GRIFFIN DUNNE TALKS ABOUT IDEAS FOR THE ENDING OF SCORSESE'S 'AFTER HOURS'
Last week, Matthew Jacobs at Vulture posted Griffin Dunne Answers Every Question We Have About After Hours, which included this section:
How much papier-mâché ended up on your body?
It took quite a bit to get off at the end of the night. I would just soak in a tub and get all of that papier-mâché off. They really stuck me in that sculpture, and Cheech and Chong carried me around. It was pretty easy to look claustrophobic in it with just my eyes.
The movie was originally going to end with you remaining in the sculpture, but test audiences didn’t like that fatalistic outcome, right?
Yeah, it was too claustrophobic. It didn’t give them any release. They worried about the boy in the sculpture: Is he ever going to get out? Marty showed it to his friends Brian De Palma and Steven Spielberg. We just came up with ideas. I forget whose idea it was that we got so excited about, which was that in the basement, Verna Bloom would go, Come here, quick, hide! She’d point to herself and then it would be a quick cut to her being pregnant with me. I think she was going to give birth on the West Side Highway and I was going to come out covered in plasma. And David Geffen, who financed the movie, went, No way, that is a disgusting ending.
I can’t say that I disagree with him based on that description.
No, I know! We were desperate for an ending, and it seemed like a good idea at the time. He brought us to our senses, and then we came up with Paul flying out of the back of the van and he cracks open and off he goes to work.
How long did it take for them to glue you into that sculpture?
It was in two pieces, and I fit into it in an embryonic kind of way. Getting into it was not a big problem; it just took a while to seal me in. I would be in that thing for quite some time before we rolled, and I wasn’t getting out between takes.