![]() ![]() Stein was also a writer for '80s television shows including Barney Miller and Mr. Jeff Stein created music videos for Billy Idol "Rebel Yell" and Hall & Oates "Method of Modern Love" around that same time and then went on to direct many other '80s music videos including Tom Petty & the Heartbreakers "Don't Come Around Here No More", Heart "These Dreams", Huey Lewis & the News "Doing It All for My Baby", Breakfast Club "Right on Track" and Warrant "Cherry Pie" among many others. Stein, along with Charlex founders Alex Weil and Charlie Levi, directed and produced the video for "You Might Think". Many music videos at the time were more performance based, but Stein thought The Cars were a boring live band so he wanted to use some digital trickery to get around that and make them more interesting. At that time, New-York-based visual-effects company Charlex was creating innovative advertising which caught the eye of director Jeff Stein. He has no place to hide now, and a last contact knocks the car off its props and sends it careening through the plate glass window, into the wooded crevasse below.The "You Might Think" music video was one of the very first to use computer graphics. He vents his anger by kicking the car, breaking the lights and denting the front fender and hood. That's when Cameron's deep well of frustration boils to the surface, deciding he must take a stand against his father's domineering ways otherwise he will get pushed around for the rest of his life. Despite this, the car is returned to them in apparently pristine condition at the end of the day, but there is a major hitch: while the odometer only had a few miles on the clock to begin with, it now reads much higher.įerris's simple solution of running the car in reverse while propped up doesn't work at all. We know he'll be in a world of s**t if there is the slightest scratch, played to comic effect when they leave the car with a shifty garage attendant (Richard Edson) who instantly takes it out joy-riding as soon as they turn their backs. It's all set up when the Ferrari is first introduced to the strains of "Oh Yeah" by Yello ("Chicka Chicka!") when Cameron tells Ferris that his father never drives it and knows the exact mileage. He's a character that could have come across as smarmy and insufferable in other hands, but Broderick plays him with such irresistible brio that it's impossible not to root for his one last shout for mischievous rebellion. It is an exuberant and good-hearted wish-fulfillment fantasy that plays as a youthful celebration of "seize the day." On the few occasions I skipped school, I just ended up sitting around watching videos all day, so Bueller's city-wide adventure was always a thing of envious wonder for me. "Ferris Bueller's Day Off" came at the end of John Hughes's great run of influential '80s teen movies including " Sixteen Candles" and " The Breakfast Club," and it's one of the great comedies of the decade. With both Rooney and his jealous sister Jeannie (Jennifer Grey) on his tail, can Ferris pull off this monumental skive and make it back to his sick bed before his parents get home from work? Next stop, downtown Chicago for a freewheeling excursion taking in art galleries, baseball games, and swanky restaurants, before a show-stopping lip sync performance from Ferris at a huge parade. ![]() The vintage motor is instrumental in busting Ferris's girlfriend Sloane (Mia Sara) out of class under the nose of dean Ed Rooney (Jeffrey Jones), Bueller's uptight nemesis who is hellbent on catching him. The tension arises from one question: how? You might think I'm crazy To hang around with you Maybe you think I'm lucky To have something to do But I think that you're wild Inside me is some child You might think I'm foolish Or maybe it's untrue (You might think) you might think I'm crazy (All I want) but all I want is you You might think it's hysterical But I know when you're weak You. It is the comedy equivalent of Chekhov's gun, like the piano Stan and Ollie are lugging up the flight of stairs in "The Music Box." If you present a valuable, prized item in the first act, it must absolutely get destroyed by the time the credits roll. The movie's key prop is a pristine, astonishingly rare 1961 Ferrari 250 GT California Spyder, and from the moment it appears on screen we know it'll end up trashed. Then you have the Ferrari in " Ferris Bueller's Day Off," John Hughes' classic '80s comedy about a high school chancer and his mission to play hooky one more time before graduation. As for the gorgeous Plymouth Fury in "Christine," I'd take my chances with her murderous moods just to give her a spin around the block. If I had my pick, I'd take a 1970 Dodge Challenger from "Vanishing Point." Of course, I wouldn't say no to James Bond's Aston Martin either, even if it was just to play around with the bullet-proof screen, missile launchers, and ejector seat.
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