With Charles Grodin’s passing two weeks ago, an appreciation of his under-appreciated career can’t neglect what is most inarguable his finest cinematic (two-)hour(s): Martin Brest’s 1988 buddy comedy co-starring Grodin and Robert De Niro, in his first studio starring comedy role. Ted Haycraft and I are joined by the film’s editor Billy Weber on this episode, which triples as not only an appreciation of the film, but also the careers of director Brest and Weber’s. We discuss:
what childhood movie inspired Billy’s only directed feature;
how his circuitous path through older editor’s union rules led him to watching The Exorcist 150 times;
why helping a then-film student Brest while working in Taxi Driver’s editing room didn’t necessarily lead to future work;
but being rejected by a director for not having “box-office success” opened up his schedule to edit Beverly Hills Cop for Brest.
Also:
why the film’s centerpiece reunion scene might be the key to the genre “gumbo” that makes the film so rewatchable;
how Billy’s interest in improv acting helped him blur the line between editing naturalistic and star-making performances;
the version of Brest’s Gigli that was a good film before studio reshoots;
and how stupid it is that that film’s questionable reputation has left Brest where “no one will take his calls.”
This one’s full of some great stories.
Billy Weber is a two-time Oscar nominee entering his sixth decade editing features. He’s worked on multiple films for such directors as Terrence Malick, Martin Brest, Walter Hill, Tony Scott, and Warren Beatty. His credits include, among others: Badlands, Days of Heaven, The Warriors, Beverly Hills Cop I and II, Top Gun, Pee-Wee’s Big Adventure, The Thin Red Line, Bulworth, Rules Don’t Apply, and The Predator.
Midnight Run is streaming on HBO Max and available on Blu-ray from Shout! Factory.