After Hours (1985)

Wikidata Q846209, film, IMDb tt0088680, TMDB 10843: matched by corpus:resolve, told apart by episode credits Martin Scorsese as director (After Hours with Alison Sivitz); 7 more episodes agree.

What a model would be handed about it, for corpus:ask.

In the store as #157.5, After Hours (1985).

The Rewatchables' awards

From ‘After Hours’ with Bill Simmons and Sean Fennessey (2025-07-01):

Double feature

pick Pee-wee's Big Adventure: Sean pairs it with After Hours as another 1985 story of a manchild thrust into a world he does not understand and finding salvation by going home.
“it would be an amazing, I'll step on the future category double feature with this movie, about a manchild, thrust into a world he doesn't understand, seeking something he can't get, and eventually finding salvation by going back home.”
Sean Fennessey · 1:13:54
pick Into the Night: Paired as an LA version of the same night-of-trouble energy, set against After Hours in New York.
“I would go for into the night.”
unknown · 1:40:52

Most rewatchable scene

pick Rosanna Arquette's first scene in the diner
“Roseanne Arquette's 1st scene in the diner.”
unknown · 0:42:45
pick Linda Fiorentino's back rub scene, with the story that never gets its punchline because she falls asleep
“Fiorentino back rub scene.”
unknown · 0:42:51
pick The second diner scene with Marcy, where the owner says the movie's title
“The diner scene with Marcy the 2nd time.”
unknown · 0:43:57
pick The subway token scene, where the clerk will not let him through for an extra dollar
“The subway token scene I have.”
unknown · 0:44:10
pick Marcy's death and Paul propping up the dead body with the arrow sign
“Mercy dying, even though I have some other thoughts on it, but it fucking kills me when he puts the side up.”
unknown · 0:44:32
pick The Teri Garr scene
“Um, The Terry Gar scene is just really funny.”
unknown · 0:45:14
pick Terminal Bar, with John Heard unable to open the cash register
“I think the terminal bar in general, going to the bar where herd is the bartender”
unknown · 0:45:21
pick The punk rock club, Club Berlin
“The punk rock club, punk, punk rock club.”
unknown · 0:45:44
pick Catherine O'Hara in the apartment reciting the wrong phone numbers
“Um, the Catherine Harrison in the apartment when he's trying to remember the phone number and she's just saying other numbers”
unknown · 0:45:51
pick Verna Bloom and the Peggy Lee song, Is That All There Is
“The Verna Bloom, is that all there is?”
unknown · 0:46:40
pick The ending: the drop-off from the van and the camera whipping around the office over the end credits
“I like that he's kidnapped in this van, does it?”
unknown · 0:46:57
pick The second diner conversation between Rosanna Arquette and Griffin Dunn, with the Wizard of Oz, Surrender Dorothy bit
“I mean, the one that is the most iconic to me is the diner conversation between Roseanne Arquette and Griffin done”
unknown · 0:48:17

Best That Guy · The best character actor in the 'that guy' mold.

nominee Griffin Dunn as Paul Hackett: Put up as a joke, waved off: his name goes on top of the poster.
“Best that guy word, is Griffin Dunn of that guy?”
unknown · 1:18:15
nominee Will Patton as Horst: Considered, then set aside.
“His horse, that guy.”
unknown · 1:18:26
winner Dick Miller as diner owner
“My of that guys were Dick Miller, Victor Argo, and Larry Block, who was the taxi driver.”
unknown · 1:19:24
winner Victor Argo as diner coffee man
“My of that guys were Dick Miller, Victor Argo, and Larry Block, who was the taxi driver.”
unknown · 1:19:24
winner Larry Block as taxi driver
“My of that guys were Dick Miller, Victor Argo, and Larry Block, who was the taxi driver.”
unknown · 1:19:24

Dion Waiters Award · Small role, big impact.

nominee Teri Garr
“Terry Garr, Catherine O'Hara, Linda Fiorentino, Will Patton, Vernon Bloom, and Cheech and Chong.”
unknown · 1:19:32
nominee Catherine O'Hara
“Terry Garr, Catherine O'Hara, Linda Fiorentino, Will Patton, Vernon Bloom, and Cheech and Chong.”
unknown · 1:19:32
nominee Will Patton as Horst
“Terry Garr, Catherine O'Hara, Linda Fiorentino, Will Patton, Vernon Bloom, and Cheech and Chong.”
unknown · 1:19:32
nominee Verna Bloom
“Terry Garr, Catherine O'Hara, Linda Fiorentino, Will Patton, Vernon Bloom, and Cheech and Chong.”
unknown · 1:19:32
nominee Cheech and Chong
“Terry Garr, Catherine O'Hara, Linda Fiorentino, Will Patton, Vernon Bloom, and Cheech and Chong.”
unknown · 1:19:32
nominee John Heard as the bartender
“I also had John Heard.”
unknown · 1:19:41
winner Linda Fiorentino as Kiki Bridges: Winner for being captivating even when he cannot say what she is doing in the movie.
“Speaking of the Sopranos, legendary Sopranos player, I have Fiorentino winning.”
Bill Simmons · 1:19:43

Overacting Award · Who dials it up the most.

winner Griffin Dunn as Paul Hackett
“I'm going to go Griffin Dunn here because he dials it up a couple times.”
unknown · 1:07:41
nominee Will Patton as Horst: Raised, then called almost underacting.
“We're sure it's not Will Patton?”
unknown · 1:07:54

Hottest Take · A take the host will defend.

pick After Hours is a top-3 Scorsese movie, with Goodfellas and King of Comedy
“This is the top 3 Scorsese movie of all time.”
Sean Fennessey · 1:08:25
pick Scorsese's 80s are better than his 90s and maybe his 70s: He reads out each decade's films to back it.
“And that leads directly to my 2nd hot take, which is that his 80s are better than his 90s and maybe even better than his 70s.”
Sean Fennessey · 1:08:31
pick Linda Fiorentino should have been on The Sopranos
“I don't know how Linda Fiorentino was never on the Sopranos.”
Bill Simmons · 1:09:50

Mallory Rubin Award · Did the movie need a better sex scene?

pick The punk club could have gotten weird: The answer to the question was no; this was the one place it might have gone there.
“I think the, I think the punk club, punk club could have gotten weird.”
unknown · 1:12:54

Casting What Ifs · Almost-castings and other people who could have played the part.

pick Tim Burton as director: Burton stepped aside when Scorsese wanted in.
“This was originally supposed to be directed by Tim Burton.”
unknown · 1:13:40
pick Linda Fiorentino as Kiki Bridges
“There's no real more casting what ifs except for they really had trouble casting the Linda Fiorentino part.”
unknown · 1:15:03
pick Tom Hanks as Paul Hackett
“I think this would have been a really good Tom Hanks movie.”
unknown · 1:20:36
pick Michael Keaton as Paul Hackett
“Can I offer you Michael Keaton?”
unknown · 1:21:04
pick John Cusack as Paul Hackett: The first of a list of who would fit if the movie were made in a later year.
“Well, so 1990 John Cusack.”
Sean Fennessey · 1:22:10
pick Josh Hamilton as Paul Hackett
“Josh Hamilton.”
Sean Fennessey · 1:22:17
pick Philip Seymour Hoffman as Paul Hackett
“0405 range, I think we get Phil Hoffman.”
Sean Fennessey · 1:22:23
pick Jesse Eisenberg as Paul Hackett
“2010, 11 range Jesse Eisenberg.”
Sean Fennessey · 1:22:36
pick Bill Hader as Paul Hackett
“I think this is a great Bo Hader movie.”
Sean Fennessey · 1:22:46
pick Cooper Hoffman as Paul Hackett
“Cooper Hoffman.”
unknown · 1:23:12

Apex Mountain · Whether this was the peak of someone's career, and where it sits.

pick Griffin Dunn: Yes, After Hours is his peak.
“Yes, without question.”
unknown · 1:27:56
pick Rosanna Arquette: Yes, hard cap.
“Rosanna Arcade, 100%, 1985.”
unknown · 1:27:58
pick Linda Fiorentino: Argued the peak is The Last Seduction rather than Men in Black.
“Linda Firentino, last seduction 1994, which she should have gotten nominated for an Oscar, but they had released it on HBO first.”
unknown · 1:28:03
pick Henry Miller
“Maybe the publication of Tropic of Cancer?”
unknown · 1:29:35
pick John Heard: Cutter's Way also comes up.
“I think Home Alone.”
unknown · 1:29:40
pick Cheech and Chong
“It's probably somewhere in late 70s.”
unknown · 1:29:58
pick Teri Garr
“Terry Guard, it's no, because I think it's probably Tootsie era”
unknown · 1:31:58
pick Soho
“At some, it's somewhere in the last 15 years.”
unknown · 1:32:20
pick Dominick Dunne: His 1994-95 OJ coverage, said in an aside about Griffin Dunn's family.
“was like the Apex Mountain for me”
unknown · 1:17:18

What Aged the Best · What has held up best.

pick Rosanna Arquette
“Roseanne Arquette, 1985, has got to be one of what's aged the best.”
unknown · 0:55:40
pick The Home Alone parents preview, Catherine O'Hara and John Heard seen through a window
“And then the big one for me with Age the Best is the Home Alone Parents preview.”
unknown · 0:55:56
pick The weird New York characters
“I have uh, the weird New York characters”
unknown · 0:56:15
pick Movies that use real phone numbers
“Um, I have movies that use real phone numbers.”
unknown · 0:56:44
pick The maniac New York cab ride: Cites Fran Lebowitz on the Blu-ray special feature.
“She said, you nailed it because at that time, there was a change in New York.”
unknown · 0:57:28
pick Cheech and Chong
“Just Cheech and Chong being in this movie, as it would say, the best.”
unknown · 0:58:31

What Aged the Worst · What has held up worst.

pick Griffin Dunn's unibrow
“Griffin Dunn's Unibrow is just bizarre in this movie.”
unknown · 1:05:57
pick Soho
“I had Soho as well”
unknown · 1:06:19
pick Paramount canceling The Last Temptation of Christ
“Um, I mean, the dumbasses who cancel Last Temptation of Christ, like that's not ideal.”
unknown · 1:06:32
winner The character name Paul Hackett: Ruined for him by the Jets' offensive coordinators Paul and Nathaniel Hackett.
“The name of this character is Paul Hackett.”
Sean Fennessey · 1:06:48

Most 1985 Thing · The most 1985 thing about the movie.

pick Soho in the 80s
“I have a one obvious one which is just Soho in the 80s”
Sean Fennessey · 0:49:38
pick The Geffen Company opening credit
“The Geffen Company presents.”
Bill Simmons · 0:51:39
pick Writing down a phone number to give to someone
“Giving somebody a phone number.”
Bill Simmons · 0:51:51
pick Bronson Pinchot as cameo
“A Bronson Pinchot cameo.”
Bill Simmons · 0:52:06
winner A cab across Manhattan for $6.50: Called his actual choice.
“Going all the way across Manhattan in a cab for $6.50.”
Bill Simmons · 0:52:37

Big Kahuna Burger Award · Best use of food and drink.

winner The uneaten diner cheeseburger
“Um, The uneaten diner cheeseburger.”
unknown · 0:59:20
nominee The Mr. Softee truck: Ruled ineligible because no Mr. Softee is actually seen.
“Can we just talk very quickly about the Mr. Softy truck?”
Sean Fennessey · 0:59:28

Best Shot · The best shot in the movie.

pick The keys thrown off the roof straight at the camera
“So there's the keys, which is an incredibly difficult shot to pull off.”
unknown · 1:00:21
pick Paul bouncing in the back of the cab to flamenco music
“I do think that shot of him flying in the cab where he's sitting in the back and it's bouncing and you're hearing the flamenco music and you're like, what is going on?”
unknown · 1:00:55
winner The whip zoom on Marcy as she winks to the camera
“And then I mentioned my favorite by far is the zoom in on Marcy when she winks winks to the camera.”
Sean Fennessey · 1:01:04
pick The crane shot coming down on him outdoors in the last 20 minutes
“I like when he's, it's like in the last 20 minutes.”
unknown · 1:01:11

Best Needle Drop · The best use of a song.

winner Is That All There Is by Peggy Lee
“But I think the winner is, is that all there is by Peggy Lee?”
unknown · 1:01:27
nominee Last Train to Clarksville by The Monkees
“One, I like the last train of Clarksville Monkeys drop because Terry Gar was in head, the Monkeys movie.”
unknown · 1:01:56
nominee Pay to Cum by Bad Brains
“Yeah, um, pay to come by Bad Brains in the club.”
unknown · 1:02:09
nominee Mozart's Symphony number 45
“And then I think Mozart's symphony number 45 at the beginning of the movie is pretty good.”
unknown · 1:02:12

Chester Rockwell and Brock Landers Award · Best character name.

winner Horst
“The Chest Rockwell and Brock Landers Award for best character name, it's clearly horsed.”
unknown · 1:03:02
nominee Kiki Bridges
“I do think 2nd place is Kiki Bridges.”
unknown · 1:03:37
nominee Marcy: A name the culture has lost.
“Marcy is also just a good, it is a good name.”
unknown · 1:03:42

Den of Thieves Benihana Award (scene-stealing location) · The location that steals the scene (Sean's flex category).

winner Terminal Bar
“So, to me, scene stealing location, the Dentethieves Benihana Award is terminal bar”
Sean Fennessey · 1:04:00

Sean Fennessey Stealth Homage Award · The stealth homage that delights movie nerds.

winner Rear Window
“I think rear window is my favorite one.”
Sean Fennessey · 0:58:59

Butch's Girlfriend Award · The weak link of the film.

winner Paul not just walking home or to the next subway stop: Roughly 90 blocks, and there is more than one subway stop.
“Just walk home.”
unknown · 1:04:59

Picking Nits · Nitpicks of a film they love.

pick Why Paul flips on Marcy and makes her cry
“Not sure why he flips on Marcy and makes her cry.”
unknown · 1:34:32
pick Why Marcy actually kills herself
“Couldn't he walk to another subway station and then why did why did Marcy actually kill herself was a weird one.”
unknown · 1:34:52
pick Why not just walk home
“No, the biggest one was just why don't you just walk home?”
unknown · 1:35:20

Roger Ebert Review · The reading of Roger Ebert's review.

pick After Hours: Four stars, on his great movies list. The transcript has 'Raj' for Roger. Pauline Kael's pan is read right after and answered with 'Bad take.'
“Four stars.”
unknown · 0:40:58

Oscar Pick · Who should have won or been nominated.

pick Thelma Schoonmaker as editor
“I'm going with the editing. And our girl Thelma Skoonmacher.”
unknown · 1:36:30

Is this movie better with… · Would a given actor in the movie make it better.

pick Samuel L. Jackson as bar customer flipping out: Two minutes of 80s crazy Sam Jackson.
“Honestly, Sam Jackson being in this movie would have been great.”
unknown · 1:35:45

Sequel, Prequel, Prestige TV · The follow-up or TV show they would make.

pick A 24-style prestige TV series, ten hours, one episode per hour of the night
“Um, There's a prestige TV possibility where each episode is almost like 24.”
unknown · 1:35:25

Unanswerable Questions · Questions the movie never answers.

pick What Paul's job as a word processor actually is
“Like, I know he's a word processor, but what does that mean?”
unknown · 1:37:38
pick The timeline of the night and when he lands back at the office
“The timeline of this movie.”
unknown · 1:37:50
pick Whether he finished reading Tropic of Cancer, and whether he gets arrested
“Um, did he finish reading Tropic Cancer?”
unknown · 1:39:17

Memorabilia · A prop or piece of the movie they would own.

pick The Mr. Softee truck
“The Mr. Softy truck would be pretty cool.”
unknown · 1:39:48
winner The plaster of Paris bagel
“Yeah, I think the I think the plaster Paris bagel.”
unknown · 1:39:55

Coach Finstock Award · Best life lesson.

pick Nothing good happens after 2 AM
“Nothing good happens after 2 AM.”
unknown · 1:40:03
pick Don't chase the night
“Don't chase the night.”
unknown · 1:40:08

Who Won the Movie · Who came out ahead because of the movie.

winner Martin Scorsese: He called it a hinge movie, the door to the next stretch of his career.
“And then I think this movie just getting made and acknowledged was enough to kind of start to get him back on track.”
unknown · 1:41:03

Scorsese or Spielberg · Which of the two directors this movie belongs to.

winner Martin Scorsese
“Steve doesn't have the juice to get into this energy.”
unknown · 1:32:36

Late-Night New York Movies · The best late-night New York City movies.

winner The Warriors: Because it covers more of the city.
“I think the Warriors is superior.”
unknown · 1:30:32
nominee Taxi Driver
“I think taxi drivers, certainly in the conversation.”
unknown · 1:30:47
nominee 25th Hour
“25th hour.”
unknown · 1:30:52

Movies Influenced by After Hours · Films that owe a debt to this one.

pick Uncut Gems
“Uncut gems, I mean, could a movie owe more of a debt to after hours than the cut gems.”
unknown · 1:31:19
pick Go
“One of the ones I think is go.”
unknown · 1:31:28
pick Bright Lights, Big City
“Bright Lights Big City is a big one from this era too.”
unknown · 1:31:40

Who talked about it

Blank Check with Griffin & David

David Sims: 1 line in The Color of Money with Chris Ryan
Unattributed: 41 lines, the speaker unknown or under 0.5 sure.

Blank Check — Patreon

Unattributed: 1 line, the speaker unknown or under 0.5 sure.

The Rewatchables

Bill Simmons: 19 lines in ‘The Ice Storm’ With Bill Simmons, Chris Ryan, and Sean Fennessey · ‘After Hours’ with Bill Simmons and Sean Fennessey
Sean Fennessey: 19 lines in ‘After Hours’ with Bill Simmons and Sean Fennessey
Unattributed: 6 lines, the speaker unknown or under 0.5 sure.

Came from

What the speakers say it drew on. Each is a speaker's account: “the maker said so” when they report the maker's own words, “the host's read” when the read is theirs.

The Last Temptation of Christ: 3 lines the maker said so ×2 the host's read ×1

career (personal projection): The Last Temptation of Christ ⇒ After Hours (the maker said so: Scorsese quoted in an oral history). Scorsese worked Kafka's Before the Law into the club doorman scene to reflect his frustration over Last Temptation.
“inspired by Franz Kafka's before the law. And Scorsese said the short story reflected his frustration toward the production of the Last Temptation of Christ.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 1:23:31 · Sean Fennessey (0.50 sure it was them)

Baby It's You: 1 line the host's read ×1

lineage (production lineage): Baby It's You ⇒ After Hours (the host's read). Without Baby It's You (Dunn/Robinson, Arquette, Ballhaus) there is no After Hours, since it brought Ballhaus to Scorsese.
“without that movie, we don't have after hours either because they bring Michael Bauhaus to Scorsese.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 1:16:29 · Sean Fennessey (0.60 sure it was them)

Ernst Lubitsch: 1 line the host's read ×1

unmapped (comic technique): Ernst Lubitsch ⇒ After Hours (the host's read). The film's elegant timing and characterization is Scorsese flexing Lubitsch, his filmmaking hero.
“this is the movie where Marty gets to flex a little Lubich stuff, who was obviously a big filmmaking hero of his”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 0:39:55 · unknown (0.30 sure it was them)

Fritz Lang: 1 line the maker said so ×1

lineage (influence): Fritz Lang ⇒ After Hours (the maker said so: Scorsese's own account of his influences on the film). Lang's nighttime nightmare noirs (M, Manhunt, Woman in the Window) were influences.
“And then some Fritz Lange movies. like M, Manhunt, Woman in the Window, you know, nighttime noiry, nightmare movies, stuff like that.”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 0:51:36 · unknown host (0.35 sure it was them)

Isle of the Dead: 1 line the maker said so ×1

lineage (influence): Isle of the Dead ⇒ After Hours (the maker said so: Scorsese's own account of his influences on the film). Scorsese cited Isle of the Dead, a one-night Greek island story, as an influence.
“Isle of the Dead, a Val Luton movie that takes place like over one night on a Greek island.”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 0:51:19 · unknown host (0.35 sure it was them)

Joe Frank: 1 line the maker said so ×1

unmapped (alleged plagiarism): Joe Frank ⇒ After Hours (the maker said so: Joe Frank himself, as reported in a 2000 Salon profile). Joe Frank's 1982 monologue 'Lies' was allegedly lifted for After Hours' opening act; 'Lies' was the script's first title.
“the opening act is basically ripping off a 1982 monologue he had called lies, which is the 1st title of this script.”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 0:37:27 · unknown host (reading JJ Bersch's research) (0.40 sure it was them)

North by Northwest: 1 line the maker said so ×1

lineage (influence): North by Northwest ⇒ After Hours (the maker said so: Scorsese's own account of his influences on the film). The world-against-him framed-man structure of North by Northwest was an influence.
“That's sort of like the world is against him. He's been framed.”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 0:51:28 · unknown host (0.35 sure it was them)

Rear Window: 1 line the host's read ×1

lineage (stealth homage): Rear Window ⇒ After Hours (the host's read). The neighborhood shooting seen through a window is a Hitchcock rear-window moment never mentioned again; Hitchcock and Fritz Lang noir are influences.
“there's Hitchcock and Fritz Lange Noir movies are a huge influence on this movie, and that's like such a perfect rear window moment”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 0:58:09 · Sean Fennessey (0.60 sure it was them)

The King of Comedy: 1 line the maker said so ×1

industry (studio retreat): The King of Comedy ⇒ After Hours (the maker said so: Scorsese's quote, via Biskind). King of Comedy bombing and Fox pulling it set up Scorsese's retreat to small-scale After Hours; he said 70s directors had lost to studios.
“And that was when I really understood that the 70s were over for me”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 0:18:28 · Bill Simmons (0.50 sure it was them)

The Wizard of Oz: 1 line the host's read ×1

lineage (homage): The Wizard of Oz ⇒ After Hours (the host's read). Dark-side-of-the-yellow-brick-road version; Dorothy walks into black and white instead of color, with 'surrender Dorothy' graffiti and Marcy's Seconal tie to Judy Garland.
“it is like very much a Wizard of Oz kind of homage, and it's like if Dorothy instead walked into the black and white darkness”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 0:11:14 · Sean Fennessey (0.60 sure it was them)

Led to

What the speakers say drew on it, marked the same way.

Goodfellas: 2 lines the host's read ×2

unmapped (stylistic seed): After Hours ⇒ Goodfellas (the host's read). Sean says the fast cutting, whip-pans and close-ups in After Hours are the seeds of Goodfellas' look, via cinematographer Michael Ballhaus.
“just seeing all the seeds of Goodfellas and all these little edits and camera shots.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 0:04:02 · Sean Fennessey (0.70 sure it was them)

Date Night: 1 line the host's read ×1

theme (genre mutation): After Hours ⇒ Date Night (the host's read). Date Night is After Hours turned into an action movie, piling on too much incident.
“Date night is action movie after hours.”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 0:35:40 · unknown host (0.40 sure it was them)

Go: 1 line the host's read ×1

lineage (influence): After Hours ⇒ Go (the host's read). Go is late-90s After Hours with weird cameos.
“they should have paid royalties to Sworses.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 1:31:36 · Bill Simmons (0.50 sure it was them)

The Color of Money: 1 line the host's read ×1

career (career bridge): After Hours ⇒ The Color of Money (the host's read). The camera moves of After Hours carry into Color of Money's pool table, tied to Ballhaus; both lead to Goodfellas.
“that same thing, that camera is flying across the pool table.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 0:30:24 · Sean Fennessey (0.60 sure it was them)

The Lovebirds: 1 line the host's read ×1

lineage (unofficial remake): After Hours ⇒ The Lovebirds (the host's read). The Lovebirds tried to be the After Hours of its day but never works.
“on paper, you were like, yeah, sure, it's been too long since someone tried to make after hours.”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 0:35:09 · unknown host (0.35 sure it was them)

The Night Before: 1 line the host's read ×1

lineage (unofficial remake): After Hours ⇒ The Night Before (the host's read). After Hours is the template for modern one-crazy-night New York comedies, none of which reach it.
“It is one of those movies that kind of is like unofficially remade every 5 years.”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 0:34:18 · unknown host (0.40 sure it was them)

Uncut Gems: 1 line the host's read ×1

lineage (influence): After Hours ⇒ Uncut Gems (the host's read). Uncut Gems owes a heavy debt to After Hours; Go is also described as owing it royalties.
“could a movie owe more of a debt to after hours than the cut gems.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 1:31:19 · Sean Fennessey (0.50 sure it was them)

Connected to

The Color of Money: 4 lines career ×3 unmapped ×1

career (career bridge): After Hours → The Color of Money. The camera moves of After Hours carry into Color of Money's pool table, tied to Ballhaus; both lead to Goodfellas.
“that same thing, that camera is flying across the pool table.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 0:30:24 · Sean Fennessey (0.60 sure it was them)

The Last Temptation of Christ: 4 lines career ×2 unmapped ×2

unmapped (sliding door): The Last Temptation of Christ → After Hours. Paramount cancelling Last Temptation sent Scorsese to a small fast job; one of movie history's sliding doors.
“it is one of the massive sliding doors in movie history because him not making it leads to him making this movie”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 0:17:03 · Sean Fennessey (0.60 sure it was them)

Goodfellas: 3 lines craft ×1 unmapped ×1 career ×1

unmapped (stylistic seed): After Hours → Goodfellas. Sean says the fast cutting, whip-pans and close-ups in After Hours are the seeds of Goodfellas' look, via cinematographer Michael Ballhaus.
“just seeing all the seeds of Goodfellas and all these little edits and camera shots.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 0:04:02 · Sean Fennessey (0.70 sure it was them)

Michael Ballhaus: 3 lines people ×3

people (collaborator): Michael Ballhaus → After Hours. Ballhaus shot After Hours, his first with Scorsese; Scorsese hired him for quick setups.
“This is their 1st collaboration. He knew him from Fastbinder movies, which were very low budget, tight schedule movies.”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 1:11:18 · unknown host (0.40 sure it was them)

The King of Comedy: 3 lines verdict ×1 unmapped ×1 industry ×1

industry (studio retreat): The King of Comedy → After Hours. King of Comedy bombing and Fox pulling it set up Scorsese's retreat to small-scale After Hours; he said 70s directors had lost to studios.
“And that was when I really understood that the 70s were over for me”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 0:18:28 · Bill Simmons (0.50 sure it was them)

Eyes Wide Shut: 2 lines people ×1 unmapped ×1

people (director-method aside): After Hours → Eyes Wide Shut. Bill cites Kubrick pressing Cruise and Kidman emotionally on Eyes Wide Shut.
“what he did to Cruz and Kidman, where he was just clearly trying to break them emotionally”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 0:28:00 · Bill Simmons (0.50 sure it was them)

Pee-wee's Big Adventure: 2 lines people ×1 programming ×1

programming (double feature): After Hours → Pee-wee's Big Adventure. Tim Burton left After Hours the same year he made Pee-wee; both are about a manchild in a strange world finding salvation going home.
“about a manchild, thrust into a world he doesn't understand, seeking something he can't get, and eventually finding salvation by going back home.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 1:14:08 · Bill Simmons (0.60 sure it was them)

Tim Burton: 2 lines what-if ×2

what-if (what-if director): Tim Burton → After Hours. Burton was originally set to direct but stepped aside when Scorsese wanted it.
“This was originally supposed to be directed by Tim Burton.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 1:13:40 · Bill Simmons (0.60 sure it was them)

24: 1 line unmapped ×1

unmapped (TV reboot idea): After Hours → 24. Prestige-TV version: 10 hours, one episode per hour, like 24.
“It's after hours, but it's 24 and it's 10 hours and one episode for each hour.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 1:35:32 · Sean Fennessey (0.40 sure it was them)

Baby It's You: 1 line lineage ×1

lineage (production lineage): After Hours → Baby It's You. Without Baby It's You (Dunn/Robinson, Arquette, Ballhaus) there is no After Hours, since it brought Ballhaus to Scorsese.
“without that movie, we don't have after hours either because they bring Michael Bauhaus to Scorsese.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 1:16:29 · Sean Fennessey (0.60 sure it was them)

Bad Brains: 1 line craft ×1

craft (craft): After Hours → Bad Brains. Bad Brains are the punk band playing in the Berlin club, performing 'Pay to Cum'.
“Bad Brains, that hardcore, that's the punk band that's playing at Niagara, the song, Pay to Come.”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 2:10:22 · Griffin Newman or David Sims (0.40 sure it was them)

Boogie Nights: 1 line unmapped ×1

unmapped (directing method): After Hours → Boogie Nights. Scorsese startled Dunn with glass-dropping like the firecracker scene in Boogie Nights.
“It's like I'm that part of boogie nights where they're lighting off the...”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 2:16:06 · unknown host (0.30 sure it was them)

Bright Lights, Big City: 1 line programming ×1

programming (era companion): After Hours → Bright Lights, Big City. Bright Lights, Big City is a big one from this era that nobody talks about.
“Bright Lights Big City is a big one from this era too.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 1:31:37 · Sean Fennessey (0.50 sure it was them)

Bringing Out the Dead: 1 line programming ×1

programming (double feature): After Hours → Bringing Out the Dead. Another nighttime Scorsese movie.
“Another nighttime Scorsese movie bringing out the dead.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 1:40:40 · Bill Simmons (0.40 sure it was them)

Catherine O'Hara: 1 line unmapped ×1

unmapped (Scorsese's taste): Catherine O'Hara → After Hours. Scorsese loved SCTV, which explains casting O'Hara; he agitated her before takes.
“Scorsese loved SCTV.”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 0:45:47 · unknown host (0.35 sure it was them)

Dallas Buyers Club: 1 line programming ×1

programming (double feature): After Hours → Dallas Buyers Club. Dallas Buyers Club would pair with After Hours as an AIDS-era double feature.
“It'd be a great double feature with after hours.”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 2:18:42 · unknown host (0.35 sure it was them)

Date Night: 1 line theme ×1

theme (genre mutation): After Hours → Date Night. Date Night is After Hours turned into an action movie, piling on too much incident.
“Date night is action movie after hours.”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 0:35:40 · unknown host (0.40 sure it was them)

Desperately Seeking Susan: 1 line unmapped ×1

unmapped (same-year cycle): After Hours → Desperately Seeking Susan. Hosts group After Hours, Into the Night, Desperately Seeking Susan and Something Wild as 1985 cokey-screwball-paranoia New York-night movies.
“So the cocaney, screwball paranoia era.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 0:11:48 · Sean Fennessey (0.60 sure it was them)

Dog Day Afternoon: 1 line unmapped ×1

unmapped (late-night NYC exclusion): After Hours → Dog Day Afternoon. Every Lumet film is a night movie except Dog Day Afternoon, which takes place by day.
“except for Dog Day afternoon, because it only takes place during the day.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 1:31:46 · Sean Fennessey (0.40 sure it was them)

Ernst Lubitsch: 1 line unmapped ×1

unmapped (comic technique): Ernst Lubitsch → After Hours. The film's elegant timing and characterization is Scorsese flexing Lubitsch, his filmmaking hero.
“this is the movie where Marty gets to flex a little Lubich stuff, who was obviously a big filmmaking hero of his”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 0:39:55 · unknown (0.30 sure it was them)

Escape from New York: 1 line craft ×1

craft (mood): After Hours → Escape from New York. Bill's lost-at-3am Meatpacking night felt like Escape from New York.
“oh, it becomes escape from New York.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 0:05:04 · Bill Simmons (0.70 sure it was them)

Fran Lebowitz: 1 line theme ×1

theme (AIDS-era reading): Fran Lebowitz → After Hours. Lebowitz's take that AIDS killed all the people who fucked is invoked to frame After Hours as a disappearing New York.
“the real devastation of the AIDS crisis was that it knocked out all the people who fucked.”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 1:22:33 · unknown host (0.40 sure it was them)

Francis Ha: 1 line unmapped ×1

unmapped (lived-in New York): Francis Ha → After Hours. Sean says Frances Ha is the closest to his own New York life, as After Hours is to a different era.
“I didn't live through after hours, but what she is doing in that movie, plus Bombach being such a special filmmaker for us.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 1:43:50 · Sean Fennessey (0.50 sure it was them)

Frankenweenie: 1 line unmapped ×1

unmapped (proof of concept): Frankenweenie → After Hours. Burton made Frankenweenie partly to prove he could do live action and earn trust for After Hours.
“Burton need to prove that he could do live action to help kind of gain trust for after hours.”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 0:48:24 · unknown host (0.35 sure it was them)

Fritz Lang: 1 line lineage ×1

lineage (influence): Fritz Lang → After Hours. Lang's nighttime nightmare noirs (M, Manhunt, Woman in the Window) were influences.
“And then some Fritz Lange movies. like M, Manhunt, Woman in the Window, you know, nighttime noiry, nightmare movies, stuff like that.”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 0:51:36 · unknown host (0.35 sure it was them)

Go: 1 line lineage ×1

lineage (influence): After Hours → Go. Go is late-90s After Hours with weird cameos.
“they should have paid royalties to Sworses.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 1:31:36 · Bill Simmons (0.50 sure it was them)

Halloween: 1 line craft ×1

craft (shared device): After Hours → Halloween. Bill compares the interrupted never-finished story to Loomis and the undertaker in Halloween.
“Loomis is looking for Myris's grave, and the undertaker is telling this long story.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 0:43:42 · Bill Simmons (0.60 sure it was them)

Home Alone: 1 line unmapped ×1

unmapped (joke prequel): After Hours → Home Alone. Joked as a Home Alone prequel because O'Hara and Heard play Kevin's future parents.
“this, of course, is a Home Alone prequel that explains how Kevin McAllister's parents meet.”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 0:45:20 · unknown host (0.40 sure it was them)

Howard Shore: 1 line craft ×1

craft (craft): After Hours → Howard Shore. After Hours is light on needle drops and leans on Shore's heavy score.
“Marty hasn't been doing the needle drops as much in this film. It feels big to have, you know, the score's very heavy in this film. Howard Shore.”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 2:03:30 · Griffin Newman or David Sims (0.40 sure it was them)

Into the Night: 1 line programming ×1

programming (double feature): After Hours → Into the Night. Sean's double-feature pick: the LA version of the same energy, made at the same time.
“I think it would be funny to see New York, LA, same kind of version energy.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 1:40:52 · Sean Fennessey (0.50 sure it was them)

Isle of the Dead: 1 line lineage ×1

lineage (influence): Isle of the Dead → After Hours. Scorsese cited Isle of the Dead, a one-night Greek island story, as an influence.
“Isle of the Dead, a Val Luton movie that takes place like over one night on a Greek island.”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 0:51:19 · unknown host (0.35 sure it was them)

Joe Frank: 1 line unmapped ×1

unmapped (alleged plagiarism): Joe Frank → After Hours. Joe Frank's 1982 monologue 'Lies' was allegedly lifted for After Hours' opening act; 'Lies' was the script's first title.
“the opening act is basically ripping off a 1982 monologue he had called lies, which is the 1st title of this script.”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 0:37:27 · unknown host (reading JJ Bersch's research) (0.40 sure it was them)

Joseph Minion: 1 line lineage ×1

lineage (sources of the screenplay): Joseph Minion → After Hours. Minion wrote it under the spell of Kafka, Welles' The Trial, Mamet plays, Henry Miller and Mailer.
“I was under the spell of Kafka. I was obsessed with Orson Welles as the trial.”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 0:33:22 · unknown host (quoting Minion) (0.35 sure it was them)

Lost: 1 line craft ×1

craft (sound): After Hours → Lost. The cab-meter noise is the same sound used for the smoke monster in Lost.
“the receipt sound of a taxi, which uh, was used for the smoke monster and lost.”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 0:12:53 · unknown host (0.30 sure it was them)

Men in Black 3: 1 line theme ×1

theme (joke comparison): After Hours → Men in Black 3. A host calls Men in Black 3 the After Hours of the franchise, mostly set in one night.
“I've seen the after hours of the Men in Black trilogy.”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 0:11:08 · unknown host (0.35 sure it was them)

Mozart: 1 line craft ×1

craft (craft): After Hours → Mozart. The music playing as Paul is back at work at the end is Mozart, not Beethoven.
“It's Mozart, not Beethoven, is the music, by the way.”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 2:10:16 · Griffin Newman or David Sims (0.40 sure it was them)

Ms. 45: 1 line theme ×1

theme (location): Ms. 45 → After Hours. A host wants to make a SoHo canon including Ms. 45.
“I want to make a Soho cannon, and I need to look, you know, Ms. 45 for our movies also.”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 0:24:53 · unknown host (0.35 sure it was them)

No Way Out: 1 line people ×1

people (actor warm-up): After Hours → No Way Out. Will Patton's Horst is a warm-up for the crazy assistant in No Way Out.
“worst is kind of a warm-up for the crazy assistant to the secretary of defense in No Way Out.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 1:18:44 · Bill Simmons (0.50 sure it was them)

North by Northwest: 1 line lineage ×1

lineage (influence): North by Northwest → After Hours. The world-against-him framed-man structure of North by Northwest was an influence.
“That's sort of like the world is against him. He's been framed.”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 0:51:28 · unknown host (0.35 sure it was them)

Out of Africa: 1 line contrast ×1

contrast (Oscar contrast): Out of Africa → After Hours. 1985 Best Picture went to respectable, stuffy Out of Africa while the new-Hollywood audacity lived in films like this.
“the movie that won best picture in 1985 is out of Africa.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 0:20:02 · Sean Fennessey (0.60 sure it was them)

Pauline Kael: 1 line unmapped ×1

unmapped (critical dissent): Pauline Kael → After Hours. Kael called it a hired-hand vacuous piece of consumer goods; the hosts say that misses the movie.
“Scorsese's using his skills and even his personality like a hired hand.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 0:41:20 · Bill Simmons (0.50 sure it was them)

Peggy Lee: 1 line verdict ×1

verdict (verdict): Peggy Lee → After Hours. Peggy Lee's 'Is That All There Is' wins best needle drop in After Hours.
“But I think the winner is, is that all there is by Peggy Lee?”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 1:01:27 · Sean Fennessey (0.40 sure it was them)

Raging Bull: 1 line unmapped ×1

unmapped (tonal shift): After Hours → Raging Bull. Raging Bull is realistic, documentary-like black and white; After Hours is a surreal fever-nightmare with a moving camera, a shift for Scorsese.
“Raging Bull, shot in black and white, almost feels like documentaries.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 0:29:18 · Sean Fennessey (0.50 sure it was them)

Rear Window: 1 line lineage ×1

lineage (stealth homage): After Hours → Rear Window. The neighborhood shooting seen through a window is a Hitchcock rear-window moment never mentioned again; Hitchcock and Fritz Lang noir are influences.
“there's Hitchcock and Fritz Lange Noir movies are a huge influence on this movie, and that's like such a perfect rear window moment”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 0:58:09 · Sean Fennessey (0.60 sure it was them)

Rocky: 1 line craft ×1

craft (set design): After Hours → Rocky. The terminal bar looks like the Rocky bar where they watch the fight.
“It looks like the Rocky one bar that they're that they're all watching the fight in.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 1:04:41 · Bill Simmons (0.50 sure it was them)

Ryan Coogler: 1 line what-if ×1

what-if (what-if): Ryan Coogler → After Hours. Bill wishes Coogler would make his own After Hours, a small one-day weird movie.
“I just wish I could see Ryan Cougars after hours where he's just like, yeah, it's just everything takes place in one day”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 0:27:09 · Bill Simmons (0.60 sure it was them)

Saw: 1 line theme ×1

theme (plot comparison): After Hours → Saw. Fiorentino's Kiki is jigsaw-like and the sculpture is set up from the start like Saw's traps.
“And it is like saw in that it's like the sculpture's there from the beginning.”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 1:33:48 · unknown host (0.35 sure it was them)

Seagal's Out for Justice: 1 line theme ×1

theme (behind-the-scenes anecdote parallel): Seagal's Out for Justice → After Hours. Dunn's accidental ruined massage take is compared to the Seagal on-set story, which Bill ranks slightly higher.
“Not as good as Stevens Gaw shitting on himself as he's being choked out on the set about for justice, but really good.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 0:55:31 · Bill Simmons (0.50 sure it was them)

Swingers: 1 line contrast ×1

contrast (city contrast): After Hours → Swingers. Bill contrasts New York cabs with LA car culture in Swingers.
“if you watch swingers and everybody's in their cars and they have like multiple scenes where the 5 guys are driving in their cars.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 0:09:08 · Bill Simmons (0.70 sure it was them)

The Ice Storm: 1 line contrast ×1

contrast (contrast): The Ice Storm → After Hours. Simmons asks whether any movie character had a worse night than Jim Carver and cites After Hours.
“Griffin Dunn in after hours or in competition for worse than true.”
The Rewatchables · ‘The Ice Storm’ With Bill Simmons, Chris Ryan, and Sean Fennessey · 1:21:39 · Bill Simmons (0.50 sure it was them)

The Lovebirds: 1 line lineage ×1

lineage (unofficial remake): After Hours → The Lovebirds. The Lovebirds tried to be the After Hours of its day but never works.
“on paper, you were like, yeah, sure, it's been too long since someone tried to make after hours.”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 0:35:09 · unknown host (0.35 sure it was them)

The Mission: 1 line unmapped ×1

unmapped (Cannes competitor): After Hours → The Mission. Both played Cannes; Scorsese won best director while The Mission took the Palme.
“The Palm door went to the mission, one of the worst Palm door winners, in my opinion.”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 2:14:42 · unknown host (0.40 sure it was them)

The Night Before: 1 line lineage ×1

lineage (unofficial remake): After Hours → The Night Before. After Hours is the template for modern one-crazy-night New York comedies, none of which reach it.
“It is one of those movies that kind of is like unofficially remade every 5 years.”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 0:34:18 · unknown host (0.40 sure it was them)

The Sopranos: 1 line theme ×1

theme (dropped-plot comparison): After Hours → The Sopranos. A shooting that nobody follows up recalls the Russian in the woods in The Sopranos.
“It's like the Russian and the sopranos, the Russian in the woods.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 0:58:26 · Bill Simmons (0.50 sure it was them)

The Warriors: 1 line verdict ×1

verdict (late-night NYC ranking): After Hours → The Warriors. Bill ranks The Warriors above After Hours among late-night New York movies since it covers more ground.
“I think the Warriors is superior.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 1:30:32 · Bill Simmons (0.60 sure it was them)

The Wizard of Oz: 1 line lineage ×1

lineage (homage): After Hours → The Wizard of Oz. Dark-side-of-the-yellow-brick-road version; Dorothy walks into black and white instead of color, with 'surrender Dorothy' graffiti and Marcy's Seconal tie to Judy Garland.
“it is like very much a Wizard of Oz kind of homage, and it's like if Dorothy instead walked into the black and white darkness”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 0:11:14 · Sean Fennessey (0.60 sure it was them)

Thelma Schoonmaker: 1 line verdict ×1

verdict (verdict): Thelma Schoonmaker → After Hours. In the Oscar-who-gets-it category the pick for After Hours is Schoonmaker's editing.
“I'm going with the editing. And our girl Thelma Skoonmacher.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 1:36:30 · Bill Simmons (0.40 sure it was them)

Uncut Gems: 1 line lineage ×1

lineage (influence): After Hours → Uncut Gems. Uncut Gems owes a heavy debt to After Hours; Go is also described as owing it royalties.
“could a movie owe more of a debt to after hours than the cut gems.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 1:31:19 · Sean Fennessey (0.50 sure it was them)

Unfaithful: 1 line theme ×1

theme (location): After Hours → Unfaithful. Unfaithful shares great SoHo location work with After Hours.
“The Adrian Lyne movie has a lot of great SoHo stuff.”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 0:25:01 · unknown host (0.35 sure it was them)

Verna Bloom: 1 line people ×1

people (recurring actor): Verna Bloom → After Hours. Verna Bloom, who plays Mary here, was in After Hours and is J. Cox's wife.
“Verna Bloom in this, who's married to J. Cox.”
Blank Check with Griffin & David · The Last Temptation of Christ with Jamelle Bouie · 0:46:49 · David Sims (0.40 sure it was them)

Vincent: 1 line unmapped ×1

unmapped (calling card): Vincent → After Hours. Dunn and Robinson hired Burton after seeing his short Vincent.
“So, uh, they they love this script and then they watch Vincent, the Short by Tim Burton.”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 0:46:18 · unknown host (0.40 sure it was them)

Witness: 1 line what-if ×1

what-if (alternate assignment): Witness → After Hours. Scorsese was also offered Witness and refused to go to Pennsylvania/Amish country.
“And Marty was kind of like, I'm not going to Pennsylvania.”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 0:50:09 · unknown host (0.35 sure it was them)

Wolfgang Amadeus Mozart: 1 line craft ×1

craft (craft): Wolfgang Amadeus Mozart → After Hours. Mozart's Symphony No. 45 is named as one of the movie's good needle drops, opening it.
“And then I think Mozart's symphony number 45 at the beginning of the movie is pretty good.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 1:02:12 · Sean Fennessey (0.40 sure it was them)

Yellowbeard: 1 line programming ×1

programming (programming): Yellowbeard → After Hours. Cheech and Chong in Yellowbeard and After Hours are reserved for future Mel Damski and Scorsese series.
“we'd want to save that for Martin Scorsese and Mel Damski series.”
Blank Check with Griffin & David · Raiders of the Lost Ark with Brian Michael Bendis · 3:12:46 · unknown (0.40 sure it was them)

Where it came up

passing in Blank Check with Griffin & David · The Last Temptation of Christ with Jamelle Bouie, first at 0:20:36, 4 times
compared in Blank Check with Griffin & David · The Color of Money with Chris Ryan, first at 0:50:35, 4 times
subject in Blank Check with Griffin & David · After Hours with Alison Sivitz, first at 0:00:38, 90 times
passing in Blank Check with Griffin & David · Raging Bull with David Krumholtz, first at 2:05:42, 1 time
passing in Blank Check with Griffin & David · Raiders of the Lost Ark with Brian Michael Bendis, first at 3:12:41, 1 time
subject in The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey, first at 0:01:48, 60 times
passing in The Rewatchables · ‘The Ice Storm’ With Bill Simmons, Chris Ryan, and Sean Fennessey, first at 1:21:39, 1 time
passing in The Rewatchables · ‘The Color of Money’ With Bill Simmons, Chris Ryan, and Sean Fennessey, first at 0:17:19, 1 time
recommended in The Rewatchables · ‘Do The Right Thing’ With Sean Fennessey and Wesley Morris, first at 0:33:04, 2 times
compared in Blank Check — Patreon · Eyes Wide Shut with David Ehrlich (Ad-Free), first at 1:53:28, 1 time

What was said about it, by kind

career (6)

career (career strategy): The Last Temptation of Christ → After Hours. After Hours was Scorsese proving he could make movies quickly and responsibly.
“he makes after hours, which is a great movie, but is obviously him being like, see, I can make movies quick.”
Blank Check with Griffin & David · The Last Temptation of Christ with Jamelle Bouie · 0:51:12 · Griffin Newman (0.40 sure it was them)
career (career pivot): The Color of Money → After Hours. After Last Temptation failed in the early 80s, Scorsese made cheap After Hours to prove he could finish something, then took Color of Money.
“Uh, it fails and so he makes after hours as a sort of pivot out of that of like, I'll just do something.”
Blank Check with Griffin & David · The Color of Money with Chris Ryan · 0:50:35 · David Sims (0.50 sure it was them)
career (career sequence): After Hours → The Color of Money. After this, Scorsese finally gets an unqualified hit with The Color of Money; next episode.
“After this, Martin Scorsese finally has an unqualified hit.”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 2:25:53 · unknown host (0.40 sure it was them)
career (career hinge): After Hours → Goodfellas. Bill says Goodfellas does not happen if After Hours does not happen first; the cancelled Last Temptation is the sliding door.
“I don't know if Goodfellas happens.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 0:17:21 · Sean Fennessey (0.50 sure it was them)
career (career bridge): After Hours → The Color of Money. The camera moves of After Hours carry into Color of Money's pool table, tied to Ballhaus; both lead to Goodfellas.
“that same thing, that camera is flying across the pool table.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 0:30:24 · Sean Fennessey (0.60 sure it was them)
career (personal projection): After Hours → The Last Temptation of Christ. Scorsese worked Kafka's Before the Law into the club doorman scene to reflect his frustration over Last Temptation.
“inspired by Franz Kafka's before the law. And Scorsese said the short story reflected his frustration toward the production of the Last Temptation of Christ.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 1:23:31 · Sean Fennessey (0.50 sure it was them)

contrast (3)

contrast (city contrast): After Hours → Swingers. Bill contrasts New York cabs with LA car culture in Swingers.
“if you watch swingers and everybody's in their cars and they have like multiple scenes where the 5 guys are driving in their cars.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 0:09:08 · Bill Simmons (0.70 sure it was them)
contrast (Oscar contrast): Out of Africa → After Hours. 1985 Best Picture went to respectable, stuffy Out of Africa while the new-Hollywood audacity lived in films like this.
“the movie that won best picture in 1985 is out of Africa.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 0:20:02 · Sean Fennessey (0.60 sure it was them)
contrast (contrast): The Ice Storm → After Hours. Simmons asks whether any movie character had a worse night than Jim Carver and cites After Hours.
“Griffin Dunn in after hours or in competition for worse than true.”
The Rewatchables · ‘The Ice Storm’ With Bill Simmons, Chris Ryan, and Sean Fennessey · 1:21:39 · Bill Simmons (0.50 sure it was them)

craft (9)

craft (sound): After Hours → Lost. The cab-meter noise is the same sound used for the smoke monster in Lost.
“the receipt sound of a taxi, which uh, was used for the smoke monster and lost.”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 0:12:53 · unknown host (0.30 sure it was them)
craft (camera style): Goodfellas → After Hours. After Hours already has the Goodfellas-style moving camera.
“Also, there's so much Goodfella's DNA and the way the camera moves and it's really fun to watch.”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 1:12:15 · Alison Sivitz (0.35 sure it was them)
craft (craft): After Hours → Howard Shore. After Hours is light on needle drops and leans on Shore's heavy score.
“Marty hasn't been doing the needle drops as much in this film. It feels big to have, you know, the score's very heavy in this film. Howard Shore.”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 2:03:30 · Griffin Newman or David Sims (0.40 sure it was them)
craft (craft): After Hours → Mozart. The music playing as Paul is back at work at the end is Mozart, not Beethoven.
“It's Mozart, not Beethoven, is the music, by the way.”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 2:10:16 · Griffin Newman or David Sims (0.40 sure it was them)
craft (craft): After Hours → Bad Brains. Bad Brains are the punk band playing in the Berlin club, performing 'Pay to Cum'.
“Bad Brains, that hardcore, that's the punk band that's playing at Niagara, the song, Pay to Come.”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 2:10:22 · Griffin Newman or David Sims (0.40 sure it was them)
craft (mood): After Hours → Escape from New York. Bill's lost-at-3am Meatpacking night felt like Escape from New York.
“oh, it becomes escape from New York.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 0:05:04 · Bill Simmons (0.70 sure it was them)
craft (shared device): After Hours → Halloween. Bill compares the interrupted never-finished story to Loomis and the undertaker in Halloween.
“Loomis is looking for Myris's grave, and the undertaker is telling this long story.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 0:43:42 · Bill Simmons (0.60 sure it was them)
craft (craft): Wolfgang Amadeus Mozart → After Hours. Mozart's Symphony No. 45 is named as one of the movie's good needle drops, opening it.
“And then I think Mozart's symphony number 45 at the beginning of the movie is pretty good.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 1:02:12 · Sean Fennessey (0.40 sure it was them)
craft (set design): After Hours → Rocky. The terminal bar looks like the Rocky bar where they watch the fight.
“It looks like the Rocky one bar that they're that they're all watching the fight in.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 1:04:41 · Bill Simmons (0.50 sure it was them)

industry (1)

industry (studio retreat): The King of Comedy → After Hours. King of Comedy bombing and Fox pulling it set up Scorsese's retreat to small-scale After Hours; he said 70s directors had lost to studios.
“And that was when I really understood that the 70s were over for me”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 0:18:28 · Bill Simmons (0.50 sure it was them)

lineage (11)

lineage (sources of the screenplay): Joseph Minion → After Hours. Minion wrote it under the spell of Kafka, Welles' The Trial, Mamet plays, Henry Miller and Mailer.
“I was under the spell of Kafka. I was obsessed with Orson Welles as the trial.”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 0:33:22 · unknown host (quoting Minion) (0.35 sure it was them)
lineage (unofficial remake): After Hours → The Night Before. After Hours is the template for modern one-crazy-night New York comedies, none of which reach it.
“It is one of those movies that kind of is like unofficially remade every 5 years.”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 0:34:18 · unknown host (0.40 sure it was them)
lineage (unofficial remake): After Hours → The Lovebirds. The Lovebirds tried to be the After Hours of its day but never works.
“on paper, you were like, yeah, sure, it's been too long since someone tried to make after hours.”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 0:35:09 · unknown host (0.35 sure it was them)
lineage (influence): Isle of the Dead → After Hours. Scorsese cited Isle of the Dead, a one-night Greek island story, as an influence.
“Isle of the Dead, a Val Luton movie that takes place like over one night on a Greek island.”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 0:51:19 · unknown host (0.35 sure it was them)
lineage (influence): North by Northwest → After Hours. The world-against-him framed-man structure of North by Northwest was an influence.
“That's sort of like the world is against him. He's been framed.”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 0:51:28 · unknown host (0.35 sure it was them)
lineage (influence): Fritz Lang → After Hours. Lang's nighttime nightmare noirs (M, Manhunt, Woman in the Window) were influences.
“And then some Fritz Lange movies. like M, Manhunt, Woman in the Window, you know, nighttime noiry, nightmare movies, stuff like that.”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 0:51:36 · unknown host (0.35 sure it was them)
lineage (homage): After Hours → The Wizard of Oz. Dark-side-of-the-yellow-brick-road version; Dorothy walks into black and white instead of color, with 'surrender Dorothy' graffiti and Marcy's Seconal tie to Judy Garland.
“it is like very much a Wizard of Oz kind of homage, and it's like if Dorothy instead walked into the black and white darkness”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 0:11:14 · Sean Fennessey (0.60 sure it was them)
lineage (stealth homage): After Hours → Rear Window. The neighborhood shooting seen through a window is a Hitchcock rear-window moment never mentioned again; Hitchcock and Fritz Lang noir are influences.
“there's Hitchcock and Fritz Lange Noir movies are a huge influence on this movie, and that's like such a perfect rear window moment”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 0:58:09 · Sean Fennessey (0.60 sure it was them)
lineage (production lineage): After Hours → Baby It's You. Without Baby It's You (Dunn/Robinson, Arquette, Ballhaus) there is no After Hours, since it brought Ballhaus to Scorsese.
“without that movie, we don't have after hours either because they bring Michael Bauhaus to Scorsese.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 1:16:29 · Sean Fennessey (0.60 sure it was them)
lineage (influence): After Hours → Uncut Gems. Uncut Gems owes a heavy debt to After Hours; Go is also described as owing it royalties.
“could a movie owe more of a debt to after hours than the cut gems.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 1:31:19 · Sean Fennessey (0.50 sure it was them)
lineage (influence): After Hours → Go. Go is late-90s After Hours with weird cameos.
“they should have paid royalties to Sworses.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 1:31:36 · Bill Simmons (0.50 sure it was them)

people (7)

people (recurring actor): Verna Bloom → After Hours. Verna Bloom, who plays Mary here, was in After Hours and is J. Cox's wife.
“Verna Bloom in this, who's married to J. Cox.”
Blank Check with Griffin & David · The Last Temptation of Christ with Jamelle Bouie · 0:46:49 · David Sims (0.40 sure it was them)
people (collaboration): Michael Ballhaus → After Hours. Ballhaus shot After Hours with Scorsese and found the 'poor movie' look fit the subject.
“who'd already done after hours with them, obviously”
Blank Check with Griffin & David · The Last Temptation of Christ with Jamelle Bouie · 1:06:20 · David Sims (0.40 sure it was them)
people (cinematographer reuse): Michael Ballhaus → After Hours. Ballhaus shot After Hours and Color of Money, making this his second Scorsese film, and the researcher calls him the best DP Scorsese worked with.
“This is his 2nd ball house movie. Ballhouse shot after hours.”
Blank Check with Griffin & David · The Color of Money with Chris Ryan · 1:20:50 · unknown (0.30 sure it was them)
people (collaborator): Michael Ballhaus → After Hours. Ballhaus shot After Hours, his first with Scorsese; Scorsese hired him for quick setups.
“This is their 1st collaboration. He knew him from Fastbinder movies, which were very low budget, tight schedule movies.”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 1:11:18 · unknown host (0.40 sure it was them)
people (same-year, near-director): Pee-wee's Big Adventure → After Hours. Pee-wee's Big Adventure was number 3 at the 1985 box office, directed by the man considered for After Hours.
“directed by a guy who was considered for directing this film.”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 2:19:38 · unknown host (0.40 sure it was them)
people (director-method aside): After Hours → Eyes Wide Shut. Bill cites Kubrick pressing Cruise and Kidman emotionally on Eyes Wide Shut.
“what he did to Cruz and Kidman, where he was just clearly trying to break them emotionally”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 0:28:00 · Bill Simmons (0.50 sure it was them)
people (actor warm-up): After Hours → No Way Out. Will Patton's Horst is a warm-up for the crazy assistant in No Way Out.
“worst is kind of a warm-up for the crazy assistant to the secretary of defense in No Way Out.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 1:18:44 · Bill Simmons (0.50 sure it was them)

programming (6)

programming (double feature): After Hours → Dallas Buyers Club. Dallas Buyers Club would pair with After Hours as an AIDS-era double feature.
“It'd be a great double feature with after hours.”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 2:18:42 · unknown host (0.35 sure it was them)
programming (programming): Yellowbeard → After Hours. Cheech and Chong in Yellowbeard and After Hours are reserved for future Mel Damski and Scorsese series.
“we'd want to save that for Martin Scorsese and Mel Damski series.”
Blank Check with Griffin & David · Raiders of the Lost Ark with Brian Michael Bendis · 3:12:46 · unknown (0.40 sure it was them)
programming (double feature): After Hours → Pee-wee's Big Adventure. Tim Burton left After Hours the same year he made Pee-wee; both are about a manchild in a strange world finding salvation going home.
“about a manchild, thrust into a world he doesn't understand, seeking something he can't get, and eventually finding salvation by going back home.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 1:14:08 · Bill Simmons (0.60 sure it was them)
programming (era companion): After Hours → Bright Lights, Big City. Bright Lights, Big City is a big one from this era that nobody talks about.
“Bright Lights Big City is a big one from this era too.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 1:31:37 · Sean Fennessey (0.50 sure it was them)
programming (double feature): After Hours → Bringing Out the Dead. Another nighttime Scorsese movie.
“Another nighttime Scorsese movie bringing out the dead.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 1:40:40 · Bill Simmons (0.40 sure it was them)
programming (double feature): After Hours → Into the Night. Sean's double-feature pick: the LA version of the same energy, made at the same time.
“I think it would be funny to see New York, LA, same kind of version energy.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 1:40:52 · Sean Fennessey (0.50 sure it was them)

theme (8)

theme (joke comparison): After Hours → Men in Black 3. A host calls Men in Black 3 the After Hours of the franchise, mostly set in one night.
“I've seen the after hours of the Men in Black trilogy.”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 0:11:08 · unknown host (0.35 sure it was them)
theme (location): Ms. 45 → After Hours. A host wants to make a SoHo canon including Ms. 45.
“I want to make a Soho cannon, and I need to look, you know, Ms. 45 for our movies also.”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 0:24:53 · unknown host (0.35 sure it was them)
theme (location): After Hours → Unfaithful. Unfaithful shares great SoHo location work with After Hours.
“The Adrian Lyne movie has a lot of great SoHo stuff.”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 0:25:01 · unknown host (0.35 sure it was them)
theme (genre mutation): After Hours → Date Night. Date Night is After Hours turned into an action movie, piling on too much incident.
“Date night is action movie after hours.”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 0:35:40 · unknown host (0.40 sure it was them)
theme (AIDS-era reading): Fran Lebowitz → After Hours. Lebowitz's take that AIDS killed all the people who fucked is invoked to frame After Hours as a disappearing New York.
“the real devastation of the AIDS crisis was that it knocked out all the people who fucked.”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 1:22:33 · unknown host (0.40 sure it was them)
theme (plot comparison): After Hours → Saw. Fiorentino's Kiki is jigsaw-like and the sculpture is set up from the start like Saw's traps.
“And it is like saw in that it's like the sculpture's there from the beginning.”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 1:33:48 · unknown host (0.35 sure it was them)
theme (behind-the-scenes anecdote parallel): Seagal's Out for Justice → After Hours. Dunn's accidental ruined massage take is compared to the Seagal on-set story, which Bill ranks slightly higher.
“Not as good as Stevens Gaw shitting on himself as he's being choked out on the set about for justice, but really good.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 0:55:31 · Bill Simmons (0.50 sure it was them)
theme (dropped-plot comparison): After Hours → The Sopranos. A shooting that nobody follows up recalls the Russian in the woods in The Sopranos.
“It's like the Russian and the sopranos, the Russian in the woods.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 0:58:26 · Bill Simmons (0.50 sure it was them)

unmapped (20)

unmapped (shared coke energy): After Hours → The Color of Money. Both films feel like the sense memory of cocaine, from a director saying goodbye to it.
“That is also another movie, which is somehow not made on cocaine. Yeah. where it's just, but it is, it is the sense memory of cocaine.”
Blank Check with Griffin & David · The Color of Money with Chris Ryan · 0:51:12 · unknown (0.30 sure it was them)
unmapped (alleged plagiarism): Joe Frank → After Hours. Joe Frank's 1982 monologue 'Lies' was allegedly lifted for After Hours' opening act; 'Lies' was the script's first title.
“the opening act is basically ripping off a 1982 monologue he had called lies, which is the 1st title of this script.”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 0:37:27 · unknown host (reading JJ Bersch's research) (0.40 sure it was them)
unmapped (comic technique): Ernst Lubitsch → After Hours. The film's elegant timing and characterization is Scorsese flexing Lubitsch, his filmmaking hero.
“this is the movie where Marty gets to flex a little Lubich stuff, who was obviously a big filmmaking hero of his”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 0:39:55 · unknown (0.30 sure it was them)
unmapped (joke prequel): After Hours → Home Alone. Joked as a Home Alone prequel because O'Hara and Heard play Kevin's future parents.
“this, of course, is a Home Alone prequel that explains how Kevin McAllister's parents meet.”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 0:45:20 · unknown host (0.40 sure it was them)
unmapped (Scorsese's taste): Catherine O'Hara → After Hours. Scorsese loved SCTV, which explains casting O'Hara; he agitated her before takes.
“Scorsese loved SCTV.”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 0:45:47 · unknown host (0.35 sure it was them)
unmapped (calling card): Vincent → After Hours. Dunn and Robinson hired Burton after seeing his short Vincent.
“So, uh, they they love this script and then they watch Vincent, the Short by Tim Burton.”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 0:46:18 · unknown host (0.40 sure it was them)
unmapped (proof of concept): Frankenweenie → After Hours. Burton made Frankenweenie partly to prove he could do live action and earn trust for After Hours.
“Burton need to prove that he could do live action to help kind of gain trust for after hours.”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 0:48:24 · unknown host (0.35 sure it was them)
unmapped (cause): The Last Temptation of Christ → After Hours. After Paramount collapsed Last Temptation, Scorsese wanted a cheap, personal film; After Hours is his reaction to the Hollywood ordeal.
“it's a reaction against my year and a half into Hollywood trying to get last temptation to Christ made.”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 0:50:49 · unknown host (quoting Scorsese) (0.35 sure it was them)
unmapped (rejuvenation): The King of Comedy → After Hours. After Hours rescued Scorsese after King of Comedy the way The Last Waltz followed New York, New York.
“Like last waltz is that after New York, New York, and this is that after King of comedy, where he needed to be saved a little.”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 1:11:51 · unknown (0.30 sure it was them)
unmapped (Cannes competitor): After Hours → The Mission. Both played Cannes; Scorsese won best director while The Mission took the Palme.
“The Palm door went to the mission, one of the worst Palm door winners, in my opinion.”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 2:14:42 · unknown host (0.40 sure it was them)
unmapped (directing method): After Hours → Boogie Nights. Scorsese startled Dunn with glass-dropping like the firecracker scene in Boogie Nights.
“It's like I'm that part of boogie nights where they're lighting off the...”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 2:16:06 · unknown host (0.30 sure it was them)
unmapped (stylistic seed): After Hours → Goodfellas. Sean says the fast cutting, whip-pans and close-ups in After Hours are the seeds of Goodfellas' look, via cinematographer Michael Ballhaus.
“just seeing all the seeds of Goodfellas and all these little edits and camera shots.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 0:04:02 · Sean Fennessey (0.70 sure it was them)
unmapped (same-year cycle): After Hours → Desperately Seeking Susan. Hosts group After Hours, Into the Night, Desperately Seeking Susan and Something Wild as 1985 cokey-screwball-paranoia New York-night movies.
“So the cocaney, screwball paranoia era.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 0:11:48 · Sean Fennessey (0.60 sure it was them)
unmapped (sliding door): The Last Temptation of Christ → After Hours. Paramount cancelling Last Temptation sent Scorsese to a small fast job; one of movie history's sliding doors.
“it is one of the massive sliding doors in movie history because him not making it leads to him making this movie”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 0:17:03 · Sean Fennessey (0.60 sure it was them)
unmapped (tonal shift): After Hours → Raging Bull. Raging Bull is realistic, documentary-like black and white; After Hours is a surreal fever-nightmare with a moving camera, a shift for Scorsese.
“Raging Bull, shot in black and white, almost feels like documentaries.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 0:29:18 · Sean Fennessey (0.50 sure it was them)
unmapped (critical dissent): Pauline Kael → After Hours. Kael called it a hired-hand vacuous piece of consumer goods; the hosts say that misses the movie.
“Scorsese's using his skills and even his personality like a hired hand.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 0:41:20 · Bill Simmons (0.50 sure it was them)
unmapped (late-night NYC exclusion): After Hours → Dog Day Afternoon. Every Lumet film is a night movie except Dog Day Afternoon, which takes place by day.
“except for Dog Day afternoon, because it only takes place during the day.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 1:31:46 · Sean Fennessey (0.40 sure it was them)
unmapped (TV reboot idea): After Hours → 24. Prestige-TV version: 10 hours, one episode per hour, like 24.
“It's after hours, but it's 24 and it's 10 hours and one episode for each hour.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 1:35:32 · Sean Fennessey (0.40 sure it was them)
unmapped (lived-in New York): Francis Ha → After Hours. Sean says Frances Ha is the closest to his own New York life, as After Hours is to a different era.
“I didn't live through after hours, but what she is doing in that movie, plus Bombach being such a special filmmaker for us.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 1:43:50 · Sean Fennessey (0.50 sure it was them)
unmapped (one crazy night): After Hours → Eyes Wide Shut. The speaker pairs the two one-crazy-night New York movies and notes Kubrick adored After Hours.
“interesting to look at this movie against, uh, after hours in certain ways, right?”
Blank Check — Patreon · Eyes Wide Shut with David Ehrlich (Ad-Free) · 1:53:28 · unknown (0.30 sure it was them)

verdict (4)

verdict (fan-ranking shift): The King of Comedy → After Hours. King of Comedy was once the not-like-other-fans Scorsese pick; fans have swung round to After Hours.
“for a while, uh, king of comedy was the, I'm not like the other Scorsese fans. And things have now, I think, swung around to after hours.”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 0:21:24 · unknown host (0.35 sure it was them)
verdict (verdict): Peggy Lee → After Hours. Peggy Lee's 'Is That All There Is' wins best needle drop in After Hours.
“But I think the winner is, is that all there is by Peggy Lee?”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 1:01:27 · Sean Fennessey (0.40 sure it was them)
verdict (late-night NYC ranking): After Hours → The Warriors. Bill ranks The Warriors above After Hours among late-night New York movies since it covers more ground.
“I think the Warriors is superior.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 1:30:32 · Bill Simmons (0.60 sure it was them)
verdict (verdict): Thelma Schoonmaker → After Hours. In the Oscar-who-gets-it category the pick for After Hours is Schoonmaker's editing.
“I'm going with the editing. And our girl Thelma Skoonmacher.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 1:36:30 · Bill Simmons (0.40 sure it was them)

what-if (4)

what-if (almost-director): Tim Burton → After Hours. Burton was originally signed to direct After Hours as his first feature before Scorsese took it.
“Now, so now they're packaged. Griffin Dunn is the star, and Tim Burton is the director.”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 0:47:17 · unknown host (0.40 sure it was them)
what-if (alternate assignment): Witness → After Hours. Scorsese was also offered Witness and refused to go to Pennsylvania/Amish country.
“And Marty was kind of like, I'm not going to Pennsylvania.”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 0:50:09 · unknown host (0.35 sure it was them)
what-if (what-if): Ryan Coogler → After Hours. Bill wishes Coogler would make his own After Hours, a small one-day weird movie.
“I just wish I could see Ryan Cougars after hours where he's just like, yeah, it's just everything takes place in one day”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 0:27:09 · Bill Simmons (0.60 sure it was them)
what-if (what-if director): Tim Burton → After Hours. Burton was originally set to direct but stepped aside when Scorsese wanted it.
“This was originally supposed to be directed by Tim Burton.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 1:13:40 · Bill Simmons (0.60 sure it was them)

Fun items about it

fun, about After Hours: Scorsese had a PA drop a box of shattered glass to jolt Dunn and made him run around the block before entering frame.
“he had a box full of shattered glass pieces and he had like a PA would stand next to him.”
Blank Check with Griffin & David · After Hours with Alison Sivitz · 2:15:03 · unknown host (0.40 sure it was them)
fun, about After Hours: Scorsese was the one who got hired after Paramount killed The Last Temptation of Christ; Aidan Quinn was to play Jesus and Harvey Keitel Judas; a Catholic letter campaign sent 500 letters a day.
“they get 500 letters a day?”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 0:16:08 · Sean Fennessey (0.70 sure it was them)
fun, about After Hours: Categories 'most rewatchable scene': the second diner conversation with Marcy and 'surrender Dorothy'; Marcy's death with the arrow sign; the phone-number bit.
“He loved to watch the Wizard of Oz over and over again, surrender Dorothy.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 0:48:17 · Sean Fennessey (0.60 sure it was them)
fun, about After Hours: Best needle drop: Peggy Lee's 'Is That All There Is?' over the Monkees, Joni Mitchell, and Bad Brains' 'Pay to Cum.'
“But I think the winner is, is that all there is by Peggy Lee?”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 1:01:24 · Sean Fennessey (0.50 sure it was them)
fun, about After Hours: Best character name goes to Horst; second place Kiki Bridges; Marcy is a lost name.
“Nobody names their kid Marcy anymore.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 1:03:47 · Bill Simmons (0.50 sure it was them)
fun, about After Hours: Best double-casting what-if: Tim Burton was attached, withdrew for Scorsese, and made Pee-wee's Big Adventure the same year.
“I will never stand in the way of Martin Scorsese wants to make a movie.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 1:13:46 · Bill Simmons (0.50 sure it was them)
fun, about After Hours: Timeline unanswerable question: he leaves at 11:30, reaches Marcy at 12:15, a clock says 4:10, and he is back at the office around 6:30 to 7:15 with a vacuum running.
“The number one giveaway is that someone is vacuuming in the office when he gets there.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 1:38:33 · Sean Fennessey (0.50 sure it was them)
fun, about After Hours: Category 'best life lesson' verdict: nothing good happens after 2 AM; 'don't chase the night.'
“Nothing good happens after 2 AM.”
The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 1:40:03 · Bill Simmons (0.50 sure it was them)

Who the speakers said made it

As said on the shows, not checked against the real credits.

Martin Scorsese: director (Blank Check with Griffin & David, After Hours with Alison Sivitz)
Martin Scorsese: actor (searchlight operator cameo) (Blank Check with Griffin & David, After Hours with Alison Sivitz)
Martin Scorsese: director (Blank Check with Griffin & David, The Color of Money with Chris Ryan)
Martin Scorsese: director (Blank Check with Griffin & David, The Last Temptation of Christ with Jamelle Bouie)
Martin Scorsese: director (The Rewatchables, ‘After Hours’ with Bill Simmons and Sean Fennessey)
Martin Scorsese: director (The Rewatchables, ‘The Color of Money’ With Bill Simmons, Chris Ryan, and Sean Fennessey)
Martin Scorsese: director (future series) (Blank Check with Griffin & David, Raiders of the Lost Ark with Brian Michael Bendis)
Tom Hanks: actor (casting what-if lead) (The Rewatchables, ‘After Hours’ with Bill Simmons and Sean Fennessey)
Thelma Schoonmaker: editor (The Rewatchables, ‘After Hours’ with Bill Simmons and Sean Fennessey)
Philip Seymour Hoffman: casting what-if (Tom the bartender) (The Rewatchables, ‘After Hours’ with Bill Simmons and Sean Fennessey)
Roger Ebert: critic, four stars, 'work of a master filmmaker' (Blank Check with Griffin & David, After Hours with Alison Sivitz)
Roger Ebert: critic, four stars (The Rewatchables, ‘After Hours’ with Bill Simmons and Sean Fennessey)
Griffin Dunn: actor (Paul Hackett) and producer (Blank Check with Griffin & David, After Hours with Alison Sivitz)
Griffin Dunn: lead actor (Paul Hackett) (The Rewatchables, ‘After Hours’ with Bill Simmons and Sean Fennessey)
Griffin Dunn: producer (The Rewatchables, ‘After Hours’ with Bill Simmons and Sean Fennessey)
Amy Robinson: producer (with Dunn) (Blank Check with Griffin & David, After Hours with Alison Sivitz)
Amy Robinson: producer (The Rewatchables, ‘After Hours’ with Bill Simmons and Sean Fennessey)
Joseph Minion: screenwriter (Columbia thesis, originally 'Lies' then 'A Knight in Soho') (Blank Check with Griffin & David, After Hours with Alison Sivitz)
Joseph Minion: writer (The Rewatchables, ‘After Hours’ with Bill Simmons and Sean Fennessey)
Tim Burton: originally attached director (Blank Check with Griffin & David, After Hours with Alison Sivitz)
Tim Burton: original director attached (The Rewatchables, ‘After Hours’ with Bill Simmons and Sean Fennessey)
Joe Frank: radio monologist whose 1982 'Lies' allegedly was borrowed from (Blank Check with Griffin & David, After Hours with Alison Sivitz)
Dusan Makavejev: Columbia teacher who passed the script along (Blank Check with Griffin & David, After Hours with Alison Sivitz)
Rosanna Arquette: actress (Marcy) (Blank Check with Griffin & David, After Hours with Alison Sivitz)
Rosanna Arquette: actor (Marcy) (The Rewatchables, ‘After Hours’ with Bill Simmons and Sean Fennessey)
Linda Fiorentino: actress (Kiki Bridges) (Blank Check with Griffin & David, After Hours with Alison Sivitz)
Linda Fiorentino: actor (Kiki Bridges) (The Rewatchables, ‘After Hours’ with Bill Simmons and Sean Fennessey)
Teri Garr: actress (Julie, the beehive woman) (Blank Check with Griffin & David, After Hours with Alison Sivitz)
Teri Garr: actor (Julie) (The Rewatchables, ‘After Hours’ with Bill Simmons and Sean Fennessey)
Catherine O'Hara: actress (ice cream truck driver Gail) (Blank Check with Griffin & David, After Hours with Alison Sivitz)
Catherine O'Hara: actor (Gail, Mr. Softee lady) (The Rewatchables, ‘After Hours’ with Bill Simmons and Sean Fennessey)
John Heard: actor (bartender Tom) (Blank Check with Griffin & David, After Hours with Alison Sivitz)
John Heard: actor (bartender Tom) (The Rewatchables, ‘After Hours’ with Bill Simmons and Sean Fennessey)
Cheech Marin and Tommy Chong: actors (Neil and Pepe, the sculpture thieves) (Blank Check with Griffin & David, After Hours with Alison Sivitz)
Cheech Marin and Tommy Chong: actors (The Rewatchables, ‘After Hours’ with Bill Simmons and Sean Fennessey)
Verna Bloom: actress (Woman with the Gun / Berlin scene) (Blank Check with Griffin & David, After Hours with Alison Sivitz)
Verna Bloom: actor (Blank Check with Griffin & David, The Last Temptation of Christ with Jamelle Bouie)
Verna Bloom: actor (The Rewatchables, ‘After Hours’ with Bill Simmons and Sean Fennessey)
Will Patton: actor (Horst) (Blank Check with Griffin & David, After Hours with Alison Sivitz)
Will Patton: actor (Horst) (The Rewatchables, ‘After Hours’ with Bill Simmons and Sean Fennessey)
Dick Miller: actor (kindly diner waiter who introduces the title) (Blank Check with Griffin & David, After Hours with Alison Sivitz)
Dick Miller: actor (diner owner) (The Rewatchables, ‘After Hours’ with Bill Simmons and Sean Fennessey)
Bronson Pinchot: actor (coworker) (Blank Check with Griffin & David, After Hours with Alison Sivitz)
Bronson Pinchot: actor (cameo) (The Rewatchables, ‘After Hours’ with Bill Simmons and Sean Fennessey)
Michael Ballhaus: cinematographer (Blank Check with Griffin & David, After Hours with Alison Sivitz)
Michael Ballhaus: cinematographer (Blank Check with Griffin & David, The Color of Money with Chris Ryan)
Michael Ballhaus: cinematographer (Blank Check with Griffin & David, The Last Temptation of Christ with Jamelle Bouie)
Michael Ballhaus: cinematographer (The Rewatchables, ‘After Hours’ with Bill Simmons and Sean Fennessey)
Howard Shore: composer (Blank Check with Griffin & David, After Hours with Alison Sivitz)
Michael Powell: visitor on set who pitched the 'back to work' ending (Blank Check with Griffin & David, After Hours with Alison Sivitz)
Michael Powell: mentor, helped with ending/tone (The Rewatchables, ‘After Hours’ with Bill Simmons and Sean Fennessey)
David Geffen: financier (Geffen Company, $4.5 million) (Blank Check with Griffin & David, After Hours with Alison Sivitz)
Ernst Lubitsch: director whose timing Scorsese channels here (heard as 'Lubich') (Blank Check with Griffin & David, After Hours with Alison Sivitz)
Jonathan Demme and Steven Spielberg: friends shown the film during ending debate (heard as 'Diploma and Spielberg') (Blank Check with Griffin & David, After Hours with Alison Sivitz)
Fran Lebowitz: subject of two Scorsese-directed pieces; commentary partner on the Criterion After Hours (Blank Check with Griffin & David, After Hours with Alison Sivitz)
Fran Lebowitz: interviewed with Scorsese on the After Hours Blu-ray (The Rewatchables, ‘After Hours’ with Bill Simmons and Sean Fennessey)
Bad Brains: band in the club scene ('Pay to Cum') (Blank Check with Griffin & David, After Hours with Alison Sivitz)
Bad Brains: needle drop 'Pay to Cum' (The Rewatchables, ‘After Hours’ with Bill Simmons and Sean Fennessey)
Pauline Kael: critic, hated it (Blank Check with Griffin & David, After Hours with Alison Sivitz)
Pauline Kael: critic hated After Hours (The Rewatchables, ‘After Hours’ with Bill Simmons and Sean Fennessey)
Geffen Company / Warner Bros.: financier / distributor (Blank Check with Griffin & David, After Hours with Alison Sivitz)
Victor Argo: actor (diner) (The Rewatchables, ‘After Hours’ with Bill Simmons and Sean Fennessey)
Michael Keaton: actor (casting what-if lead) (The Rewatchables, ‘After Hours’ with Bill Simmons and Sean Fennessey)
Larry Block: actor (taxi driver) (The Rewatchables, ‘After Hours’ with Bill Simmons and Sean Fennessey)
The Geffen Company: studio/producer (The Rewatchables, ‘After Hours’ with Bill Simmons and Sean Fennessey)
Cooper Hoffman: casting what-if lead (modern) (The Rewatchables, ‘After Hours’ with Bill Simmons and Sean Fennessey)
Samuel L. Jackson: casting what-if cameo (The Rewatchables, ‘After Hours’ with Bill Simmons and Sean Fennessey)
Peggy Lee: singer (The Rewatchables, ‘After Hours’ with Bill Simmons and Sean Fennessey)
The Monkees: needle drop 'Last Train to Clarksville' (The Rewatchables, ‘After Hours’ with Bill Simmons and Sean Fennessey)
Griffin Dunne: actor (The Rewatchables, ‘The Ice Storm’ With Bill Simmons, Chris Ryan, and Sean Fennessey)
Joni Mitchell: song on the soundtrack (The Rewatchables, ‘After Hours’ with Bill Simmons and Sean Fennessey)
Mozart: composer of the music playing at the ending (speaker corrects Beethoven to Mozart) (Blank Check with Griffin & David, After Hours with Alison Sivitz)
Wolfgang Amadeus Mozart: composer, Symphony No. 45 opening the movie (The Rewatchables, ‘After Hours’ with Bill Simmons and Sean Fennessey)