knows his way around a beer and a tobacco product. Like Lou. Fun Fact: Harry Dean Stanton was 55 and De Mornay was 21. These are the numbers that matter. The fact of De Mornay dating Stanton in 1981 makes Lou’s heart skip a beat. It is like that scene in Dumb and Dumber where Jim Carrey’s Lloyd realizes he has a chance, no matter how small with Lauren Holly’s Mary. And wouldn’t you know it Carrey did have a chance with Lauren Holly in fact and fiction. Does the same hold for Lou with Rebecca De Mornay? Lou would now be the younger man.
Now you might say, Lou, De Mornay left Stanton for the younger, hotter Cruise. Sure, but she spurned Cruise eventually. She came to her senses. I don’t blame De Mornay. If Lou filmed a scene as scorching and intense as the Love on a Real Train sequence in Risky Business, Lou would date his co-star too. You fucking created fucking movie fucking magic. That does not happen every day. But De Mornay got out of Cruise’s grasp and fell into the arms of Bruce Wagner. A writer. Now we are getting somewhere. Losers. Writers. Lou falls into De Mornay’s erogenous zones. De Mornay divorced this dude after a few years and then dated and was briefly engaged to Leonard Fucking Cohen. She co-produced Cohen’s 1992 album The Future. De Mornay has a thing for creative, loner types with issues. This is good news.
Now why did all this happen? Why was De Mornay with Stanton and Cohen? It could be the age-old Daddy Issues thing. That plague on a woman’s psyche that has allowed losers, like Lou, to have a chance to swing above their station for millennia. De Mornay’s mother was Julie Eager, a minor actress who later remarried Richard De Mornay, Rebecca’s stepfather Richard suffered a premature death in 1962, but Rebecca took her stepfather’s last name. Rebecca’s biological father was Wally George, a controversial figure for sure. Rebecca and Wally did not get along, no matter what Wally George may have said in public. And George was a public speaker of a sort. George was a disk jockey, but he is best remembered for being an unhinged television host who was one of the original TV shock jocks. Joe Pyne is generally regarded as the first shock jock. A figure who was confrontational, aggressive, abrasive, and often smoked a lot. Joe Pyne set the template. He had guests like Nazis and the KKK as well as controversial figures like Anton LeVey and Manson followers. He also featured hippies, feminists, liberals,and homosexuals. All these guests would be baited and berated mercilessly. Morton Downey Jr., the smoking and all, ran with it. Downey Jr. may have got his inspiration from the pioneer Pyne, but he was definitely on Wally George’s TV Show, Hot Seat. The two alphas get into it and what Downey Jr. got out of it was a living. Wally George was not a mere copycat of Joe Pyne. George was an innovator. George took Pyne as an inspiration and applied it to television, beginning the combat TV style used by Downey Jr., Geraldo Rivera, Jerry Springer, and others. Pioneers like Pyne and George inspired spin-offs like conspiracy and paranormal talk shows, such as that of Art Bell. And Joe Rogan, the most influential and listened to talk host of the current moment. Rogan was on the Art Bell show. So, in a way you can blame Wally George for the Rogansphere. Did Lou mention that Rebecca De Mornay hates her father? Now you know part of the reason why.
Lou watched Morton Downey Jr. religiously during his high school years. The show was hysterical. In all senses of the word and Lou ate it up. As an old man, Lou has left Morton behind, but he does watch Chris Elliott as Morton Downey Jr. on Letterman from time to time. Lou can’t tell what is better, the parody or the original. Or maybe more to the point, he can’t tell if the original was always a parody.
And late at night, a few drinks under his sagging belt, Lou watches Chris Elliott as Morton Downey Jr. and he remembersWally George, and he remembers Rebecca De Mornay. Did he ever forget her? And he gets on YouTube and watches one of the greatest pieces of film ever produced. Sex scene as perfect mise-en-scene. A masterpiece. Sound and image in unison. Seamless. And when the clip ends and the insistent beat of “Love on a Real Train” dissolves in the air tonight. Lou takes a sip of his beer and gets up from his computer and goes out into the crisp night air and he has a smoke. Alone.
Readers of the blog, thanks for reading this if you made it all the way through. Just know you should take it at face value. Or in someways as a review of Face Value. Lou has said it before,and he’ll say it again: Listening to a record can take you places, maybe around and around in a circle to the very center of your being or spinning out into the universe where “Love on a Real Train” is the music of the spheres and everything makes sense because everything is connected. Where Rebecca De Mornay is linked to Tom Cruise, Harry Dean Stanton, and Leonard Cohen through her relationship with her father Wally George who connects to Morton Downey Jr. who in high school spoke to Lou, but nothing like Lana and Joel spoke to Lou when they went on a train ride and did not say a word. End scene.
This is a lot to digest. Lou will close with one of the best lines relating to one of the few movies better than Risky Business, Apocalypse Now. The line comes from Marlon Brando in the documentary on the making of Coppola’s finest film, Hearts of Darkness. (Don’t sleep on Eleanor Coppola’s journal written about her experience on the film as well. Sure, it has tidbits on Francis’ trials and tribulations, but the real meat of Eleanor’s journal is what it is like being an independent, creative woman with a “genius” as a husband. How does one find space to think, create, and raise children, when that “genius” sucks all the attention and oxygen out of the room of one’s own.)
To paraphrase Brando: Lou can think of no more dialogue today.
Suggested Sites and Sounds:
Risky Business: The Rewatchables – This Movie Will Change Your Life: ‘Risky Business’ Made Tom Cruise an A-List Star | The Rewatchables
Best Nude Scenes of All-Time for Cinephiles: Even Here Phoebe Cates Makes the List: 28 Best Nude Movie Scenes of All Time - The Cinemaholic
Body Doubles: 96 Times Hollywood Fooled Us With Celebrities’ Body Doubles | Bored Panda
River’s Edge Trailer: River's Edge Official Trailer #1 - Keanu Reeves Movie (1986) - YouTube
Booger!!!: Booger Best Moments - Revenge Of The Nerds
Rag Going Off Flipping Off: Cool dude flipping bad guys off in 48 different languages!
Buddy Just Being the Man: Just One of The Guys - "How To Be A Guy" scene
Best Supporting Actor 1985: Where is Anthony Michael Hall?: Haing S. Ngor winning Best Supporting Actor
Deborah Foreman Has Her Standards: 1985 Real Genius
Where Is Lou? He’s in the bathroom!!: Jaws 2 (2/9) Movie CLIP - A Grisly Discovery (1978) HD
Harry Dean Stanton: Legend: Harry Dean Stanton: Partly Fiction | OFFICIAL TRAILER | A film by Sophie Huber
Lou Has a Chance: Dumb & Dumber - "So you're telling me there's a chance"
Joe Pyne: Pioneer: The Joe Pyne Show (VIDEO) 1960s
Wally George – Hollywood Story: Wally George: The E! True Hollywood Story
Wally George vs. Morton Downey Jr.: Wally George vs. Morton Downey Jr. (1984)
Chris Elliott Jr!!!!!: The Chris Elliott, Jr. Show Collection on Letterman, 1988
Eleanor Coppola’s Notes: Notes: On the Making of "Apocalypse Now" by Eleanor Coppola | Goodreads
— Lou Waxman