UTTHE

GOONIES {#~ \.~]

...

A STEVEN
SPIElBERG
PRESENTATION
ARICHARD THE STARS
DONNER FILM ...~
){

THE MOVIEMAKERS
~

. . EXCLUSIVE INTERVIEWS
W hole Photo Story In Full Color

IONUS I Cyndi Lauper's

Goonies Music & Video
01

0
 E N I
inside or chicken out?
• Welcome to the Ugbt·
bouse Lounge, also the
hideout of the Fratelli
Gang.
• What or who bas Mikey
found in the Fratellls'
basement? He also un·
covers a secret under· tured by the Fratellis.
CONTENTS ground entrance. • The Goonles discover

• Tbe Goonies Cast •••

• Tbe Goonies Crew
e • The other Goonles are Chester Copperpot's skele-
ton, his mysterious
medallion, a booby trap,
• On a rainy summer day, and bats.
Jake FrateiU busts out of • Andy takes the Goony
jail. Cauldron Point and oath, while Chunk makes
the Goon Docks kids will a hungry new friend.
never be the same.
• Meet Chunk, Mouth, • The Mast Over Troubled
Mikey, Brand, and Data Waten keepa cast and
- The Goonies. And the crew on their toes.
Truffle Shuffle. • The Fratellls are bot on

HE GOONIES is the story of a rag-tag friends who are dra"" n together during an mcredible
adventure. Mikey, his brother Brand, &ta live ~ith their middle-cia$ families in Cauldron
Point's seaside Goon Docks. Thus they the Goomes Their homes are about to be destroyed
·to make way for the country club's new Mikey is especial~· depressed about it but what can
he do? Will this be the la5t Goonies
While rummaging around in h1s parents attic. others find an old map and a mysterious doubloon.
Data recalls the local pirate legend of One-Eyed hidden treasure .that no one has ever located.
Can the Goonies find "the rich stuff," Mikev the Goon Dock.c;?
Joined by two local girls, Andy and Stet. the <Jx>nies stt out in search of One-Eyed Willy's booty They cleverly unravel
the map's tricky riddles, which lead them to an abandoned lighthouse. They enter, only to learn that it's also the hideout
of the notorious Fratelli Gang, a fumbling threesome of counterfeiters. Eventually, the <Jx>nies sneak into the basement,
where they come across a strange creature - Sloth - ?nd the secret entrance to a maze of underground tunnels. But
as the others crawl down inside, Chunk is captured by the
Fratellis and locked up \\>ith "it." The Fratellis figure out what
the kids are op to and they go off in pursuit
The <Jx>nies meet with all sorts of perilous obstacles as
they wind their way through the spooky tunnels: eerie
skeletons. deadly booby traps, screeching bats, a treacherous
bridge over raging waters, the threatening Fratellis. a menac·
ing organ made from human bones, a water slide that leads to
 A
the Goonies' beets, but
Slick Shoes slows them
down.
• Andy bones up oo ber
plano playing when the
kids enter the skeletal
organ chamber.
here mar hare been altered in the fmal editing of the film Then. too, you may spot some of One-Eyed Willy's pirate
pranks living on these pages.e
-'The mule goes lOili'
aud the GoonJes eod up
with a cliffhanger.
;JI's a bumpy ride, bat
tie water slide ia
o trageou.
·~reka! Oae-Eyed Wll-
l)'s lost pirate ship. Who'a
~bing Stefa leg aader·
water?
• The IDferDo wu a
monamentallabor of love.
• It looklllke the Goonies
have struck It rich .. .
• ... Bat Mama and the
boya break ap the party.
Not even the Intimidator
cu help them.
• Aa the ldda walk the
plank. Sloth aod Chuk
lwiDI to the reseuel
• Tbe ldveotue almoit
blows ap Ia their faces,
bat the GooDies eeeape.
• They ftnd the jewels • Meet the GooDies
aod the Goon Docb are • Meet the Moviemakera
saved. A rom&Dtie, happy • Cut & Crew Credita.
eadJ.al. Pablbblag Acknowledge-
• Aa the GooDies rejoice, ments
Oae-Eyed WlUy ud tbe • Tbe GooDie~ Mule &
ln/emo Uve apinl VIdeo, Cyndl Laaper,
rockln' wrestlers, and
Dave Grusln.
ABOUT THE SOUVENIR
MAGAZINE· This Official Col·
lector's Edition is compiled
from preproduction art.
~mes artifocts, storyboards,
still photograph!> taken during
filming. and exclusive inter·
views with members of the
cast and crew. In taking you
behind the scenes or The
Goonies, the magazine also
presents our chronologiCal
recreation of the film's story.
Bear in mind that certain
scenes and material featured
 SEAN AST I N
Mikey

J EFF B. C 0 H EN MARTHA PLIMPTO N

Chunk Stef

KERR I GREEN
Andy

J 0 SH

CO REY FELDMA N
Mouth
 ROBERT DAVI
Jake Fratelli

Mama FrateUi

JOH N MATUSZAK
Sloth

JOE PA NTOL I ANO

 HARVEY BERNHARD
(above left)
Producer
RICHARD DONNER KATHLEEN KENNEDY
(above right) (above right)
Director & Producer Executive Producer
STEVEN SPIELBERG CHRIS COLUMBUS
(right) Qeft)
Executive Producer Screenplay Writer
MICHAEL RJVA
(below)
Production Designer

MATT SWEENEY SPECIAL EFFECTS

Special Mechanical Effects
A (tEVfl< DEVICE" Foil.
R.~ N~ A RA681f Ovl"
Of A f4...T •• .
 \Nl>\lSTRlA\. UGHT & MAG\C
(0\v. of \.ucasfl\m Ud.)
Special Visual Effects

M\CHA£.1. KA}\N, A.C.E.

(abOve)
f.ditor
 :>
~

FEEDING TIME IN PRJ- f

son, but it looks like i
swinging COD Jake Fratelli
won't be eating. Look
Jailer. Great balls
fire! It's a break, with
a blazing assist from
Francis!
,
...
~I
,

--·-
r

,-
-~-

---·--
..:.~ f'

l'
I

.. , ~ ..', + . ..•' ! ,.~ ,,,'\t t1

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inhabit them ... at least

for the time being.
 HE GOONIES opens with the frenzied jailbreak, during which we meet the

T
Fratellis- Francis, Jake, and Mama. The jailbreak scene quickly establishes the
dual identity of the Fratelli Gang, at one moment clever criminals, the next
moment cartoon cutups. Here they've staged Jake's daring escape complete
with Molotov cocktail. But when he reaches the getaway car, his brother Francis
fumbling madly to get the car door unlocked.The ensuing chase by the cops through
town introduces seven local kids- the Goonies-all but one oblivious to the uncommon
......,, _ ... ·ovl'itom''"' in this otherwise sleepy town. Shift to the Walsh house, home of Goonies Mikey

Brand. What the artist's rendering cannot show is the original state of the house.
found the location and really liked it," says Production Designer Michael Riva. "It
~v~~·KS the whole bay and port of Astoria" But the house was in disrepair; not moviemak-
material. 'The morning we chose the house," Riva continues, "we asked the woman
who owns it if she'd like us to restore it for her. She looked at us as if we were crazy.
We said wewere from Hollywood, and she understood immediately. We redid the house
, inside and out, and now she has abeautiful home." And the Goonies have a terrific loca-
'tion for the beginning of their outrageous adventure.

WORKER ANTS,
the Astoria crew is all
over the Walsh boose.
The weather during the
shoot was typical Pacific
Northwest fare: foggy,
rainy, cool. Bot that did
Httle to dampen the ef.
forts of the spirited crew
II. I J..\ and cast.
I
rrs CALLED THE TRUF·
fie Shuffle, Chunk's
twisting, shaking, belly
juggle. He gives a com·
mand performance before
the other GooDies activate
the Rube Goldberg device
(oppo1ite page, lower
rigbf) that finally opens
tbe gate outside the
Walsh's. Eat your moon·
walking heart out,
Jl
 RIGINALLY CALLED 'The Goon Kids," the idea for The Coomes, recalls
Screenplay Writer Chris Columbus, came from Steven Spielberg. "He knew
there was a bunch of kids. The concept was: What do you do on a rainy
summer day and you're bored? The kids live in the Goon Docks, and
each has a strange quirk." Director Richard Donner credits the casting
directors, Mike Fenton and Judy Taylor, for finding the right kids. "Each of the kids is
real~ his nickname in real life," says Donner. Jeff (Chunk) is chunky, Key (Data) is fascinated
with electronics, Corey (Mouth) never shuts up." Spielberg sums up just who the Goonies
are: 'They are an often ridiculous, rag-tag, junk-food bunch of American kids whose biggest
enemy- besides the local bullies and snobby girls-is weekend boredom. Never bore a
Goony or you'll be facing an adventure bigger than the entire neighborhood and stumbled
upon by sheer outrageous accident. To play these 'reja:ts,' Dick Donner and Isaw hundreds
of faces. Our selections were based on gnarly behavior, inexhaustible energy, and big ONE BY ONE, THE
quantities of weird humor. Every kid in The Goonies has a mushy, sentimental center. GooDies gather at Mikey
Donner has the mushiest, which is why he worked so brilliantly with them." And speaking and Brand's. Mouth,
of mushy, how about Chunk's Truffle Shuffle? Jeff Cohen describes it. 'The only way they nicknamed for his wit,
let me in the Goonies club is if I do this dance. I make rumbling chicken noises and enters. Data, a secret·
chicken movements with my arms, while moving my stomach in and out." agent type, makes a dar·
ing if somewhat flawed
swing over from his house
next door. Chunk shuffles
in next. Brand, the jock,
is unimpressed. Says his
asthmatic brother Mikey
in between shots from his
breathallzer: ''Nuthin' ex·
citing ever happens around
here anyway." Ha! Just
you wait ....

MIKEY EASILY SOLVES ii'~'~'~"'#'C

...
the Al Jaffee fold·ln on
the back cover of Mad.
--
L~~ ~ .

~ ::t;.::;."''~'
~-"'-'-=~
,.. ;:k.l./1.4 <S¥"T ..,...~,-~
<"'",...Jtl;lr«,
J c~-r:.~WWv~
/1 1~(, ~•• ,.,_
His knack pays off In f(M
i """a:;~~
~l ~~~ t.t trrf(,'> h Ptl
~oi M~ ~.A"" r£1" TC'E.J:it.ret'
spades later that day. - .... -vr-1 ·'V-'1:;.1 ~
n .; ~N ....AI"" ~ s:7r ~.<;
- ""'l.ltfA~ '
MOUTH TRANSLATES
the Spanish phrase that
headlines the map:
"Ye Intruders beware,
rushing death and
grief, Soaked with
blood, Of the tres·
passing thief."
 EFORETHE adventure begins, a conflict is introduced in this scene, pitting
the middle-class Goonies and their homes against the country-dub set and
their golf course. The Goonies love excitement, but they love their homes,
too, and are willing to defend them. The scene also portrays the ultimately
close relationship between Mikey and Brand, and how Mikey resolves to
find a solution to the Goonies' plight. Says Josh Brolin about this scene on the porch:
"Brand is a very dominating older brother, but I try to bring out different perspectives
of the character. Mikey's feeling is that this is it, that the Goon Docks are gone. I come
up and he runs into my arms. I tell him it's going to come out all right. I felt so much
that I broke down and cried. Then Igo back to slapping him around, but it's a nice, real
moment." Sean Astin talks about Mikey's determination to save the Goonies. "Mikey's
depressed because he's going to have to move. Then he finds what he thinks could be
the way out, and that's all he thinks about through the rest of the movie, how we cannot
move. There are a lot of underlying things that Mikey has to think about, too, but his
overall view is: I've got to save my home, my parents, my brother, and my friends." Por-
traying the little brother is not a completely new role for Sean. Offstage, he has two older
brothers, and he explains how this drew him to the part of Mikey. "I felt close to the
part because, in a way, Mikey is like me. He's got an older brother. One of my older
brothers was the 'big man on campus,' and I was always trying to be like him." And
as a result of their close working relationship during The Goonies, Sean has built an off-
camera kinship with Josh. "I consider him my big brother, my buddy."

ber when the leisure-

suited country club snobs
band Brand the Walsh's
eviction notice. The Goon
Docks are to be tom down
to make way for a golf
coune. Mlkey is especial-
ly depressed about it, and
his big brother tries to
console him.
 IKEY'S RELATIONSHIP with One-Eyed
Willy is the key to the Goonies' treasure
hunt. The pirate prankster has left a
300-year-old riddle behind, and he dares
Mikey to figure it out. Production
Designer Riva explains how he worked with Director
Richard Donner to flesh out this association. "We wanted
to make Willy an interesting, eccentric character. The job
was to translate this into the film with the use of mechanical
devices [such as the map and doubloon]. We also injected
frivolity and humor into his devices. By making Willy more
interesting, we made Mikey more interesting, since he
discovers all the stuff that Willy is doing. So it really became
a challenge bet\veen the t\Vo characters." In the film, the
shot of Mikey lining the doubloon up with the rocks in the
ocean is actually a special-effects composite from Industrial
Ught & Magic. The doubloon and the kids were filmed in
front of a blue screen, which was later matched to~ matte
painting of the rocks and a shot of the rest of the
background.
 ITILE DO the Goonies know what adventure lies waiting for them inside-and below-the decrepit Lighthouse
Lounge. This scene demonstrates the incredible lengths Director Donner and the production crew went to bring
verisimilitude-complete believability-to the film. What appears to be an abandoned logging camp, complete
with a beat-up mess hall and lighthouse, is really an intricately constructed set. It was erected in a state park
overlooking Cannon Beach, south of Astoria. The original idea, says Production Designer Riva, was to have
a cemetery on the hill, with the Goonies hiding behind gravestones. But owing to the area's rich lumbering history, they
opted for the logging camp look. It took about 3~ weeks to build the set; the crew was hampered much of the time by
60 mph winds. The paint department weathered the lumber and even created "moss" on the wood by mixing sawdust
with green paint. The top of the lighthouse looks like it's been through a fire; the crew fastened some charred pieces of
wood up there. The crowning touch was to shatter the railings, walls, and windows, to give it that run-<lovvn look. This
was the handiwork of Riva, who was left alone at the site for a while v.~th a sledgehammer. Finally, the surrounding area
was littered with pieces of driftwood, old logs, and railroad ties. Now that's verisimilitude!

r
\ ., \ J
. ~

\ \
·.
. \.

BEFORE THE GOONIES

go down to tbe Lighthouse
Lounge to see if that's
where the treasure might
be buried, two "customers"
walk Into the ramshackle
restaurant. Chunk is
uneasy about the whole
thing and would rather go
home for dinner. But
Mikey insists that they
"joint the case."
 NSTEAD OF treasure, the Goonies find the menac-
ing yet farcical Fratellis inside the Lighthouse
Lounge. From their hideout, the thugs aren't serv-
ing up seafood but rather counterfeit money. While
the Fratellis (which means "brothers" in Italian) pose
a threat to the Goonies, they are classic bumblers, in the
Three Stooges tradition. Director Donner explains: 'ihe
Fratellis have to be an honest threat, because they push
us through the story. When the kids meet them, they scare
the heck out of them. But the way the audience sees them,
not only are they threatening they're hilarious, too. They're
just a bunch of wonderful screw-ups." Anne Ramsey talks
about her role: "Mama is a mother who loves her boys;
they can do no wrong. The tatoo Iwear is sort of the essence
of my character: It says 'Son.' In the end, I want to be the
kind of villain the audience loves to hate." Touche, Darth
Vader. Not knowing whether it was cut out or not, Anne
recalls a funny finale to this scene inside the Ughthouse
Lounge. 'The kids have just left. I'm exhauuf. f lean back
on the door and say, 'Kids suck.'" Although Mama loves
both her boys, she plays favorites andthey are always hassl-
ing each other. "Francis is basically Maina's boy," says Joe
Pantoliano of his role. "And if she's frustrated with him,
she takes ~ out on Jake." Says Robert Davi of Jake: "Marna
~es me a haql time. I can't figtit her. so I take the brunt
d it ~I loSe my patience with Francis. because
he JikSI; male me look bikt."
what's supposed to be
water all around. Mouth is
his wisecracking self and
quickly draws the wrath
- and switchblade - of
Mama, who'd like to
sharpen the blade on his
precious tongue.
 USPENSE SETS in during this sequence. The Goonies find themselves
underground and now their adventure really begins. Director Donner explains
that amajor challenge throughout the film was to create the sense of jeopardy
that surfaces here. "Jeopardy," he says, "like the shot of the kids in the Fratellis'
basement, thinking among themselves: What the heck are wedoing here and
how are we going to get out?" We also now meet Sloth, who at first is another
threat. At this point, all we know is that this huge, hairy, deformed, growling creature
is another Fratelli son. He's kept chained in the basement, watching 1V all day. Donner
speculates on Sloth's origins. "He's a throwback. Maybe the Fratellis were walking past
the circus one day, saw baby Sloth, and in amoment of compassion .. .. Or maybe Sloth
is from another planet." Wherever he came from, Sloth eventually turns out to be ahero.
Spielberg describes the character: •My concept for Sloth was to effect asort of modern-day
Hunchback of 1ot.re Dame, the one \\ith Charles Laughton - a big, super-Goony that
you're at first repelled by but very shortly grow to like, if not outright want to hug."

into the basement. They

hear the frightening
growls of the "thing"
Mlkey saw earlier. They
discover a counterfeiting
machine, a dead body In
the freezer, and "Wanted"
posters bearing the
Fratelll's mngs - just u
the gang returns. Now
they're really In trouble!
Lucidly, tbey also nncover
a hidden entrance under
the fireplace leading them
to who knows where ...
ter COpperpot, an unlucky
treasure hunter, pinned
under a boulder - a vic·
tim of One-Eyed Willy's
booby trap. Mikey finds a
mysterious medallion,
Data some flares.
 ANDY'S SPOOKED. SHE
darts ahead and triggers
another booby trap. Giant
boulders drop from
above. Each one barely
misses the Goonies as
they run for their lives.
Indy Jones never bad it so
tough! But unlike poor
Chester, the kids slip
through One-Eyed Willy's
prank.

HESTER COPPERPOT, SO years earlier than the C:oonies, was also hot on
the trail of "the rich stuff." One-Eyed Willy cooled him off. Luckily, the
C:oonies don't suffer the same crushing defeat. The intrigue and hair-raising
action that mark this sequence combine the talents of set designers and
mechanical-effects wizards. Production Designer Riva talks about creating
the ambience in the caves: "We tried to stay away from the Journey to the Center of the
Earth feeling; we didn't want large crystals and things like that." Riva adds that lighting
was a big challenge. 'The kids find some lanterns and they create a certain ambient light.
We also assumed that this close to the surface, there's some light coming through cracks
in the ground." Finally, for the benefit of the actors, they contacted a perfume expert and
had him make up some fragrances of damp caves and musty old rooms. Matt Sweeney's
FX crew added cobwebs - spun like cotton candy from a plastic solvent - and spiders
- made from pipe cleaners singed with a torch. They built and riP8ed the boulders (chunks
of painted plastic foam) that fall at the kids' heels, and they shot the "bats" out of an
air cannon. Actually, the horde of bats consists of dozens of pieces of crumpled, black
crepe paper - an impromptu idea, or "dream up," from Steven Spielberg.

MACHO BRAND MUS-

cles aside the boulder
that's dead-ended the tun·
nel. Then his vocal cords
unleash a swarm of bats.
Chunk but find the
doubloon. Thus they find
out what the others are up
to and set off in pursuit.
Locked up with Sloth -
and scared to death -
Chunk whips out a Baby
Ruth, and they become
fast friends.

NDY IS from the other side of the tracks - the wealthy side - and she
nearly abandons the Goonies for the good life before Mikey in,spires her
to stay and take the Goony oath. Kerri Green recalls her portrayal of An-
dy in the Wishing Well scene. "She proves herself a Goony. She has a
chance to get out but decides to stay and battle it out with the rest of
them. She sees how important it is to Mikey and how the treasure can help save the
Goonies. I think she gets caught up in the adventure, too." Chunk, in the meantime, is
caught up in fright. The Fratellis have chained him up with Sloth. Jeff Cohen remembers
how Chunk reacts. "I can only see the back of his head. Then he turns and he's got
this terrible face. I start jumping around in my chair because I'm so scared. Then I say,
'Hey, I've got a candy bar,' and I throw the Baby Ruth at him. But he can't reach it and
he gets real mad. He pulls the chains out of the wall to get the Baby Ruth,
breaks it in two, and gives me half. From then on, we're good
friends." John Matuszak tells how Sloth felt
about making a friend. "It made him realize
somebody else had it
as bad as I did."
 KISS is just a kiss. Unless it's from the lips of Sloth. Witness Chunk's reaction: "Man! You smell like
Phys Ed!" Creating Sloth combined many talents. "We wanted to make Sloth a Goony who hadn't yet
joined the club," says Screenplay Writer Columbus. "He could be the president of the Goonies. It was
our intention, too, to make Sloth a hero at the end of the film. We also wanted him to be an older
version of Chunk. They both like to eat and watch TV, and each, in his own way, has been blocked
off from the world." Once the concept jelled, the makeup was the trick. "This is probably the most difficult makeup
I've ever done, and I don't know of another that has as many pieces [IS overlapping sections in all] or this much
involvement .. .and such a hell of a guy to wear it," says Makeup Chief Tom Burman during one of the daily four-hour
sessions. Each morning, he and his wife Bari and brother Sonny labored to transform Matuszak into Sloth. Their proprie-
tary foam latex was sculpted, fresh each day, around a mechanical headpiece that allows Sloth's droopy eye and Dumbo
ears to move, via radio controls. Nonetheless, the character was nowhere without the abilities of former Raiders defen-
sive lineman Matuszak. Says Director Donner: "I think the best thing I can say about Sloth is that about 10 minutes
after we've met him, everybody's going to want to own a Sloth. But a lot of Sloth is Matuszak. He's one of the sweetest,
most sensitive, and interesting actors I've worked with." Finally, Matuszak offers his own impressions of the character.
"Sloth is a big old boy, who was born deformed but has a heart of gold. Even though he's mistreated by his criminal
family, he sees his way clear to be a kind and good kid."
 Sloth go down into the
tunnels, they stop at the
Fratellis' freezer for a
brief feeding frenzy. Part
of this scene (upper lef~,
in which Sloth devours a
frozen T-bone, was cut. At
left are sequences of the
incredible makeup pro·
cess for actor John
Matuszak (above, seated).
The makeup was created
by The Burman Studio
team (from left), Bari,
Tom, and Sonny.

out of a secret compart·

ment. In Rube Goldberg
dead end. Mouth trans· fashion, it sets off a chain
lates another Spanish of events. The floor be·
phrase on the map: "Cop· neath Data flips open and
per bones, Triple stones, he disappears. But hold
Westward foams." Mikey everything ... His Pinch·
deciphers the riddle. He ers of Peril have saved the
fits Copperpot's medallion pint-size 007, and he
into three stone pegs in spots a new passageway.
the wall. He turns it ...
 HEN THE going gets tough - which seems to be the only way things go for the Goonies
- they always manage to come out on top. This time, with the Fratellis closing in and
bullets whizzing past their ears, Data pulls yet another gadget out of his bag of secret-agent
tricks. But wait ... don't most of his contraptions go haywire?Thank goodness, his Slick Shoes
(~il the bad guys. Making sure they did was another special effects show of ingenuity. F'X
Coordinator Sweeney explains. "We took a pair of regular shoes and slit the heels. We hollowed that area out and
_.;mt in a spring and latch on the back. Then we tool< vinyl tubing and ran it out the back; it goes up Data's leg
to a pressure pot out of which we squirt a black oily substance. That's glycerine, water, and food coloring. Glycerine
gives it the texture, thickness, and slipperiness of oih and the food coloring gives it the right look. It's also water
soluble, so we could wash it off the mast for other takes." The effects of the concocted slipperiness were felt most
directly by Jake and Francis, who slip, slide, bump, and grind across the mast. Robert Davi did his own stunt
work; a stunt double performed Francis' ree-quarter back flip."
 lbe lUSt is a skall1baped
opeaiDg lbal's aare to lead
lbe Goooiea to yet aootber
perilous moment.

"JERK ALERT!"
Mouth. It's Mama taking
aim with her pistol. Two

l shots just miss and a

third's about to come.
Data thinks fast on his
J feet ... Uterally. He pulls
a cord inside his shirt and
sc.reams, "SUck Shoes!"
From bis heels shoots a
slippery black oil that
sends Mama flying before
she gets ber shot off.
 UBULAR BONES! One-Eyed Willy has outdone himself this time. The C'mnies must play the pirate king's skeletal organ perfectly in order
to escape with their own lx>nes intact. ''We needed a big action sequence at this point," says Screenplay Writer Columbus. "And it gives
us a little more background on Andy's character; she can play the piano." Actress Kerri Green recalls how her character felt during this
breathless scene: "In the organ chamber, everybody is depending on Andy. That was really scary. Andy took piano lessons for acouple
of months when she was a little girl. Now she doesn't know whether she can play the bone organ or not. But this is where she proves
herself, as aC'mny and as astick-through-it type." FX Coordinator Sweeney explains that the organ itself is built from real bones and pieces of bamboo.
The actual music that Andy plays was dubbed in later, but Sweeney's crew added wonderful visual accompaniment. "We put in little puffs of dust,
coming out of the organ tubes." The results of the music, however, make this scene a real cliffhanger.

THE MAP REVEALS

smudged music notes and
another riddle: "To move
on, play the tune, As each
note Is said, For too many
mistakes, Ye will surely
be dead." Stef recalls that
Andy can read music. Her
recital brings down the
bouse.

' .·

sketches of the so-called

"bone organ," show some
of the intricate details
builder Doyle Smiley fol·
~ lowed to complete this
l , amazing set.
.. '•
\'

•t
 VERYONE IS petrified! With but a final note lefi for Andy to play, the Goonies
once more stand at the brink of disaster. If she strikes the wrong one, it's bye-
bye time. This scene's nailbiting tension results from the collaborative efforts
of the mechanical~ffects crew and the wizards at Industrial Light &Magic OLM).
"The bone organ chamber was quite a deal," recalls FX Coordinator
Sweeney. "We built a large set with six floor sections designed to fall away on cue. They
drop - bang! Just like that - five and a half feet. In fact, the whole stage shakes." Patty
Blau, Production Coordinator for ILM, explains the special visual effects. "There are matte
paintings and miniature sets designed to give the organ room a sense of depth and jeopardy
to it. When the kids are leaning over the edge, it will look as if they're leaning over a
pit that's 100 feet deep. Amatte and miniature set will give the sense of looking up at
these little kids in this little cave at the top. Rocks falling past the camera will be added
later by blue screen." Chris Evans, Frank Ordaz, and Caroleen Green are the ILMmatte
artists.

NOTE BY NOTE, ANDY

serenades the ghost of
One·Eyed Willy. Each cor·
rect note moves the rock
obstructing the exit
another inch. When she's
off key, a different section
of the floor falls into a
deep , deadly cavern
below. And the Fratellis
are gradually approach·
lng. There are only a few
more notes ... and pre·
cious lillie floor left!
 .~ ANDY'S MUSICAL TALfNr
'" leave. something to be
deai.red. It al$o leave. fbe
Gooniea hiUlging for dear
~ Ute from fbe chamber's
....... one remaining section of
... floor. The final note is
(
completely obscured, so
" she blindly hit. a random
key. Encore! The rock
opens, barely Wide
enougb for fbe kids to
escape -just a& fbe floor
and fbe organ tumble in·
to oblivion.
 VEN THEwater slide poses another scary adventure for the Goonies. But with

E
the Fratellis close behind, it's the only way out. Production Designer Riva talks
about building this incredible set. 'The water slide is about 250 feet long, with
various sweeping curves in it. It's a wonderful ride. It's got walls about 20 feet
high on either side, and it's covered with seaweed and hanging vines. The
iong slide is actually a big fiber~ass slide, which we purchased from a New Jersey com-
pany [Langford Surf Coaster Corp., Cape May Court House, N~. We added walls to the
sides and the seaweed and vines. In a couple of places are hanging skeletons, and there
are some wooden stakes that the kids have to watch out for." The Goonies shoot down
the one long slide, which then splits in two near the bottom, just before the kids drop
into the water. The FX crew employed a huge diesel pump to keep water flowing con-
tinuously through the system. Equally tricky as building and outlitting the slide was film-
ing the Goonies zipping down it. But it was done, with the camera following the kids,
head{)n, right into the water. 'We built a little traveler for the cameraman," says FX Coor-
dinator Sweeney. "It's a kind of sled, that keeps the correct distance between the cameraman
and the kids. First we built one from wetsuit rubber, with a nylon lining on the outside.
Then we switched to a piece of semi-rigid foam, kind of like a long, flexible boogie board.
The cameraman hung onto the camera, which was in a special waterproof bag supplied
by Panovision. They just shot down the slide and ran out into the drink."

the bottom. Finally, the

water slide spits the
GooDies out into a pool of
water. They've landed in
an enormous, magical
cavern, Its high cellings
and walls lined with
sparkling rocks.
map: "Ye intruders
beware, Crushing death
and grief, Soaked with
blood, Of the trespassing
thief." This is it, says
Mikey, and the kids tear
the boards away. They
dimb up into a large room
filled with ....
WITH A LOOK OF TOTAL
respect and admiration,
Mikey stands alone before
One-Eyed Willy. He in·
troduces himself. "Here
we are. We made it, all in
one piece ... so far. "
Curious, he reaches over
and lifts Willy's eye patch.
There's no eye socket, just
solid skull! So that's how
he got his name. Mikey
grins. "One-Eyed Willy,
you were the original
Goony."
 THE GOONIES ARE EC·
static. The Goon Docks
will be saved! They load
themselves up with
riches. Mikey fills his
marble bag with rare
jewels. Suddenly, the
frateiJis crash the party.
The fun's over! But not
before Data yells, "In·
timidator!" His little body
starts to expand - Hulk·
style - bigger and bigger
and ... boom! It explodes.
He yanks every other
cord, but all his contrap·
tions fail. Looks like cur·
tains for the Goonies.

OGETHER AT last ... the C'ilonies and One-Eyed Willy. The legend of the pirate
king is told in Chris Columbus' script by Francis Fratelli. "William B. Pordobel,
better known as One-Eyed Willy, was one a' the most ingenious pirates of the
16th Century. The guy started out as a court jester but was banished from
five Spanish courts because of his off-color stories and practical jokes. So Willy
formed this pirate band, and they set sail on this ship, the Inferno. Willy and his men
marauded hundreds of the King's ships. They accumulated atreasure worth millions. Legend
has it that while bein' attacked by three of the King's ships, Willy steered his stricken
ship into ahidden, underground cavern, which the British sealed with their cannon fire.
Willy and the other survivors spent the next couple of years hidin' out, tryin' to repair
the Inferno. They built abunch of underground caves, loaded with all kindsa' weird booby
traps, toprotect the treasure. One of his men escaped to tell Willy's story." For amoment,

it looks like the C'ilonies will inherit the pirates' fortunes, but Mama and her boys have
different plans. As she raises her pistol at the kids, Data raises Cain with his Intimidator.
FX Coordinator Sweeney describes the workings of the outrageous device. "Data's got rubber
bladders inside his clothing that make him swell up. They reach a certain JX>int, they
JX>p, and then he shrinks back to normal. Even his shoes raise up. We had a section
of the floor \\~th shoe cut-outs, and we had an apparatus that raises him up three inches."
The smoke is created with simple pyrotechnics. Does this mean that the Cilonies entire
adventure has just blown up in their faces?
 WEETROMANCEhas been an undercurrent throughout The Coomes. Mikey
is infatuated with Andy, who has a crush on Brand. The younger brother
even sneaks a blind kiss from Andy back in the tunnels. Now, safely on shore,
away from the claustrophobic caves, Brand makes his move. Another "thing"
has been brewing between Mouth and Stef. It takes her touching gesture on
the plank to move Mouth to words free of sarcasm. The Goony kids talk about
the romantic entanglements in the movie. "Andy has a boyfriend, Troy," says Josh Brolin.
"But they're on the wealthy side of the tracks and the Goonies are on the other side.
She and I have something going; lots of looking at each other. We did the kissing scene
on the beach at Bodega Bay [California]. We got an applause for it." Kerri Green talks
about Andy's predicament. "She has a crush on Brand, and Mikey has a crush on Andy.
But Andy's main role, besides getting through all this alive, is to kiss Brand." Corey Feldman
explains Mouth's view ofStef. "I think she's the greatest thing in the world, and through
the course of the movie she starts liking me more - but neither of us wants to admit
it. Until on the pirate ship when she offers me her air." Martha Plimpton gives Stefs side
of the story. "Stet's relationship with Mouth is a real love/hate kind of thing. We don't
get along unless we're in a life-and-death situation."

THE GOONIES ESCAPE

to the beach, where their
parents and the cops are
waiting. Rosalita finds
Mikey's stash of jewels,
which means the Goon
Docks will be saved!
Finally, Andy and Brand
find each other.
 CHI EYING THEdramatic shot of the Inferno sailing off in the horizon called on the optical-effects and model-building talents at In-
dustrial Light & Magic. Afive-foot replica of the Inferno was constructed from wood and plastic, with silk sails. It resembles the full-
scale vessel perfectly, right down to the cannonball hole on its side and the rips in the sails. Actual footage of the ocean, combined
with ILM animation, allow the miniature Inferno to ride the high seas as the credits roll. Director Donner contemplates this inspiring
closing scene. "There's a treasure out there for all of us. I don't mean just wealth, but the treasure of life. One-Eyed Willy is sailing
off from his captivity that he's been in for hundreds of years. Your dreams can come true." Steven Spielberg talks about the overall effect of The
Goonies. 'What it's really about is friendship. And sticking together. It is every kid's dream, I think, to be in control of his or her own destiny, if
only for one Saturday. This is a 'wouldn't-it-be-great-if movie. The magic is less a part of what the Goonies actually discover as much as what they
become to each other in real emotional ways." In other words, after seeing this movie, everyone will want to join the adventure and take the oath.
"... I am proudly declared one of the Goonies!"

~.-....-.-:-
, ~ .
. .,. '"'.... - .
WHILE THE GOONIES
........

including the newest one,

- c:J
Sloth - rejoice the hap-•
py ending to their incredi-
ble adventure, a won-
drous sight appears out inn
the ocean: One-Eyed Wil- ~
ly's pirate ship sailing off
to sea. As everyone stares ~~
in awe, the magical vessel
heads for the· horizon.
•

workers at Lucasfilm's
ILM shop lovingly built a
miniature of the Inferno
that sails away at the end
of the film. The five-foot
replica has incredible
details, including one that
many moviegoers might
miss. In the photo above,

- ~· . ~1
 displays Jeffs physique, too. ''You see, Chunk has
MEET THE a compulsive eating habit, so he's a real good
GOONIES character for me."
Although this is Jeffs first movie role, he's no
newcomer to acting. "I've done a lot of lV, such
The seven young ac- as Fads of life, Family Ties, and Webster." Besides
tors who play the his natural acting talents, Jeff is one funny 11 year
Goonies come from old. He's sort of a small version of John (SC!V,
variety of back- Stn"pes, Splash) Candy. He's quick with a joke and
grounds, and each has even quicker with impersonations, imitating
a strong, unique personali- everyone from Mr. T to Mae West to Groucho
ty. Most important, Marx.
though, is how wonderful- While shooting The Goonies, Jeff was forever
ly they work the film student, wanting to know how everything
together as was done. "I can run a dolly and the camera,
a group of and Dick Donner showed me how to direct." So
friends when will he direct his first movie? "As soon as
entangled I get my own production company," he says with
in the conviction.
adventure In the meantime, Jeff is content to continue his
of a lifetime. No doubt, The education, acting ... and rather peculiar hobby of
Goonies will put all of these up-and-coming collecting hats. "Yeah, hats. I've got about 530
kids on Hollywood's map. Here, each Goony of them." After seeing him do his thing in The
talks about his or her personal background and Goonies, there should be lots of moviegoers tak-
the characters they portray in the film. ing theirs off to Jeff B. Cohen.

JEFF B. COHEN JOSH BROLIN

is Lawrence "Chunk" Cohen. Loveable, laughable,
full of stories, pudgy, funny, talented. These are
just a few of the adjectives describing the actor
and the character. "Chunk looked like a pretty
good part for me after I read the script," says Jeff,
the youngest member of the cast, and who ·actu-
ally first read for the part of Mouth. "Chunk is
the one everybody loves but they don't let him
know it. They like me a lot, but they never
believe me." For example, in the begin-
ning of
the
movie,
when Chunk tries
to tell the other Goonies about
the incredible cops-and-robbers
chase he's just seen, they don't
believe him. Instead, they make
him perform his hilarious Truf-
fle Shuffle. This comical dance
is Brand Walsh, the handsome, muscular jock -
pretty much the opposite of his younger
brother Mikey. Josh describes his character
with such words as dominating, tough, the one
who keeps the others out of trouble.
The biggest and oldest of the Goonies, Brand
is always trying to keep his little brother in line.
But he's also right there when Mikey and
the others need Brand's strength and
leadership. And, like the others, Brand
has his quirk. "He has claustrophobia,"
says Josh. ''I'm in these little caves
throughout the movie and
slowly going nuts. I don't
really want to be there, but
I'm also trying to keep
everybody together. And
there's the romantic part," he
adds, referring to his on-going
flirtationswith Andy, thepretty cheerleader who
wins her place among the Goonies, as well as
Brand's heart.
Even though hecomes from an acting family,
this is Josh's first role. "My father James (HoteQ
Brolin, always told me not to get into the business,
and so I'dset my mind todo other things. Then,
in my junior year in high school, I took an ac-
ting class, just to see what it was like. I played
Stanley in A Streetcar Named Desire. I
loved it, other people loved it, and I was
hooked. There's no looking back."
At 17, Josh is lookingahead to asuccess-
ful acting career. And somewhat like his
character in The Goonies, he's quite
athletic. He's intosurfing, karate, scuba,
mountain climbing, skiing, and
motorcycling.
SEAN ASTIN
is Mikey Walsh. He may
play Brand's little
brother, but he has
a big part as the
Goony who's out
to unravel One-
Eyed Willy's prankish
riddles leading to
the treasure. Mikey
deals with being an asth-
matic (he's always taking
shots from his breathalizer)
and having a one-way
crush on Andy, but his
main quest is the "rich
stuff." "In this movie,
what I want most in
life is to get this treasure."
Sean, 14, also comes froman acting family. His
parents are John (TheAddams Family) Astin and
Patty (Hail to the Chief) Duke. His younger
brother, Mackenzie, is a regular on 1Vs Facts of
life. Despite the fact that this is Sean's first feature
film part (he appeared in two 1V specials), he
makes and stars in his own Super 8 movies. "I
write the scripts, I raise the money (by mowing
lawns), I do the casting with my friends, and I
shoot the movies. I even do the credits on my
home computer."
This considered, it's no surprise hearing what
Director Dick Donner has to say about Sean. "I
think he'sgoing to be the director of the crowd.
My problem with Sean - and don't get me
wrong, ! love the kid - is that he's always
saying to me, Why don't you do it this
way?' And half a dozen times he
came up with ideas I've never
thought of and they're
smashing."
For now, director-to-be Sean is
content to continue making movies
on the home front and to pursue
hisactingcareer. Healso considers
himself an all-around athlete, who
enjoys baseball, grass hockey, and
football, plus aplayer of another field.
"I love girls," he says. "They're right
up there in front of sports and
moviemaking."
ICERIII GREEN
is Andrea "Andy" Carmichael. Andy is one of
the Hillsiders, who live on the wealthy side of
the tracks, opposite the Coon Docks. As thepretty
cheerleader gets caught up in the Goonies'
treasure hunt, she gives up her Hillsider boyfriend
Troy for Brand and takes the Goony oath.
"I like the character," says Kerri. "She's a
dreamer, an idealist, who's been pampered. But
she's not obnoxious or bratty. Deep in her heart
she wants to be a Goony and to be accepted by
them. She's torn between what her family says
and what Troy says - but she comes into her
own in the end."
At 18, Kerri is coming into her own, too. She
makes her moviedebut in The Coomes, but while
growing up in New Jersey, she did a number of
modeling jobs (including Jordache jeans) and had
parts in 1V soap operas, such as Search for
Tomo"ow and Another World. She'll attend a
prestigious Northeast college in the fall; she plans
tostudy fineart. A former high school cheerleader
and star gymnast, she recently began practicing
martial arts.
Kerri's comea long way since her junior high
school acting part as Woodstock in Youre AGood
Man, Charlie Brown. She's been looking forward Goony parts, Ke's role as Data was certain from
to college for a long time, "but I don't want to the start. "After Indiana Jones," Ke recalls, "Steven
give up acting." From the looks of things, she told me he was making another movie and he
doesn't have to worry. Hot off her role in The said, 'You're going to play a character called Data.'
Goonies. she just completed filming Carl Reiner's And I said, 'Great, it sounds wonderful.'
Summer Rental, co-starring "I was born in Vietnam, but I'mChinese," says
John Candy. Ke, who is very close with his family, including
six sisters and two brothers. In fact, his mother
is always on the set with Ke and has even been
known to prepare exotic Chinese meals for the
crew. Wonder if she'll do the same once he's the
director he dreams of becoming?

ICE MARTHA PLIMPTON

is Stephanie "Stef' Steinbrenner. Even though
HUY•QUAN she's from the Goon Docks, the daughter of a
is Data, the high-tech Goony fisherman, her best friend is Andy. "Stef is kind
who fashions himself after of a punk nerd," Martha says
James Bond. Yet unlike Secret about her character. "And
Agent 007's flashy gadgets, although Stef is a little bit
Data's homemade contrap- more on the ball than Andy,
tions usually go kaput. Even they're very good friends." Stef
so, his Bully Blinders, dresses a bit weirdly ("She
Pinchers of Peril, Slick wants to be like Cyndi
Shoes, Intimidator, and other gags Lauper'), right down to her fishing-
are a riot in the movie. ''That's lure earrings. Adding another dimension
why he's funny," says Ke. "He in- to the character, Stef has a funny sort of
vents all these gadgets and thinks "thing" for sarcastic Mouth.
everything works, but his friends know they At 14, Martha is an experienced actress. She
don't." has starred in The River Rat with Tommy Lee
What does work is Ke's onscreen presence and Jones and wa.S featured in Rollover with Jane
acting ability. Millions already know the 13 year Fonda and Kris Kristofferson. She's also the
old's happy face from Steven Spielberg's Indiana tomboy star of several Calvin Klein jeans
Jones and the Temple ofDoom, in which he plays ads.
Indy's sidekick Short Round. Although Spielberg New York City native Martha comes
and Donner looked at hundreds of kids for the by her acting abilities honestly; her
mother Shelly is an accomplished
stage actress and her father is ac-
tor Keith Carradine. And, yes, she
is related to celebrity author
George Plimpton.
Martha sees acting as her
future, but ''I'd like to
change and grow," she
adds. That means college
and perhaps branch-
ing into directing
and producing. With her impressive list
of previous credits and her funky role
in The Goonies, Martha should have no
problem changing and growing into
anything she likes.
COREY
FELDMAN
is Clarke "Mouth" Devereaux,
the wisecracking son of a plumber
(played by Director of
Photography Nick
McLean). Quick
on the wit,
Mouth is also a
rather hip Goony with his New
Wave haircut and Prince T-shirts.
Mouth's tongue gets him into trouble - like
when Mama Fratelli nearly slices it
up like an Italian sausage - but
it's also a key to the Goonies
treasure hunt. Mouth is the only
one who can translate the Spanish
riddles on One-Eyed Willy's map.
"None of us would get through
this adventure without
each other," says
Corey.
"We all do somethingthat helps us get
through."
Like Ke, Corey is aSpielberg veteran.you are, you're capable of wonderful things."
He co-starred in last summer's Gremlins,
directed by Joe Dante. He followed that
astarring role in Friday the 13th, Theexpect giant things from Tooz in the future.
Final Chapter. Yet, Corey, 13, began his
acting career at age three with a 1V com-
mercial that ran for five years. He appeared
in nearly 60 other commercials over the next
four years and has numerous 1V credits, in-
cluding The Bad News Bears and Mork
and Mindy.
In between acting chores, Corey likes
listening to music, playing video games, baseball, .._................._~
swimming, and horseback riding. Following his
appearance as Mouth in The Goonies, Corey
should be able to talk himself into
even more challenging roles.
JOHN
MATUSZAK
is Sloth, the forgotten Fratelli son
and the newest member of the
Goonies. Th~ gentle giant, chained
in the basement by his corrupt but
comical family, teams up with
Chunk to save theother kids from
Mama and the boys. "He's basic·
ally a good, big kid,'· says John, who,
at 6'8" and 300 lbs., knows what big
is all about. But "Tooz," as his friends
call him, also brings aheap of natural sen-
sitivity to the role - and ahearty appetite.
"Sloth loves candy, ice cream, steak,
salami ... he loves to eat."
John's had a smashing movie career
thus far - . he's a familiar face in North
Dallas Forty, Caveman, and Ice Pirates, as
well as many 1V guest appearances - but he'd
previously done his own smashing on the foot-
ball field as an All-Pro defensive lineman for the
Oakland (now Los Angeles) Raiders. He proudly
sports two Super Bowl rings.
The character of Sloth - huge but huggable
- applies toJohn off-camera, too. He's very ac-
tive in charity youth organizations and does
regular benefits. As such, he finds a beautiful
message in Sloth's actions. "I'd like thepublic to
realize that no matter how you look or how big
John has recently formed his own production
company, Tooz Productions. Obviously, we can

MEET THE
MOVIEMAICERS
The Goonies are seven extraordinary kids who come
together for one day to share an incredible adven-
ture. Bringing this story to life on the silver screen
combines the talents of literally hundreds of dedicated
individuals, from actors to camera operators to special-
effects wizards to film editors. Yet two men - Direc-
tor Richard Donner and Executive Producer Steven
Spielberg-deserve the major credit for bringing The
Coomes all together.
Separately, Donner and Spielberg have reached
dizzying heights in filmdom. Native New
Yorker Donner, 52, began his career
as an Off- Broadway actor-turned-
director. He established
himself right away in live
1V productions in ew
York. He moved to Los
Angeles in 1958. He as-
sembled an impressive list of
credits, including pilot episodes of
Wanted: Dead or Alive, Kojak, and Bronk, and the
highly acclaimed 1V movie Portrait of a Teenage
Alcoholic. In 1976, Donner launched his film-directing
career with the occult thriller The Omen. This was
followed by Superman - The Movie, the Warner
Brothers box-Qffice blockbuster that proved a man
could Hy.
Superman also proved beyond adoubt that Dick
Donner is an exceptional director. Since then he has
reiterated the fact with his films Inside Moves, The
Final Conflict, The Toy, and just prior to the release
of The Goonies, wdyhawke, a medieval romantic
adventure executive produced by The Goonies Pro-
ducer Harvey Bernhard.
Oddly enough, it was another of Donner's direc-
torial masterpieces that drew the attention, long ago,
of Steven Spielberg. "''ve been a Donner fan ever
since he directed my favorite Twilight Zone episode,
' ightmare at 20,000 Feet,'" says Spielberg. 'We first
met in a sushi bar in 1973, and I haven't stopped
laughing since. His voice is like the public-address
system at Candlestick Park. His big-kid sense of fun
and prank is infectious to be around. I thought the
pairing up of Donner and the Goonies was ideal
casting. Dick can so easily combine big-screen values
RICHARD DONNER with tender human emotions, which for me was the
Director & Producer main reason why Superman worked as well as it did."
As easily as Spielberg chose Donner to bring his
original story idea to cinematic life, Donner chose to
work on The Goonies. However, he quickly realized
that you can't always judge a script by its words.
"At first, I thought it was going to be asnap," Don-
ner recalls, after reading the Chris Columbus screen-
play. "It was a fun adventure picture, and I always
wanted to do something like it. Just go out and shoot
a bunch of kids in natural locations, I thought, and
I'll be done in 10 weeks. But then, as we got into
it, and I started surrounding myself with people like
[Production Designer] Mike Riva, it took on a much
larger scope. What I thought was going to be a little
shoe-in turned into probably the most difficult pic·
lure I've ever done."
More difficult than making Superman fly? "This is
more difficult because you have seven kids in almost
every scene. Sometimes their attention span is about
10 seconds. Although I love them dearly - I've
become incredibly attached to these kids - it's mind
blowing." Added to that, says Donner, were the
monstrous sets, some just in themselves achallenge
to shoot, and the huge number of intricate physical
effects. from falling boulders to a giant octopus.
There were ways to prepare for the other challeng-
es, but with kids it's different, the director says. "Either
you like kids and get along with them [or you don't].
And I love kids, I have fun with them."
Even so, Donner had to take on many roles as the
film's ringmaster. "I became somewhat of a
disciplinary figure, a confidante, a father at times,
brother, buddy. . . . It's brought me into a new at·
titude, a relationship with children that I never had
before: that they'reamazingly deep and convoluted."
The mixture of Donner's attitude and skills, plus
the seven young actors' natural abilities, blended
perfectly. ''I'm in awe," says Donner. ''I'm the kind
of person who takes ascript as an idea, but I don't
stay married to it. I ask the actors to improvise and
expand. And I am awed with these kids and what
came out of their minds. They came up with themost
wonderfully imaginative, romantic, exciting, funny
things I've ever seen. Their acting method is in their
madness."
Another unique feature of Donner's work on The
Goonies was, again, something he hadn't anticipated
but that turned into aremarkably positive experience.
"When we got into this thing," he says, "and real-
ized how difficult it was going to be, I had to have
a second unit." In moviemaking terms that means
Donner would direct the main action scenes while
a second director and crew coordinate background

shots, close-ups, and other secondary
elements in the same scenes. "I asked Steven if he
could do it, and he sa.id, 'Oh, could I?!' "
Two such dynamic directors working on the same
movie might create havoc in other situations, but in
The Goonies, the combination is ideal, says Donner.
"As far as I'm concerned, what he's done is a bless-
ing and I love him for it. It's been an amazingly good
relationship. What's directed is our style, which is fast,
choppy, non-analytical, move-on-to-the-next-piece.
Both our styles are very similar in that way."
Spielberg, too, thoroughly enjoyed the rare ex-
perience. "I had such a good time working with the
cast and second-unit crew," he says, "especially with
my cinematographer, Bobby Stevens, that it became
a real pleasure."
To be sure, Steven Spielberg is no stranger to the
principal director's chair. At 37, he has strung together
an unmatched chain of motion-picture gems in a lit-
tle more than a decade.
Beginning as a young, backyard home-moviemaker
in Phoenix, Spielberg made his first big mark while
in college. After ~iewing his student film, Amblin',
Universal Studios put the filmmaker under contract.
Subsequentially, he directed the 1V movie Duel, and
his first feature film was Sugar/and Express. Then,
with Jaws and Close Encounters of the Third Kind,
his career skyrocketed. Following 1941, he teamed
up with George (Star Wars) Lucas to make Raiders
of the Lost Ark.
In 1982, Spielberg made Hollywood history with
E. T - The Extraterrestn'a/, which remains the No.
1 box-office smash of all time. He last directed STEVEN SPIELBERG
Indiana Jones and the Temple of Doom. Executive Producer
Through his independent production company,
Amblin Entertainment, Spielberg has been intimate-
ly connected with Poltergeist, Gremlins, and Twilight
Zone - The Movie. At Amblin, he teams up with
Kathleen Kennedy and Frank Marshall, who have
served in executive production roles in several
Spielberg films. Both are executive producers of The
Goonies.
Spielberg describes how his idea for The Goonies
came about. "I was the original Goony in my early
stage of adolescence. Unlike acne, the problem never
cleared up. I am also somewhat of a fanatic about
Mark Twain and his legendary collection of
characters. This, combined with my love of pirate lore
- Treasure Island, Tom Sawyer, Sea Hawk are
among my favorite 'lust for gold' adventures -
prompted me to come up with the idea for this film."
From there, he had numerous skull sessions with
Screenplay Writer Chris Columbus. Spielberg de-
scribes the script's development. "Like myself, Chris
Columbus is still a Goony. I know this from working
with him on Gremlins. He was my first and only
choice as the writer for The Goonies. We sat down
one day and began throwing around ideas, set pieces,
and all sorts of crazy notions like a 'technicolor tossed
salad,' until something resembling a narrative and
something resembling this club of little adventurers
began to flesh out. The next week, Chris went home
to New York and returned several months later with
a first draft. On and off, we spent the next several
months working on the revisions. When Dick Don-
ner came on board, he contributed another layer of
'Goonisms' from his own memories of growing up."
The rest is history, and like all his previous works,
Spielberg sees The Goonies as a unique opus. "What's
good about The Goonies is that it is not like any of
my other pictures. It's easy to liken it, perhaps too
easily, to a Raiders-ish blend of spills and thrills,
stirred in with a lot of the same sort of humor Don-
ner put into Superman." But, Spielberg concludes, the
distinction of The Goonies is that it's a kids movie,
ultimately dealing with emotions, friendship and stick-
ing together through thick and thin.
When it comes down to it, those same words could
easily sum up the friendship and working relation-
ship between Dick Donner and Steven Spielberg. Like
the seven kids from the Goon Docks tell each other
in the Goony Oath, they'll "stick together until the
whole world ends."
 Second Assistant Camera Assistant to Mr. Repola
TONY FRANCESCO JUDY THOMASON
Still Photographer "SWTH" Makeup Created By
JOHN SHANNON CRAIG REARDON
T H E C A S T T HE C R E W THOMAS R. BURMAN
Post Production Supervisor BARJ DREIBAND BURMAN
Mikey . . . . •. . • . . . . . . . . . . . . ..... . . .. . ... . . .. SEAN ASTIN Directed by ARTHUR F. REPOLA
Brand ..................•......................JOSH BROUN RICHARD DONNER EWS BURMAN
Chunk ........•....................•.... ...... .JEFF COHEN ~rvising Soond Editor ''SWTH" Makeup Executed By
Produced by HARD L ANDERSON
Mooth . . . . . . . . . . . . . . . . . . . . . . . . ............ COREY f'ELDMAN RICHARD DONNER and THOMAS R. BURMAN
Andy . . . . . . . . . . . . . . . . . .. .• .. •................. KERRI GREEN HARVEY BERNHARD Soond Editors BARJ DREIBAND BURMAN
Stel . . . . . . . . . . . . . . . . . . . • . . . . . . . . . ...... MARTIIA PUMPTON MICHAEL J. BENAVENTE EWS BURMAN
Data ... . ...... •...... . ... •.... •.............. KE HUY QUAN Story by MARTIN J. BRAM
Sloth.. . .. . ... ............. . ......... . ... .. JOHN MATIJSZAK STEVEN SPiELBERG TERESA ECKTON "OCTOPUS" Designed &Created
Jake .............. . .. •........... ...... . . . . .. ROBOO DAVI Screenplay by DONAW FUCK By THE BURMAN STIJDIOS
Francis ................... . ... •............ JOE PANTOUANO CHRIS COWMBUS WARREN HAMILTON, JR., MPSE INC.
Mama Fratelli . . . . .. . .. •............ . .... . .... . .ANNE RAMSEY JAMES CHRISTOPHER
Rosa! ita . .. .. .. . .. ............ •........ . .... LUPE ONTIVEROS Executive Producers Assistant Art Directors
Supervising ADR Editor DALE PELTON, JR.
Mrs. Walsh .. . ... .. . ... . .... . ... . ... . ... MARY EllEN TRAINOR STEVEN SPIELBERG JOSEPH NEMEC Ill
Mr. Walsh .. . . .. .. . . . . .. . .... . ... .. .. .. .. ... . .KEITH WAU<ER FRANK MARSHALL ANDREW PATTERSON
Mr. Perkins . . . . . .. .. . ... . ... . .... . .. ... .. .. . .CURTIS HANSON KATHLEEN KENNEDY ADR Editors Set Designers
Troy Backup . . . .. . .. . . .. ... ...... .. ..•.. . .. Cl.AY GREENBUSH Director ol Photography BURTON WEINSTEIN VIRGINIA L. RANDOLPH
Troy . .. .. . . .. .. .. .. .. .. ... . ... . ... . . .. . . . . .. . .STEVE ANTIN NICK McLEAN GEORGE BERNDT CARROLL.,moBbJOHNSTON
Sheriff . .. .. .. .. .. .. .. . . .. . . . . ... .. .. .. .. . . ... . PAUL TUERPE AVRAM D. GOLD DONALD 00 RUFF
Prison Guard ... . . . . .. .. .. .. ......• .. .. . . .GEORGE ROBOTHAM Production Designer MARY ANDREWS
J. MICHAEL RIVA Illustrators
Gas Station Attendant ....... . ... .. .. .. ... . .... .. .. OWEN BUSH BETH BERGERON JACK JOHNSON
Chunk's Father . .. . . .. . .. . . .. .. .. ... . .. . . . .CHARLES McDANIEL Film Editor
Chunk's Mother .. . .. .. . ... . ... .. .. .. ELAJNE COHEN McMAHON Music Editor SHERMAN LABBY
MICHAEL KAHN, A.C.E. ELSE Bl.ANGSTED PAUL POWER
Data's Father . .. . . .. .. .. ... . .. . . . .. .. ... .MICHAEL PAUL CHAN THOMAS SOUTHWELL
Mouth's Father ... .. ........ . .... . .. GEORGE NICHOLAS McLEAN Music Score by Product.ion Sound Mixer
Keesler . .. .. .. . . . .. .. ..• . ... . ... . ... .. .. .MICHEU.E MARIANA DAVE GRUSIN WIWE BURTON Lead Person
Bert .. .. . . ... . ... .. .................... . . . .... BILL BRADLEY RIC McELVIN
Cop ... . . .. . .... ................ •... . ... ... . KENE HOWDAY Unit Production Manager Boom Man
Troy's Friend ~1 ........ • . . .. • ....... • . ... . ... . . . . JEB ADAMS ROBIN S. CLARK MARVIN LEWIS Swing Gang
Troy's Friend "2 . . . . . . . . . . . . . . . . ........ .ERIC BRIANT WELLS JAMES HERBERT STEVEN CURTIS HUSCH
Cable Man WIWAM J. FOLEY
Man in Shower 1 1 .•...•. •..•.......••..•...... . .. GENE ROSS first Assistant Director BOB HARRIS WIWAM Mcl.AUGHUN
Man in Shower "2 ............................... .MAX SEGAR DA.~ KOLSRUD DONAlD W. KRAFFT
Man in Shower "3 .. .. .. .. . .. . .. .. . . HEWTON DENNIS ARNOlD Re-recording Mixers
Simon (Photo Double) . . . . . . . . . . . . . . . ........ ANDY STEINFEW Second Assistant Director BILL VARNEY Gaffer
Reporter "I .. . .. .. . .. .. • .. .. .. ........... .. JACK O'LEARY PATRICK COSGROVE B. TENNYSON SEBASTIAN II THOMAS STERN
Reporter "2 .. .. . .. .. . .. .. .. .. .. . ........ PATRICK CAMERON SHARON GERHARD ROBERT THIRLWELL
Electrical Best Boys
Tennis Player . . . . . . . . . • . . . . . ............ . . ... ERWIN HARVEY Se! Decorator Assistant Editors ED AVER
Gorilla Driver . . ............. ................ JAKE STEINFElD UNDA DeSCENNA MARTIN COHEN ERIC SMITH
Gorilla Driver Wile . . ... ......... . .. •. ... . ... .. ... .. EVE SMITH CRAIG BASSETT
FBI Man & Dead FBI Man ........ •....... •... . .TED GROSSMAN Art Director Rigging Gaffer
RICK CARTER KATHRYN CAMP
VICfOR PEREZ
Camera Operators Assistant Music Editor
JIM Fl.AMBERG Key Grip
MIKE O'SHEA CHARLES SALDANA
STEVE Sf. JOHN Assistant Sound Editors
DAVID WIWAMS Grip Best Boys
First Assistant Camera BRUCE SPELLMAN
HORACE JORDAN GIL HAIMSOHN
JANET F. MASON JOE HICKS
MICHAEL CHAVEZ
Foley Services Dolly Grip
TAJ SOUNDWORKS WIWAM YOUNG
Script Supervisor
BETSY NORTON
 PUBL I SHING
ACKNOWLEDGEMENTS
Director of Photography
BOB STEVE.I\S This publication represents the
combined efforts of many indi·
First Assistant Director viduals whose behind·the-
NEWT AR.'\ OLD scenes cooperation helped
Second Assistant Director make the souvenir magazine
STEVECOH~ possible. These contributors in-
dude members of The Goonies
Script Supervisor cast and crew who granted us
LLOYD NELSO~ interviews. the entire Goonies
Camera Operator production staff, members of
I..EI.AI'\0 NAKAHARA Warner Brothers' lkensing and
Publicity staffs, and the helpful
SpeciaffJfects individuals at Amblin Enter·
Special fJfects Coordinator Location Manager GREG JE.\ SEN tainment. We are also indebted
MAIT SWEENEY TONY AMATIJLLO RICK WPfl to The Goonies Still Photog-
Special fJfects Foreman StumCoordinator Assistant Cameraman raphers John Shannon and
JON BELYEU GEORGE ROBOTHAM DO~ FAUI\11..EROY Randy Tepper. as well as Jeff
Glancz, who provided our own
Special Effects Unit Publicist Sound Mixer special photographic effects.
BILL ALDRIDGE ROB HARRIS DON JOHNSON Thanks to Foote & Davies/
CALVINJ. ACCORD Richard Donner's Assistant Boom Man Mid-America Webpress, Kable
KEN EBERT JULES STRASSER News Co., and Toppan Printing
GUY FARIA MICHAEL THAU
Co.
JERRY HART Executive Assistant to Mr. Galler SPECIAL THANKS TO·
JOHN HAMES Donner J. MICHAEL MARL£1T Laura Adler, Laurie Arnow. Pat·
DAVID PETERSON JENNIE LEW Property ti Blau, Luana Chambers. Jill
DON PUCK Assistant to Mr. Bernhard HOWARD COLE DiDomenico. Sam Epstein. Rob
PAUL SABOURIN LAURA HOFFMAN Friedman, Jess Garcia, Adam
HAROLDSEUG Key Grip Gellman, Blossom Gratz, Rob
DOYL£ SMILEY Production Secretary GUY POLZEL Harris, Laura Hoffman, Jennie
U.:ONDA M. STRUB PATTY HUGHES MakeUpArtisl Lew. Julie Moskowitz, Mike
Property Master Production Accountant \VIWAM nJR,~ER Riva and The Goonies art
ERIK ~ELSON JANE GOE department, Dave Wolff. and
Hair Stylist Max and Susan Feleppa
Assistant Property Master Controller CHARIL'\E MURRAY Woods. Front Cover art by
DAVID NEWEU. BOX~E RADFORD Special fJfects Foreman Drew Struzan. ·
Property Assistant to Mr. SpiElberg MIKE snPE
A~NE REEVES Jt;UE MOSKOwnz
GERALD T. TIRADO VISUAL EFFECTS
Assistant to Mr. MaiShall
Costume Designer MARY RADFORD Produced at l~DUSTRIAL UGHT
RICHARD LaMOTTE Assistant to Ms. Kennedy & MAGIC, Marin County,
California
Xlen's Costume Supervisor KATE BARKER
ROGER GALLO GARCIA Supervisor of VISUal fJfects
Office Assistants MlCHEAL McAUSTER
Ladies' Costume Supervisor ILYSE SELWYN
AIDA SWINSON TIM PALLADINO
Wardrobe Elfects DEBORAH SCHILDT
ERIC FIEDLER JUUE YARRISH

~lake Up Artist
Construction Coordinator
BOB SCAIFE
TONY LLOYD
 THE GOONIES
MUSIC AND VIDEO
B\ ttself The Goonies is a feast of
actton-packed thrills and chills.
~o", extract some clips from the
film, add a heap of funky Cyndi
Lauper music, aringful of rockin'
wrestlers, adash of zaniness, and
you've got. .The Goonies RGood
Enough. That's Jhe name of Cyn-
di's hit single and two-part music video, directed by
Dick Donner. A "teaser" version of the video aired
a few weeks before the movie's release, the other just
after it opened.
Cyndi's single is also included on the Epic/CBS
Records soundtrack album It features the film's
fabulous Dave Grusin score and original songs by The
Bangles. Phillip Bailey, REO Speedwagon, Luther
Vandross, Teena Marie, Arthur Baker's Goon Squad.
and Joseph {son of composer John) Williams.
In Lauper's patented off-beat style, the videos tell
thStGoonies-like tale of Cyndi, her boyfiiend
Greasy Dave (Dave Wolff, Cyndi's manager),
Captain Lou Albano, Wendi Richter, and Ca-
trine Dominique
(Cyndi's mom).
Their gaudy gas
station and
veggie -burger
stand are being
taken over by a
bunch of the
wrestlers: Roddy Piper, The Iron Sheik, Fred-
Blassie, and Moolah ... plus the Benihana chefs.
tCan ~ndi save the day? If only there were a
t~re .... Well, he may not be as prankish as One-
Eyed Willy. but Lou's great, great grandfather, Cap-
tain One-Eyed Peg-Legged Rum-Guzzling Mean Lou
Albano, gives her a secret map. Like Alice in
Goonyland, Cyndi climbs into ahidden tunnel, where
she catches up with the Goony kids, who are in the
middle of their movie. They show her - and the 1V
\iewers - clips from the film.
Yipes! Now they're being chased by aband of cut-
throat pirates - none other than our villainous
Wrestlers, plus Nicholai Volkoff and his cow. They're
tr~pped. Who can help them? Faster than you can
"extraterrestrial," we're whisked off to the wild
office of Steven Spiel~rg. Cyndi asks him how they sions with Spielberg and Donner and viewing clips
can get out of their predicament. He says. ,.' I donl from the film He developed certam themes. some SCENES Of THE VIDEO.
o" Cut to: STAY TI ~ED ffOR PART lWO that repeat themselves For example. there are con- from left: In the end, the
The second video opens w1th~ zippy montage of tinuing themes for the pirate<> \likey and One-Eyed good guys always win;
first. right up to the cliffhanger. Shift like magic Will~ Chunk and Sloth, and the Fratelhs Andrei gives Cyodi a lift;
the deck oft Inferno, when! the pirate wrestlers In general. Gruc;m says, he chose a lar~e symphonic Capt. Lou and great, great
grandpa; the Goonies
ha\ E enslaved even by a sea hag score, interspersed with contemporary electronic sing.
yed by Cyndi's . While the par elements He conducted the orchestra and lavered in
animals gorge octopus sushi and h1s own electromc instrumentatiOns afterward.
Greasy Da\'e wriggles hiS chains and frees The Coomes marks Grusin s firc;t work with
.e others. They find the chest, filled with Sptelberg but surely not \fith film sconng. His 23 film
e movie clips and, of cou After scoop- scores have earned four Academy Award nomina-
ng up some jewels, the ship and run tions. His credits include The Graduate (the sound-
~k through the tu gas station Cyndi track album won a Gram my). Heaeen Can ~'l11i. The
pa·.-s off The Iron Sheik. Her b~ friend, Andrei the Champ Electn'c Horseman On Golden Pond Toot-
t. forces the unruly wrestlers to scram. Thus C\n- Sie, and Racing u 1th the .Worm Grusm has also \\ rit-
her far-out friends, and the Goonies all hve hap- ten themes for hit 1V shows. such as Houde. It Takes
- ever after. Yeah. yeah, yeah! a Thief, and St. Elsewhere. He has won high acclaim
Jave Grusin took a more conventional. though for his own jazz instrumental albums (the latest is One
ally artistic approach to his melodic score for The Of a Kind) and has arranged, composed, and per-
GJ 'li~. Beginning with the rousing Goonies theme. formed with a host of popular mus1cians. mcluding
'TlUSicall~ tracked the action - from sad to funny QuinC\'. Jones, AI Jarreau Billv. Joel. Paul Simon, Don-
""WSterious to romantic to scary to victorious. na Summer. and Phoebe Snov•. Final!~. Grusin and
C'l!sin began the proJect after preliminary d1scus- his long·time assoctate Larry Rosen produce albums
on their Grusin/Rosen Records label.
 BROUGHT TD ~DU 8~
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