Say Anything (1989) - YouTube Say Anything (1989) Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later. Uploaded on Nov 20, 2009 Original boombox scene. Say Anything... (1989) - Connections - IMDb Say Anything... (1989) Connections Showing all 153 items Jump to: Edited into (1) | References (7) | Referenced in (97) | Features (1) | Featured in (16) | Spoofed in (31) Edited into Clip shown at start of Say Anything spoof References The 700 Club (1966) (TV Series) Diane tells Lloyd that he "should be on 'The 700 Club.'" South Park: Raisins (2003) (TV Episode) Stan holds a boombox over his head and plays a Peter Gabriel song Indie Sex: Teens (2007) (TV Movie) VHS cover shown.

House: The Tyrant (2009) (TV Episode) "I'd stand outside your apartment all night holding up a boom box except you told me you hate 80s music." House: Known Unknowns (2009) (TV Episode) At the 80's party House and Cuddy are attending: A guy, dressed like John Cusack's character, is standing in the corner, holding a boom box over his head. Easy A (2010) Olive references the film when she's asking to herself "Whatever happened to chivalry? Does it only exist in '80s movies? I want John Cusack holding a boombox outside my window"; Todd plays music outside Olive's window, in the same style that John Cusack's character, "Lloyd Dobler". The Tale of That ‘Say Anything’ Boombox Scene, 25 Years Later The Tale of That ‘Say Anything’ Boombox Scene, 25 Years Later Bryan Enk Pin it Share "Say Anything...," Cameron Crowe's pitch-perfect post-high school love story, was released in theaters 25 years ago today.

Over the past quarter-century, it's become one of the most cherished cinematic romances of all time... yet oddly enough, its most iconic image almost never happened. The default publicity still for "Say Anything..." isn't one of noble, self-styled kickboxer Lloyd Dobler (John Cusack) and good-girl valedictorian Diane Court (Ione Skye) entwined in a lovers' embrace but rather one of Lloyd all by himself, standing outside the home of his ladylove, proclaiming his devotion via a certain Peter Gabriel song ("In Your Eyes," but you knew that already) coming from the boombox he's holding high above his head. For pretty much everyone, this is the defining moment of the film, a proud and unapologetic symbol of young love and old-school movie romance. And John Cusack originally didn't want to do it. "[The boombox scene] was the last thing shot on the last day with the last moment of sunlight," recalled director Cameron Crowe in an interview with Entertainment Weekly in Feb. 2002 (back when the film was barely 13 years old).

"John felt that Lloyd was kowtowing too much by holding up the boombox, and that it was too subservient a move. He didn't love the scene, he didn't quite understand it yet — he certainly does now — and he wanted to be more laid-back." Crowe found the right direction that made the scene work for his star — and put the now-classic look of silent dignity on Cusack's face. "My whole argument was, 'Be defiant with the holding of the boombox,'" said Crowe. "The last take — it was a place across the street from a 7-Eleven on Lankershim in the Valley — he held up the boombox, and on his face is the whole story of the character — the love of the girl, and, I think, John's feeling that it was a little too subservient but he was going to do it anyway." "I wanted to just have the boombox be on top of the car and him sitting on the roof," added Cusack. "So I finally did it, but I did it without a look of longing and adoration and love.

It was a different kind of feel than either one of us had originally planned." [Related: The Ridiculous Rules of Dating, According to the Movies ] Years later, Cusack still seems to be a little iffy on the scene and its formidable legacy. In keeping with Crowe's direction to "be defiant," Cusack was a bit taken aback during a 2009 interview with MTV Movies when interviewer Josh Horowitz presented him with a cardboard cutout version of the boombox. "No, no, no, no, no, no no," protested the suddenly very uncomfortable Cusack. "As long as ... I don't have to do anything with this, right?" Cusack seemed almost physically repulsed by the prop, which Horowitz called a "visceral reaction." Cusack's "2012" co-star, Amanda Peet, tried to break the tension by offering to imitate the Lloyd Dobler stance herself, though the interview had already "reached the completely surreal." Three years later, Cusack still wouldn't strike the Lloyd Dobler pose — even in the presence of the man who sang the song coming out of the boombox.

Cusack attended Peter Gabriel's 2012 concert at the Hollywood Bowl commemorating the 25th anniversary of his landmark album "So," but as the first few measures of "In Your Eyes" started to play, Cusack entered the stage and simply handed a boombox to Gabriel , who ended up imitating the iconic image himself. Whether Cusack himself likes the scene or not, pretty much everyone else does, as it's been the subject of seemingly countless discussions and references across all sorts of pop culture platforms over the years — even on a deserted (-ish) island. "And why would you hold a static-generating radio over your head?" asks Sayid Jarrah (Naveen Andrews) on an episode of the hit TV series "Lost," which prompts Hurley (Jorge Garcia) to ask "They didn't have 'Say Anything...' in Baghdad?" before trying to explain the significance of the scene . In a bit of a meta flourish, the scene is a staple in its own cinematic genre, too. "What happened to chivalry? Does it only exist in '80s movies?" asks Olive (Emma Stone) in the romantic dramedy "Easy A" (2010).

"I want John Cusack holding a boombox outside my window!" And there have been plenty of parodies of the scene as well. Jimmy Kimmel jokingly recreated the moment as a way to convince Oprah Winfrey to appear on "Jimmy Kimmel Live," as did Stan on a Season 7 episode of "South Park" as a way to show his love for Wendy. Read More "If you really want a shot at getting her back, stand outside her window, hold a boombox over your head and play Peter Gabriel," advises Bebe when Stan asks "What's the most romantic thing I can think of?" The scene was even parodied in a "My Little Pony" comic book (titled "Neigh Anything...," natch), in "The Simpsons" episode "It's A Mad, Mad, Mad, Mad Marge" (2000, guest-starring Parker Posey as Otto's girlfriend Becky), has its own Lego version , and is the subject of more than one meme . Oh, and if Joseph Gordon-Levitt ever tried to get all Lloyd Dobler in real life, it would totally work. Reblog Interview: JOHN CUSACK LEFT: John Cusack stars in The Ice Harvest.

hirty-nine year old John Cusack, son to actor Richard Cusack and younger brother to comedienne Joan Cusack, himself began acting at the age of eight. After small roles in Class (1983) and Sixteen Candles (1984) launched his film career, Cusack starred in two 1985 movies as romantically inexperienced boys with the same predicamentï¿½idealizing the wrong girl with the right one right under their noses. In Rob Reiner's The Sure Thing Cusack is a self-absorbed college freshman who travels cross-country for a guaranteed sexual liaison, but falls in love with Daphne Zuniga along the way. In Savage Steve Holland's Better Off Dead (which was as much a satire of teen comedies as it was one itself) Cusack alternates between suicide attempts and misguided efforts to win back his ex-girlfriend, with the perfect girl waiting across the street for him all the while. These movies made Cusack a bit of a cult figure, but it was Cameron Crowe who made him a star.

ï¿½To know Lloyd Dobler is to love him,ï¿½ went the tag line to Say Anything (1989). ï¿½Diane Court is about to know Lloyd Dobler.ï¿½ All America got to know John Cusack's endearing screw-up when he won over high-school valedictorian Ione Skye by standing in front of her house holding a boom box above his head, blasting Peter Gabriel's ï¿½In Your Eyes.ï¿½ With that, Cusack became an underachieving Generation X hero. By this time, though, Cusack wasn't a teenager anymore. With grown-up roles as a disgraced third baseman in John Sayles' retelling of the Chicago Black Sox scandal Eight Men Out (1988), and as a con artist Stephen Frears' noir The Grifters (1990), Cusack successfully broke out of the Eighties teen genreï¿½unlike most of his contemporaries.

The Nineties saw Cusack establish a steady though unspectacular career in a wide range of rolesï¿½as a struggling playwright in Woody Allen's Bullets Over Broadway (1994), as an idealistic aide to mayor Al Pacino in City Hall (1996), as a courageous FBI agent in the Jerry Bruckheimer-produced Con Air (1997), and as an investigative journalist in Clint Eastwood's Midnight in the Garden of Good and Evil (1997). Despite these films, Cusack has remained tagged with his Eighties personaï¿½a charming underachiever, a romantic underdog, an emotionally immature but basically good guy. Instead of being a hindrance, this persona began to serve Cusack well. In 1997, Cusack referenced his Eighties roles in Grosse Point Blanke (which he co-wrote), starring as a hit manï¿½a nice oneï¿½who returns home for his ten-year high school reunion to find the girl he left behind. Again Cusack returned to type in High Fidelity (2000), playing a commitment-phobic thirty-something record-store owner still living the life of a teenager.

Pushing Tin (1999), Serendipity (2001), Must Love Dogs (2005), and America's Sweethearts (2001)ï¿½wherein the erstwhile romantic underdog was matched with Julia Roberts, Catherine Zeta-Jones, Anjelina Jolie, Cate Blanchett, Kate Beckinsale, and Diane Laneï¿½contained elements of Cusack's well-established persona as well. Less discussed but equally evident in the aforementioned films are Cusack's fine comic talents as a straight man. The quintessential Cusack moment is when, in the face of a bizarre event, Cusack unflappably allows it to wash over him, deadpans a line, and drolly moves on. Watch how Cusack plays off more obviously comic characters like Jack Black in High Fidelity, Jeremy Piven in Serendipity, and Curtis Armstrong in Better Off Deadï¿½the comedy is based as much in Cusack's reactions as it is in the other actors' eccentric behavior.

As he established himself as a romantic leading man and an A-list actor, Cusack did not abandoned more offbeat material, earning critical acclaim for playing a bitter puppeteer who discovers a door into John Malkovich's mind in the Charlie Kaufman-penned, Spike Jonze-directed Being John Malkovich (1999), and also starring as a Jewish art patron to a young artist named Adolf Hitler in Max (2002). Lately Cusack has returned to the film noir genre, as well, offering us anti-heroes in Identity (2003) and Runaway Jury (2003). Now he stars in Harold Ramis's bleakly comic noir The Ice Harvest , also featuring his Pushing Tin co-star Billy Bob Thornton, Gladiator 's Connie Nielsen, and the ubiquitous Oliver Platt. Cusack plays Charlie Arglist, consigliere to the Mob in wintry Wichita, Kansas, who decides to run off with the boss's money. Probably not a good idea. In Los Angeles, Cusack talked to reporters about making The Ice Harvest, playing ambiguous characters, and how he doesn't really believe in genre labels.

Question: You've been in several neo-noirs, some of them with a comic element like The Ice Harvest, others more serious. What is your attraction to noir? Cusack: Somebody wrote about [the film] in the LA Times today and said, ï¿½This is stark.ï¿½ I think the guy liked the film quite a bit, but he was like, ï¿½It's as stark and as grim as anything you'll ever see.ï¿½ Yesterday I came in [for interviews] and [people said], ï¿½This is one of the best comedies since Bad Santa. This is so funny.ï¿½ I think that guy had seen it alone, and the other people had seen it at some festivals, where Harold [Ramis] says it gets laughs as big as any comedy he's ever done, which is saying something extraordinary. I think we relate to these characters. It's obviously a crime story, but we relate to these characters. It's about the illusions of the American dream and fitting into that, and guys at the end of their rope.

I don't think we [make films] because we go, ï¿½Okay, let's blend this genre with this, or let's do this with this.ï¿½ You get inspired by the characters. You think, ï¿½Oh man, that's a piece of writing that is so true. This is interesting.ï¿½ Then later we put labels on it to sell it, or to do these [interviews]. [The Ice Harvest] does come in a tradition of those filmsï¿½the noir filmsï¿½but it was these portraits of white male-hood in America that are just so disastrous [that appeal to people]. I thought Charlie had this great comic, quiet desperation to him. And I thought there were some other themes that were interesting. There were no outward polemics to the movie. It doesn't talk about Left and Right. I'm sure neither of these guys care who's President. It's not about that at all, but there are these subtle jabs at consumerism. These guys went into some version of the American Dream about get the house, get the money, get the trophy wife, get the girl on the side, get the material possessions, get the great car.

Get more women. Get more drink. And none of it's making them happy. None of it's fulfilling them. I remember Arthur Miller said an era can be considered over when its basic illusions have been exhausted. And I thought of that; I thought, ï¿½Yeah, these guys are just exhausted. None of it's working.ï¿½ So they trade in that American Dream and then go, ï¿½All right, we'll do the outlaw dream where we make the big last score and hit the open road.ï¿½ And that's pathetic and funny too. So these guys are lost in this dream world, or Charlie is. So, why we respond to something, I don't know. Is it because it's a noir? Is it the genre? No, we just see these characters and we go, ï¿½Oh no, my god, they're so fascinating.ï¿½ Question: Terrific answer. Cusack: Thanks. As you start to do these things [interviews], you guys force us to actually think about why we do what we do. Question: You shot The Ice Harvest in Canada, didn't you? Did you ever make it to Wichita?

Cusack: No, it was more of a Wichita of the mind. [laughter] And you know, there are no boondocks anymore anyway. There are no small towns. It's the same restaurants, the same fast foods, the same Targets, the same Wal-Marts, the same strip clubs, the same churches. Question: Being from Chicago, this cold was nothing to you, I imagine. Cusack: No, no. It was spring, so some nights it was actually kind of warm. Question: Being from Chicago, do you have any tricks for staying warm in the cold? Cusack: Yeah, well, one thing is you gain weight. You can't be too thin. Charlie was such a mess I just let myself go a little, ate salty food. They bring pizza around the set. Usually we're vain actors, and we want to look good, but I was just like, ï¿½Yeah, give me the pizza.ï¿½ Question: What's it like working with Billy Bob Thornton? Cusack: He's great. I really love working with him. Love it. He'll go anywhere, do anything. There's nothing he wouldn't try on a movie set.

Not that you'd do it all the time, but the freedom of knowing somebody's going to go with you anywhere you want to goï¿½ And he's so funny and so talented, so sensitive, such a smart man. Question: Did you guys improvise anything, or was it all scripted? Cusack: You know, [Robert] Benton and [Richard] Russo wrote the script, and it was so precise in the characterizations, even the bartender who's breaking guys' thumbs and thinking violence might not be the answer. It was so precise that it was one of these movies where you actually didn't want to improvise. We did a bit. We played with language a bit but Benton and Russo are great writers. Question: Were you at all surprised to see the names Benton and Russo on the script? Cusack: Well, I didn't know. That's one of the reasons I opened it. You see The Ice Harvest and then you see Benton and Russo and you go, ï¿½Oh.ï¿½ You know you want to read it.

One of these guys [Russo] is a Pulitzer Prize Winner and the other guy [Benton], I don't know how many Academy Awards he's won for writing and directing. He wrote Bonnie and Clyde, didn't he? This is a great writerï¿½a great filmmaker so you know you'll want to see what they're going to do with this. [Ed. noteï¿½Benton won three Oscars, for writing and directing Kramer vs. Kramer and writing Places in the Heart.] Question: How did you respond when you read it? Cusack: It might have been just where I was in my life, but I started reading it and I went, ï¿½Oh, man, I don't want to do this. This is too dark.ï¿½ I didn't realize it was a comedy because it was so real. It was so gritty. But then I started to understand there were some elements of satirical Americana in there. And then I thought it was funny. As soon as I realized it was going to be funny and grim, then I thought, ï¿½Oh man, this is something to do.ï¿½ And I wanted to work with Harold.

Question: What was that like? Cusack: He's a great director. Amazingly bright man. He's been around a lot of these seminal things in comedy and film and TV for a long time. Animal House, Second City Television, Lampoon, those were as groundbreaking to me in terms of thinking about comedy and film as Monty Python was. These were the real stars, subversive and intelligent and countercultural and disgusting, yet sophisticated. He's been around some of these really important things to me. Question: How did he steer you? What is his touch as a director? Cusack: Well, in this kind of a film as opposed to something else, there's specific things that you know are going to be funny, like with Oliver [Platt] and this Falstaff character he doesï¿½this great fool that he does. And there's pratfalls that you know, ï¿½Okay, this is going to be funnier if you do this.ï¿½ But in this kind of movie, he didn't really talk that way. He was just trying to realize the characters, then all the laughs come out of that. We weren't really going for laughs.

We were just trying to make the scene work, and then it would be funny in a very real way. Question: You often do some script work, at least on your own character. Was there any room for that on this? Cusack: Nah. Didn't need it. AboutFilm: Charlie seems to evolve along two different tracks. On the one hand, he has to learn to be more altruisticï¿½toward Oliver Platt's character, maybe toward his kids. On the other hand, he has to learn to be strong and actually kill somebody. Did you think about that, about how to reconcile the two parts of the character? Cusack: No, I just thought that seemed really interesting. I think these characters, if you look at character the right way, they just seem endlessly fascinating. When a character's written with that kind of precision by these terrific writers, they leap off the page and you want to do them. They're filled with contradictions. I remember the last time I was at a bar, I saw a bar fight. Some guy made some racial epithet and all of a sudden it went bad. Then it broke out in this very animalistic way, how fights sometimes do.

All of a sudden everybody gets triggered. I saw this guy go and punch this other guy. He could've been like Schwarzenegger from some movie. He was just pure animal, and he did it. And as soon as he finished it, you could see regret, shame, all these things wash across his face, just for a minute. And they're totally contradictory things. One was absolutely animal and macho alpha-male predator. The next minute he looked like a little baby about to cry. What we really see of a character is what's so interesting. So, [if you look at] the contradictory natures of some of these characters, I thought that was what was so real. Most people view themselves as good guys, but I don't think anybody views themselves as a bad guy. I think we rationalize things and we get put in bizarre situations. These guys are definitely custodians of their own realities. They made their mess; they're responsible for it. But in another sense, no matter how low you get, I think people always want to be redeemed, and they want to be free, and they want to be loved. They find themselves in these horrible situations, and then they have these impulses to be better than that.

I don't know, that's how I see them. Question: What are some of your favorite film noirs? Cusack: Gosh, probably the same ones that are yours. The Killers I thought was great. I think Asphalt Jungle. What else? Double Indemnity. Chinatown, right? You could go on. There are so many great ones. Question: How delicate is the dividing line between noir and black comedy? Cusack: I don't know. That's what we were [talking about] before. We try to put [films] into a genre box and I thinkï¿½ I don't know. I just know that this one feels funnier than most noir films. I don't know, maybe it's some hybrid genre, but I just think the characters are very real. Question: Did you have discussions about nuance? Cusack: Oh yeah, all the time. But the movie takes on its own rhythms and has its own laws once you set the tone. It's not going to be some arch-satirical tone. It's going to be played in real time, in reality, emotionally real.

You're going to try to reveal as much as you can about these characters. We tried not to make it stylized in any way, so then the film kind of becomes what it is. Now we're trying to give it a genre label now. I think Harold said it's a film noir with a lot of laughs. Question: Have you ever been in a situation where you've had to do that kind of last minute Christmas shopping? Cusack: Nothing, no. I've never gone to a convenience store drunk. Wait, that's not true. But not for Christmas presents. Question: What are you doing next? Cusack: I did two. I did one called The Martian Child with Menno Meyjes as the director. Amanda Peet, Oliver Platt, my sister Joanie, Sophie Okonedo, a young actor named Bobby Coleman. Then I did The Contract with Morgan Freeman and [director] Bruce Beresford in Bulgaria. Question: So you're working with Oliver again? Cusack: Yeah, I got to work with him twice. Question: Was is that relationship like? Cusack: We had a great time. Very similar to Billy Bob. I'm just a great admirer of both.

I love working with them. Question: What did you think of your sister [Joan Cusack] as the ugly duckling in Chicken Little? Cusack: I haven't seen it. AboutFilm: I know you're out of time, but I'd like to ask you about something totally unrelated. What do you remember about Better Off Dead? What is your take on the movie today? Cusack: It was so long ago. People say stuff from that movie and I go, ï¿½What are you talking about?ï¿½ It was just a gig that I got when I was seventeen, so I don't have any kind of connection to it. But I will say that movie was like what Harold did with SCTV. It was teen comedy but it was trying to do this absurdist take on it. I think seeing things like SCTV and some of the weird stuff they did, I was attracted to it, in that there was some kind of idea, or fresh version of that. It was some kind of absurdist black teen comedy, I thought. I never thought those were executed well, so I don't think about them now. Say Anything...

(1989) - IMDb IMDb There was an error trying to load your rating for this title. Some parts of this page won't work property. Please reload or try later. X Beta I'm Watching This! Keep track of everything you watch; tell your friends. Error A noble underachiever and a beautiful valedictorian fall in love the summer before she goes off to college. Director: From $2.99 (SD) on Amazon Video ON DISC a list of 31 titles created 01 Sep 2011 a list of 36 titles created 01 Dec 2012 a list of 36 images created 02 Aug 2014 a list of 45 titles created 26 Nov 2014 a list of 33 titles created 05 Mar 2015 Search for " Say Anything... " on Amazon.com Connect with IMDb Want to share IMDb's rating on your own site? Use the HTML below. You must be a registered user to use the IMDb rating plugin. 1 win & 2 nominations.

See more awards » Videos A girl's "sweet" sixteenth birthday becomes anything but special as she suffers from every embarrassment possible. Director: John Hughes A poor girl must choose between the affections of her doting childhood sweetheart and a rich but sensitive playboy. Director: Howard Deutch Rob, a record store owner and compulsive list maker, recounts his top five breakups, including the one in progress. Director: Stephen Frears A teenager has to deal with his girlfriend dumping him among family crises, homicidal paper boys, and a rival skier. Director: Savage Steve Holland A college student plans a cross-country trip to get laid, but ends up traveling with a young woman. They hate each other, so naturally... Director: Rob Reiner In order to get out of the snobby clique that is destroying her good-girl reputation, an intelligent teen teams up with a dark sociopath in a plot to kill the cool kids. Director: Michael Lehmann A nerdy outcast secretly pays the most popular girl in school one thousand dollars to be his girlfriend. Director: Steve Rash Martin Blank is a professional assassin.

He is sent on a mission to a small Detroit suburb, Grosse Pointe, and, by coincidence, his ten-year high school reunion party is taking place there at the same time. Director: George Armitage Five high school students, all different stereotypes, meet in detention, where they pour their hearts out to each other, and discover how they have a lot more in common than they thought. Director: John Hughes A group of Southern California high school students are enjoying their most important subjects: sex, drugs and rock n' roll. Director: Amy Heckerling A high school wise guy is determined to have a day off from school, despite what the principal thinks of that. Director: John Hughes When Keith goes out with Amanda, the girl of his dreams, Amanda's ex-boyfriend plans to get back at Keith. Meanwhile, Keith's best friend, tomboy Watts, realizes she has feelings for Keith. Director: Howard Deutch Edit Storyline High school senior Lloyd Dobler wants nothing more than to go out with beautiful and intelligent Diane Court. Lloyd attempts to win her heart over the objections of her over-protective father before Diane leaves for a scholarship in England.

Written by Scott Renshaw <as.idc@forsythe.stanford.edu> A Lloyd meets girl story See more » Genres: 14 April 1989 (USA) See more » Also Known As: Did You Know? Trivia The second year in a row that Ione Skye appeared in a teen high school movie. In 1988 she appeared in "A Night in the Life of Jimmy Reardon" starring River Phoenix. See more » Goofs When Lloyd and Diane are walking through the crowd of people at the party, two people are seen arguing. One of them mentions going to summer school but his mouth is saying something different See more » Quotes Lloyd Dobler : She's gone. She gave me a pen. I gave her my heart, she gave me a pen. User Reviews It's a wonderfully written film, with equal acting, to remind us all of falling in love for the first time without all the hurt, mistrust and disbelief in oneself. (Edinburgh, Scotland) – See all my reviews A wonderful film which made me laugh, cry and heavily identify with the first time I ever saw it.

Then, some 13 years later, after buying it on DVD with faded memories, I watched it again and it all came back. I laughed; I was moved; I cheered inside when things went well for the hero, and I even remembered things about my first love. Especially the shaking with happiness moment (Judith). This film has survived 13 years with me, and it's not all down to my own memories. John Cusack and Ione Skye give such wonderful performances that are so believable there's not a second that you're thinking of them as actors. Everything they feel and do seems so real. John Mahoney portrays the over protective Father very well, and his understated struggle when he realises this is superbly done. Cameron Crowe has excelled himself in capturing the feelings and moments that you can so easily identify with to make them just right, and seem so natural. It's a wonderfully written film, with equal acting, to remind us all of falling in love for the first time without all the hurt, mistrust and disbelief in oneself. It even manages to provide one of the best endings I've ever seen. 71 of 79 people found this review helpful. Was this review helpful to you?

Yes Songs Used In ‘Say Anything…’ Boombox Scene Before ‘In Your Eyes’ EMAIL There’s something about that scene, though. Especially to a teenage boy. “You mean the damaged guy can win the girl of his dreams if he shows up outside her house and blasts just the right song???” It took Crowe months to settle on what that “right song” was, though, before eventually ending up with Peter Gabriel’s “In Your Eyes,” which originally appeared on the Album of the Year-nominated So (I would have gone with Megadeth’s “The Skull Beneath the Skin,” but what do I know about romance?). It first appeared on his radar when listening to a mixtape he made for his wedding with Heart’s Nancy Wilson while driving to work. Acoustic stuff, “What’s So Funny ‘Bout Peace, Love, & Understanding,” and “In Your Eyes.” I hear Peter Gabriel singing about driving in his car, thinking of this girl, and I’m like, “Wait a minute!” I ran into the editing room, we played the song to the scene, and it was perfect.

( Via ) “In Your Eyes” is in the finished product, but while filming the scene, Crowe played a very different song: Fishbone’s “Bonin’ In the Graveyard” because Cusack was in a “deep Fishbone phase.” Look, we all did things with ska-punk we later regretted, but this is not one of those times. Someone recut Say Anything… and replace Gabriel with Fishbone, please. Another option was Billy Idol’s “To Be a Lover,” about which Crowe has said, “There was one day I liked that song, and that was the day I wrote the scene. By the next day, I knew it was a hideously wrong choice.” Good call. Billy Idol belongs to The Wedding Singer, and The Wedding Singer only. Anyway, this Valentine’s Day, when you’re plotting something romantic to do for your boo, take out your iPhone, buy a boombox on Amazon, have a drone ship it to you so it gets there on time, log onto iTunes, download a song, burn it to a CD-R, drive to your partner’s house, press play, and before long, you’ll be making love, assuming you don’t get arrested for breaking noise codes.

And what downloaded song should you play? That’s right: “Alive with the Glory of Live” by Say Anything, and it’s all thanks to Crowe choosing “In Your Eyes” (Sort of). Share This Say Anything... (3/5) Movie CLIP - Boombox Serenade (1989) HD - YouTube Say Anything... (3/5) Movie CLIP - Boombox Serenade (1989) HD Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later. Published on Aug 20, 2015 Say Anything... movie clips: BUY THE MOVIE: Don't miss the HOTTEST NEW TRAILERS: CLIP DESCRIPTION: Lloyd (John Cusack) uses a meaningful song to call Diane (Ione Skye) back to him. FILM DESCRIPTION: Ione Skye plays Diane Court, high-school valedictorian on the verge of heading to England on a prestigious scholarship.

This is especially thrilling to Diane's divorced father, James (John Mahoney), who has always shared a special relationship with the girl, less father/daughter than friend/friend. When Diane begins dating irresponsible army brat Lloyd Dobler (John Cusack), her father despairs at her choice of an "underachiever." Pressured by her dad to break off the relationship, Diane spends the rest of the summer being pursued by the lovestruck Lloyd, who does everything he can to win her back. Diane finally realizes there's more to life than perfection when her sainted father comes under the scrutiny of the IRS. CREDITS: Courtesy of Twentieth Century Fox Film Corporation Cast: John Cusack, Ione Skye Director: Cameron Crowe Producers: James L. Brooks, Paul Germain, Polly Platt, Richard Marks Screenwriter: Cameron Crowe WHO ARE WE? The MOVIECLIPS channel is the largest collection of licensed movie clips on the web. Here you will find unforgettable moments, scenes and lines from all your favorite films. Made by movie fans, for movie fans.

SUBSCRIBE TO OUR MOVIE CHANNELS: Say Anything Boombox Scene - Movie Fanatic Say Anything Boombox Scene January 31, 2012 3:19 pm . Updated at Edit Delete Like Movies? Sign up for our daily newsletter and receive the latest movie news delivered to your inbox for free! Tag: John Cusack | Films of the 80s Films of the 80s The decade's movies and more Search 1 We’ve all seen it…the iconic image of a young John Cusack holding a boombox above his head. This image has burned in the collective consciousness of anyone over 17. So annoyed by this image in my head I decided to finally watch the film from it sprung – Say Anything. John Cusack plays the completely directionless Lloyd Dobler who at 19, has returned to America after spending the last couple semesters over seas. He kickboxes and has a fetish for trench coats. He lives with his sister (played by his real sister Joan Cusack) and his nephew. His home life contrasts sharply with his love interest Diane Court, played by Ione Skye, whose Father and her future is her world.

Diane is an over-acheiver who has everything going for her – she’s the class valedictorian, a dedicated worker at her Father’s senior home, and to top it all off is drop-dead gorgeous. Her parents are divorced (Apparently she had to choose between the two of them in court at 13. No wonder she’s so responsible.), and her Father offers her the love and stability that her Mother could not. Besides that Diane is so wrapped up in her future, pleasing her Father, she has in many ways neglected simply being a teenager. Diane’s father played by John Mahoney (also seen in the 1987 film Moonstruck) is everything a parent should be – sensitive, supportive, and proud. However as the film progresses we see his fragile facade crumble, as it is revealed he is not so righteous a man. The IRS pursues Diane’s father on suspicion that he has embezzled money out of the senior’s at his home. Through a stalkerish phone call, mildly charming rambling, and a few chivalrous gestures, Lloyd manages to snag a date with Diane at a graduation party.

Despite his over-protectiveness Diane’s father, James allows her to go out on a date with determined Lloyd. They attend their graduation party together where Lloyd serves as the “key-master” looking out for young drunkards, most notably a young Jeremy Piven, who repeatedly tackles Lloyd out of sheer joy. Through the party we also come to understand the source of Corey Flood’s pain, and why she bitterly trashes her ex-boyfriend Joe, who took her virginity then left her for another girl. She wines about him throughout the entire film. This entire pointless vignette did nothing to serve the direction of the film, and was forgotten as soon as it over. They film honestly could have done without 2/3 of Lloyd’s friends too…Corey’s pointless subplot was enough to make me reconsider watching Say Anything altogether. From here the movie progresses with astounding predictability. Montages of Diane and Lloyd necking underneath trees ensue, bringing us to the moment that they consummate their two-month-long relationship in a car by the beach. Diane has such a close relationship with her father that she actually tells him the truth of her whereabouts the night before.

I found the most interesting aspect of this movie not to be Lloyd and Diane’s predictable boy-meets-girl, boy-loses-girl, boy-gets-girl-back-plot, but John Mahoney’s crumbling from a respected member of his community and proud father. To the grey-haired, cigarette-smoking, embittered man we meet at the end of movie. HE ALMOST CRIES IN A BATHTUB FOR PETE’S SAKE. He gave the most emotionally-solid performance in an otherwise flimsy film, with a few endearing moments. (Although I will say I enjoyed the film’s iconic boombox scene in which John plays the song that he and Diane first made love to…Peter Gabriel’s “In Your Eyes”.) All-in-all, if you’re up for big hair, some memorable lines rambled by John Cusack, this scene in particular, and buckets of teen angst, I encourage you to tune in to Say Anything. If you’re not in the mood for adult-decisions made by inexperienced teens, then opt for the more-adult Moonstruck. Reply Standing outside your bedroom with a boom box. This statement is referenced in almost all media outlets of teen pop culture.

It is the whole reason I chose to watch the movie Say Anything starring John Cusack (Lloyd Dobler). I personally loved this film. Because it is so intertextual, I assumed that it would be good. It is your typical coming of age, young love, timeless story. I made my roommate watch it with me. My roommate is not someone who really appreciates pop culture from before the year 2000. She was not exactly thrilled when I made her watch it, but she ended up loving the entire film. The humor in this movie is still amusing to this day. It captures the essence of being in high school and the uncertainty of the future. In my opinion, what makes this film distinctly 80s is the relationship between the parents and the children. For example, the relationship between Cusack’s love interest, Diane Court and her father is unfathomable in this day in age. When Diane would go out at night, she would not come back until the next morning. Her father, for the most part, was completely fine with this. There was not argument, no set curfew, etc. I am a senior in college and have a cell phone.

My father would absolutely freak out if I came home from a party the next day. As long as I am living in his house, I will have a curfew of no later than 2am. I would definitely recommend this movie to friends if they have not already seen it. It is a very funny movie, a little unrealistic, but funny regardless. It is a film that teenagers, no matter what decade, can relate to and appreciate. Even though this film has not been remade, it is referenced in so many different television shows, movies, and even some songs, that it does not need to be remade. Apparently a sequel was rumored in the past year or so, but I highly doubt that will happen. The remake of Footloose failed, and the sequel to Wall Street was not a huge success either. Say Anything is a classic that should not be messed with.

The DVD Journal | Reviews : Say Anything "It feels like in another life we would've been this great love."  Ione Skye (on her chemistry with John Cusack) It's one of the most enduring cinematic images of the '80s: Lloyd Dobler (John Cusack) stands, arms extended over his head, holding a boom box blaring Peter Gabriel's "In Your Eyes," defiantly pleading with Diane Court (Ione Skye) to take him back  to give him her heart instead of a pen. It's a heartbreaking scene, one that never would have worked had Cusack and writer/director Cameron Crowe gone with one of their original song choices: Billy Idol's "To Be a Lover" or Fishbone's "Turn the Other Way." Thank goodness for second thoughts (and the mix tape Crowe made for his wedding, where he eventually rediscovered the Gabriel song). And, frankly, thank goodness for Say Anything, which is still one of the best love stories ever captured on film.

It would be criminal to lump Crowe's insightful, incisive tale about unlikely romance and unshakeable trust in with other '80s romantic comedies like Pretty in Pink, Some Kind of Wonderful, or even Cusack's own Better Off Dead and One Crazy Summer. All of those movies have special places in the heart of anyone who grew up worshipping at the altar of John Hughes, but none of them comes close to matching Say Anything's enduring appeal and quirky honesty. Why? Say Anything's success can be summed up in two words: Lloyd Dobler. Lloyd is the boyfriend every teenage girl (heck, every woman) thinks she deserves but will never find. He's the guy every fellow who ever marched to a different drummer thinks he can be. He's the reason John Cusack can still open a movie. And he's a kickboxing outsider who lives with his sister (Cusack's real-life sister, Joan) and who, because he's consciously chosen to look on the bright side of life, believes anything is possible  even winning the heart of golden girl Diane. * * * The movie opens on Lloyd and Diane's high school graduation day.

As valedictorian, Diane speaks to the classmates she's never gotten to know, confessing that she's terrified of the future; Lloyd watches her, enraptured. Embracing his philosophy that optimism is a revolutionary act, Lloyd decides to ask her out, and, to his surprise, he succeeds. And not only does Diane accompany him to the big graduation party (one of the movie's funniest set pieces), but, gradually, as he wins her over, she becomes his girlfriend  a turn of events that neither of them expected. But their relationship hits a snag when Diane's overprotective father (John Mahoney), who doesn't think Lloyd is good enough for his brilliant daughter, sticks his oar in; his subsequent financial troubles complicate things, too. Summed up like that, it's a fairly straightforward, not-particularly-remarkable plot, one that could easily have yielded another throwaway teen romance. However, it's Crowe's excellent script, chock full of subtle shadings and strong characters, that takes the movie to the next level. This guy knows from good writing.

Like Aaron Sorkin, Crowe writes characters who one-up reality: They're people who say the things we feel but can never find the right words for. Lloyd looks for a "dare-to be-great situation"; his ex-boyfriend-obsessed best friend Corey (one of Lili Taylor's best roles) tells Lloyd that "the world is full of guys  be a man." And Crowe's details, from Lloyd's role as "keymaster" at the party to the magpie-like line-up of guys at the Gas 'n' Sip, give the movie a depth, a realness (to quote the man himself) that helps cement its "classic" status. Diane's close, complex relationship with her father also gives the film more weight than many of its contemporaries. Mahoney is excellent as a man who's deceived even himself into believing that what he's doing is right because he's helping people, particularly Diane. But when she discovers his lies, his carefully constructed world collapses around him; she can forgive the crime, but not the cover-up. It's one of the many reasons she turns to Lloyd, who makes a point of being there for her in every possible way.

No one could have played Lloyd better than Cusack. He gives Lloyd true nobility; in his hands Lloyd becomes a guy who knows that every choice has a consequence and that life is meant to be lived, not postponed until the time is right. He's sweet, chivalrous (oh, that broken glass scene!), aware, smart, funny, and willing to take risks  in other words, despite the brush cut and the weird clothes, he's a modern day Prince Charming. It's to Cusack and Crowe's credit that he's a prince beloved by both girls (naturally) and guys, who see in Lloyd a (relatively) attainable role model. That equal-opportunity appeal is what makes Say Anything the ultimate date movie, the perfect story of optimism triumphant. * * * As one of the more re-watchable movies in the modern canon, it's about time Say Anything finally made it to DVD. And happily, rather than putting out a bare-bones disc and following up later with a special edition, the folks at Fox have gone for the gold right out of the gate.

Boasting a full-length-and-then-some commentary track with Crowe, Skye, and Cusack and more deleted/extended/alternate scenes than Corey's song "Joe" has verses, the Say Anything SE should please even the most rabid of the movie's fans. Here's the rundown: Commentary with Cameron Crowe, John Cusack, and Ione Skye: Not only is the trio full of praise for each other, funny "I remembers," and interesting insights, but they have so much to say that they actually talk for a full 21 minutes before the movie starts (it would've been nice to see them chatting, but the still photos that accompany the introduction are okay, too). Crowe does the lion's share of the talking from start to finish  he covers the film's genesis (Lloyd was based on one of Crowe's real-life neighbors), his fears and lapses as a first-time director, and so on  but Cusack and Skye share some good stories, too. Cusack, it turns out, was very reluctant to do another high school movie, but he was convinced after Crowe showed him the script and did a bit of begging.

Both Cusack and Skye muse about their on- and off-screen relationship; Skye, watching the scene in which Lloyd teaches Diane to drive a stick shift, says that if the pair hadn't had significant others already, that was the day they'd have gone home together. A couple of other highlights: Cusack, when Crowe asks the actors if they were in love (in general, not with each other) while making the movie, says "At the risk of sounding very Bravo Channel, I think when you do a part, it opens you up to parts of yourself, that, you know, maybe were dormant." And Crowe, mulling over Lloyd's appeal to women, says he was pleased to find out that "maybe [women] don't need Fabio...somebody that loves them in the right way is more exciting in the long run." All in all, it's an energetic, informative track and well-worth a listen. Ten deleted scenes: Virtually all of these rescued clips  along with the bits grouped in the "alternate" and "extended" sections  make it clear that Crowe had some excellent advice in the editing room.

Some of the scenes are interesting on their own (especially the one in which nursing home owner Mr. Court gives an impassioned speech about the rights of the elderly), but several are too long (particularly the "montage of love clips," which really drags) and all were wisely dropped. One highlight: Another of Corey's "Joe" songs. Five alternate scenes: Once you see how crucial scenes like Lloyd's rain-soaked phone call, Lloyd's boom box serenade, and Lloyd and Diane's reconciliation could have gone, you'll praise the movie gods that Crowe went with the versions that ended up in the final movie. (One note: The optional commentary for these scenes that's promised on the DVD packaging doesn't seem to have made it to the final disc.) 13 extended scenes: Spliced into where they would have ended up in the final film, these sections offer more proof of wise editing choices. Some of the stuff that was cut is incidental, but much of it is slow and cumbersome. The only regrettable trim is some of Lloyd's tape recorder rant to Corey; the extra footage is as funny as what was in the finished film.

Featurette: Made in '89 when the movie came out, this seven-minute short is a fairly typical peek behind the scenes. Fun for the vintage interviews with Crowe, Skye, Cusack, and Mahoney. Trailers (two) and TV spots (eight): All the promo material anyone could want. Crowe's personal photo gallery: "Gallery" is kind of a misleading label: This is a set of seven on-set photos, most of which are of Mahoney. And, of course, there's the film itself. The anamorphic transfer (1.85:1) is beautiful  only the '80s hair and clothes look dated  and the Dolby Digital 5.1 sound does justice to every song on Crowe's carefully chosen soundtrack. (Other audio options include English 2.0, French 2.0, and English and Spanish subtitles.)  Betsy Bozdech

Question: In what movie did John Cusack serenade a girl by holding a boom box above his head?
Answer: Say Anything