About Last Night... (1986)

R | 113 mins | Romantic comedy, Comedy-drama | 1 July 1986

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HISTORY

       According to a 3 Jul 1986 LAHExam article, the film was originally conceived as a vehicle for Dan Aykroyd and John Belushi, comedians from the television program Saturday Night Live (NBC, 1975 to present). David Mamet knew Belushi from his comic performances at Chicago’s Second City, and he had been the inspiration for one of the main characters in the stage production of his Sexual Perversity in Chicago. Reportedly, Mamet had taken a stab at writing a screen adaptation of his play but withdrew from the project.
       A 26 Mar 1980 LAT article announced that producers Stuart Oken and Jason Brett had hired writer Alan Gross to adapt Mamet's play with plans for actor Harold Ramis to direct and a start date set for the end of 1980. The team bought the film rights in 1979 after mounting a stage production at their Apollo Theater Center located at 2540 N. Lincoln Ave., according to a 19 Sep 1985 Chicago Tribune news item. However, a 29 Jun 1986 Chicago Tribune article reported that Brett and Oken underwent a six-year journey to get the project to the screen. They tapped comedy writers Denise DeClue, Tim Kazurinsky, and Bernard Sahlins (who withdrew early on) to concentrate on a script that would keep Mamet’s rhythms, but expand the love story between Danny and Debbie. The team came up with a 152-page screenplay. In 1980, they passed the script to East Coast Paramount Pictures executive Dan Sherkow after he saw the play, and he gave the script to West Coast Paramount head of production Don ...

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       According to a 3 Jul 1986 LAHExam article, the film was originally conceived as a vehicle for Dan Aykroyd and John Belushi, comedians from the television program Saturday Night Live (NBC, 1975 to present). David Mamet knew Belushi from his comic performances at Chicago’s Second City, and he had been the inspiration for one of the main characters in the stage production of his Sexual Perversity in Chicago. Reportedly, Mamet had taken a stab at writing a screen adaptation of his play but withdrew from the project.
       A 26 Mar 1980 LAT article announced that producers Stuart Oken and Jason Brett had hired writer Alan Gross to adapt Mamet's play with plans for actor Harold Ramis to direct and a start date set for the end of 1980. The team bought the film rights in 1979 after mounting a stage production at their Apollo Theater Center located at 2540 N. Lincoln Ave., according to a 19 Sep 1985 Chicago Tribune news item. However, a 29 Jun 1986 Chicago Tribune article reported that Brett and Oken underwent a six-year journey to get the project to the screen. They tapped comedy writers Denise DeClue, Tim Kazurinsky, and Bernard Sahlins (who withdrew early on) to concentrate on a script that would keep Mamet’s rhythms, but expand the love story between Danny and Debbie. The team came up with a 152-page screenplay. In 1980, they passed the script to East Coast Paramount Pictures executive Dan Sherkow after he saw the play, and he gave the script to West Coast Paramount head of production Don Simpson. Although Simpson met with the producers and agreed to do the picture, after ten months of creative differences, Paramount put the project in “turn around.”
       At one point according to the LAHExam, Jonathan Demme was attached to direct along with actors Nick Nolte and Bill Murray. The 29 Jun 1986 Chicago Tribune reported that directors Paul Mazursky and Sydney Pollack had passed on the project, while NBC executives had toyed with the idea of a possible television series or a made-for-TV movie. Then, Dan Sherkow became the vice president of production at Tri-Star Pictures and gained the support of Gary Lucchesi, senior vice president of production, and Jeff Sagansky, Tri-Star president, to put the film into production. Kasurinksy and DeClue stuck with the project and wrote seven screenplay drafts, according to the LAHExam.
       A 18 Oct 1985 HR brief and 19 Nov 1985 HR production charts announced that principal photography for the film, referred to by its working title Sexual Perversity in Chicago, would begin 21 Oct 1985 in Chicago, IL, and Los Angeles, CA. The 29 Jun 1986 Chicago Tribune stated that the film had a forty-five day shooting schedule, and the original $8.5 million budget was increased to cover an expanded pop music soundtrack. According to an article in the 14 Mar 1986 HR, principal photography was completed 23 Dec 1985.
       A 23 Apr 1986 Var brief reported that the film underwent a title change from Sexual Perversity in Chicago to About Last Night... after receiving negative feedback about the title from broadcasters and newspapers.
       The film marked the directorial debut of Edward Zwick, and the theatrical feature film debut of actress Elizabeth Perkins.
      The following statements appear in end credits: “Sexual Perversity In Chicago produced for the New York Stage by Jeffrey Wachtel and Lawrence Goossen,” and “Produced by arrangement with David De Silva.” The following acknowledgments appear in end credits: “The Producers wish to thank: Joel Greenberg, William Plummer, The Second City, John Binder, Suzy Kellet and The State of Illinois Film Office, The Chicago Film Office, Sheldon Patinkin, Larry Block.” End credits state: “Paintings and drawings by Lorraine Peltz courtesy of Marianne Deson Gallery, Chicago,” “Filmed on location in Chicago, Illinois, and at the Hollywood Center Studios, Hollywood, California,” and “This film is dedicated to the memory of Gail Eisenstadt.”

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GEOGRAPHIC LOCATIONS
SOURCE CITATIONS
SOURCE
DATE
PAGE
Chicago Tribune
19 Sep 1985
---
Chicago Tribune
29 Jun 1986
Section 13, p. 4
Hollywood Reporter
18 Oct 1985
---
Hollywood Reporter
19 Nov 1985
---
Hollywood Reporter
14 Mar 1986
---
LAHExam
2 Feb 1982
---
LAHExam
3 Jul 1986
---
Los Angeles Times
26 Mar 1980
---
Los Angeles Times
18 Apr 1986
Part IV
Los Angeles Times
1 Jul 1986
p. 1, 9
New York Times
1 Jul 1986
p. 12
Variety
23 Apr 1986
---
Variety
2 Jul 1986
p. 3, 12
CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION TEXTS
Tri-Star Pictures presents
an Arnold Stiefel and Brett/Oken production
of a film by Edward Zwick
DISTRIBUTION COMPANY
NAME
CREDITED AS
CREDIT
DIRECTORS
Unit prod mgr
1st asst dir
2d asst dir
DGA trainee
Julie A. Chandler
2d 2d asst dir, Chicago crew
2d 2d asst dir, Chicago crew
2d 2d asst dir, Chicago crew
PRODUCERS
Exec prod
WRITERS
PHOTOGRAPHY
Dir of photog
Cam op
1st asst cam
2d asst cam
Gaffer
Elec best boy
Key grip
Dolly grip
2d grip
Still photog
Cam op, Chicago crew
1st asst cam, Chicago crew
2d asst cam, Chicago crew
Elec best boy, Chicago crew
Elec, Chicago crew
Best boy grip, Chicago crew
Grip, Chicago crew
Still photog, Chicago crew
ART DIRECTORS
Prod des
Asst art dir
FILM EDITORS
Asst film ed
2d asst film ed
Stephen Fox
Asst ed, Chicago crew
2d asst ed, Chicago crew
SET DECORATORS
Set dec
Set des
Prop master
Asst prop master
Const coord
Set dec, Chicago crew
Asst prop master, Chicago crew
Leadperson, Chicago crew
COSTUMES
Cost des
Men's cost supv
Women's cost supv
Costumer
Costumer
MUSIC
Orig mus score by
Mus supv
Mus ed
Scoring mixer
at The Record Plant, Hollywood, California
SOUND
Prod sd mixer
ADR ed
Foley ed
Asst sd ed
Asst sd ed
Re-rec mixer
Re-rec mixer
Re-rec mixer
Re-rec recordist
ADR & foley mixer
Foley walker
Foley walker
Cable, Chicago crew
VISUAL EFFECTS
Spec eff
Title des
Titles and opticals by
MAKEUP
Makeup artist
Hairstylist
Makeup, Chicago crew
Hairstylist, Chicago crew
PRODUCTION MISC
Casting
Voiceover casting
Asst to Mr. Brett & Mr. Oken
Asst to Mr. Zwick
Prod coord
Prod coord
Transportation coord
Transportation capt
Craft service
Prod asst
Post prod asst
Post prod asst
Prod accountant
Asst accountant
Video research
Unit pub
Casting asst
Fitness trainer for Rob Lowe and Demi Moore
Loc mgr, Chicago crew
Transportation capt, Chicago crew
Craft service, Chicago crew
Asst to Mr. Brett & Mr. Oken, Chicago crew
Prod asst, Chicago crew
Prod asst, Chicago crew
Catering by, Chicago crew
COLOR PERSONNEL
[Col by]
SOURCES
LITERARY
Based on the play Sexual Perversity in Chicago by David Mamet (production date undetermined).
LITERARY SOURCE AUTHOR
SONGS
“(She’s The) Shape Of Things To Come,” written and performed by John Oates, courtesy of Arista Records, Inc.; “Words Into Action,” written by Mike Leeson & Peter Vale, performed by Jermaine Jackson, courtesy of Arista Records, Inc.; “So Far, So Good,” written by Tom Snow & Cynthia Weil, performed by Sheena Easton, courtesy of EMI Records LTD.; “Natural Love,” written by Tom Snow & Cynthia Weil, performed by Sheena Easton, courtesy of EMI Records LTD.; “Living Inside My Heart,” written and performed by Bob Seger, courtesy of Capitol Records, Inc.; “Step By Step,” written by J. D. Souther & Karla Bonoff, performed by J. D. Souther; “If We Can Get Through The Night,” written by Brock Walsh, performed by Paul Davis, courtesy of EMI America Records; “True Love,” written by Scott Kempner, performed by The Del Lords, courtesy of EMI America Records; “Trials Of The Heart,” written by Thom Bishop, Michael Davis & Rocky Maffit, performed by Nancy Shanks, courtesy of EMI America Records; “ 'Til You Love Somebody,” written by Bob Marlette & Sue Shifrin, performed by Michael Henderson, courtesy of EMI America Records; “If Anybody Has A Heart,” written by J. D. Souther & Danny Kortchmar, performed by John Waite, courtesy of EMI America Records.
SONGWRITERS/COMPOSERS
+ −
DETAILS
Alternate Title:
Sexual Perversity in Chicago
Release Date:
1 July 1986
Premiere Information:
Los Angeles and New York openings: 1 Jul 1986
Production Date:
21 Oct--23 Dec 1985 in Chicago, IL, and Los Angeles,CA
Copyright Info
Claimant
Date
Copyright Number
Tri-Star Pictures, Inc.
10 July 1986
PA295904
Physical Properties:
Sound
Dolby Stereo ® in Selected Theatres
Color
Lenses/Prints
Lenses and Panaflex® camera by Panavision®
Duration(in mins):
113
MPAA Rating:
R
Country:
United States
Language:
English
PCA No:
27907
SYNOPSIS

In the summer of 1980 in Chicago, Illinois, Danny Martin, a restaurant supply salesman, is engrossed in his friend Bernie Litko’s story about kinky sex in an attractive woman’s apartment, which involved a flak suit, a tape recorder with the sound of bombs dropping, and gasoline splashed on the walls. Danny wants to know if the woman was a professional, but Bernie cannot say for sure. He left just as the firemen arrived, and Danny comments that nobody has normal sex anymore. Later, as the friends play softball in the park, Debbie Sullivan, an art director in an advertising firm, and her friends take turns picking out the most attractive ballplayers. After the game, everyone goes to Mother’s bar, but Debbie is disappointed that her boss, Steve Carlson, the losing pitcher, decides not to go. At Mother’s, Debbie, and her friend, Joan, a kindergarten teacher, watch as their girlfriend, Pat, flirts with Bernie and Danny. Debbie watches Danny from across the room. As she and Joan leave, Danny introduces himself to Debbie. They go back to his apartment, listen to his new stereo, and make love. In the middle of the night, Debbie dresses, and turns down Danny’s offer to drive her home. Back at her apartment, Debbie confesses to Joan that she made love to Danny so quickly because of her intense physical attraction to him. At work, Bernie shares his latest conquest, and then wants to know how Danny fared. Danny describes his evening with Debbie as fun. Bernie heckles Danny for his lack of conversation, but Mr. Favio, the boss, interrupts them. Soon, Danny calls Debbie at work. She claims the ...

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In the summer of 1980 in Chicago, Illinois, Danny Martin, a restaurant supply salesman, is engrossed in his friend Bernie Litko’s story about kinky sex in an attractive woman’s apartment, which involved a flak suit, a tape recorder with the sound of bombs dropping, and gasoline splashed on the walls. Danny wants to know if the woman was a professional, but Bernie cannot say for sure. He left just as the firemen arrived, and Danny comments that nobody has normal sex anymore. Later, as the friends play softball in the park, Debbie Sullivan, an art director in an advertising firm, and her friends take turns picking out the most attractive ballplayers. After the game, everyone goes to Mother’s bar, but Debbie is disappointed that her boss, Steve Carlson, the losing pitcher, decides not to go. At Mother’s, Debbie, and her friend, Joan, a kindergarten teacher, watch as their girlfriend, Pat, flirts with Bernie and Danny. Debbie watches Danny from across the room. As she and Joan leave, Danny introduces himself to Debbie. They go back to his apartment, listen to his new stereo, and make love. In the middle of the night, Debbie dresses, and turns down Danny’s offer to drive her home. Back at her apartment, Debbie confesses to Joan that she made love to Danny so quickly because of her intense physical attraction to him. At work, Bernie shares his latest conquest, and then wants to know how Danny fared. Danny describes his evening with Debbie as fun. Bernie heckles Danny for his lack of conversation, but Mr. Favio, the boss, interrupts them. Soon, Danny calls Debbie at work. She claims the previous night was a fluke, but he invites her to meet him for drinks at Mother’s. Meanwhile, Debbie’s boss, Steve Carlson, asks her to lunch, but she has a deadline, and refuses his invitation. Later at Mother’s, Debbie tells Danny she does not plan a repeat of the other night, but she cannot resist and ends up in bed with him. This time they share secrets, and Debbie stays all night. In the following days, they go to ballgames, have lunch, walk along the river and are absent from work. Steve Carlson stops by Debbie’s desk, reads her messages, and realizes she is dating someone. Joan telephones Debbie but cannot reach her, while Bernie leaves messages for Danny, and covers for him at work. One day, Danny confesses to Debbie that he would like to own a restaurant. At work, Danny misses closing a deal with a client, and Mr. Favio threatens to withhold Danny’s commission, but relents at the last minute. Bernie warns Danny to cut down on the amount of telephone calls to Debbie. Joan tells Debbie that if Danny’s telephone calls are becoming infrequent, he must be seeing other people. After an evening of sex with Steve, Debbie says their affair is over. Debbie visits Danny to say hello, but is afraid of appearing too easy. He charms her, and they spend the night together. Later on the train, Bernie asks Danny if Debbie has performed fellatio, but Danny does not answer. Meanwhile, Debbie and Danny decide to live together, and Joan feels hurt and abandoned. The compromises start immediately as the couple decides how to rearrange the furniture, and how to make their lives fit. Danny reassures Debbie that she belongs with him. Back at work, Mr. Favio orders Danny to drop Gus, a longtime client and diner owner, who is late with his payments. When Gus begs Danny to reconsider, Danny returns home drained. He keeps the details of the day from Debbie, who complains that it is important to share the good and bad days, but Danny worries that sharing his problems will make him less attractive. Debbie responds that she does not want to live with a stranger. They work at being more open, but one day, Debbie tells Danny she has tested negative on a pregnancy test, and is disappointed when he is relieved. Back at work, Mr. Favio yells at Danny for keeping Gus as a client. Danny walks out, but later, Bernie tells him that Mr. Favio wants him back at work. Danny returns, but it sours his mood. His unhappiness spills into Thanksgiving. He and Debbie fight about everything: the menu, the division of labor, and the guest list. After the meal, Bernie and Danny watch a football game, while the women gossip in the kitchen. Later, the couple has another fight about Debbie’s messiness, the need for a maid and the fact that Danny did not know about her past affair with her boss, Steve. Debbie leaves, and Joan comforts her, but she later returns to Danny. At the office holiday party, Debbie has to fend off Steve’s advances in the copy room, and explains that she is in love with Danny. However, Danny is not happy when he arrives at Debbie’s office, and sees her and Steve standing together at the elevator. Debbie and Danny share a wordless ride home, and go to bed without making love. Later, they share a quiet New Year’s Eve dinner when Bernie calls, and insists they party at Mother’s. There, Joan’s boyfriend tells her he is going back to his wife. When Debbie asks Danny to help take Joan home, he refuses, and wants her to choose him over her girlfriend. Later, when Debbie returns, Danny is waiting for her in the living room. He tells her that their relationship is not working, and he does not love her anymore. He hopes that she finds what she is looking for, and Debbie moves out. They see other people, but Danny cannot forget about her. He calls Debbie at work, but she does not want to see him. At a St. Patrick’s Day party at Mother’s, they run into each other. When Danny tries to tell Debbie his life is not working without her, she runs into the street. He loves her, but she has moved on, and she tells him to get on with his life. Soon, Danny quits work, and buys Gus’s diner. When Joan tries to get Debbie to attend a relationship workshop with her, Debbie refuses, and accuses Joan of conspiring to break up her relationship with Danny. Joan apologizes, and the friends make up. One day, as Debbie and Joan bicycle in the park, Debbie sees Danny on the ball field. She stops to talk, and they both apologize for ruining their relationship. Somehow, they thought that living together would be different. They decide to meet for dinner while Joan is out of town. When Bernie sees the look on Danny’s face after Debbie leaves, he excuses his friend from the ball game and suggests that Danny spend time with Debbie instead.

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Viewed by AFI
Partially Viewed
Offscreen Credit
Name Occurs Before Title
AFI Life Achievement Award

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