Matt Dillon as Salvucci; Journey for the car hookup scene; Prince at the party; Bob Seger at the diner or ending; 'I can feel it coming in the air' for the bus ride
Matt Dillon, in range at the time and doing Rumble Fish and Coppola stuff, is cast as Salvucci, a ramp-up from an actor never seen again.
The music gets recast: Open Eyes from Journey (as transcribed) for the car hookup scene, Prince, maybe 1999, in the party scene, and Bob Seeger (as transcribed) in the diner or the ending.
'I can feel it coming in the air' is offered for the bus scene, recalling Tubs (as transcribed) and Crockett, which is tough for Doug Cahan (as transcribed).
Directly invited first-time viewer at thirty in2024 understands importance but struggles outside performances. Opening shows Prince appeal; Darling Nicky previously unknown. — Wesley Morris
Songs compelling on screen but not personally sticky for streaming; long music-video form and many face close-ups leave drama less engaging. Partner negative response reported. — Wesley Morris
More interesting to discuss than watch outside performances conceded; defense that film and album showcase complementary genius. Michael music considered better aged. — Wesley Morris
Risky persona construction both bold and career burden. Current young artists unlikely to repeat; Taylor Swift hypothetical opposed then her music offered as equivalent expression. — Wesley Morris
Kid living with parents despite talent questioned, Carrie-like drama rationale; Unexplained move from New Orleans to Minnesota interpreted as escape. — Bill Simmons
Cold-water motorcycle ride prompts health hyperbole; poor hotel versus expensive guitar purchase inconsistent. — Bill Simmons
Father original death reportedly changed after Star80 failure, leaving inconsistent chalk outline. Hanging-harness shot reportedly frightened Prince. — Bill Simmons
Playing Purple Rain without rehearsal or arrangement implausible; unseen rehearsal or musical/music-video magic possible explanations. — Bill Simmons
Darker deleted scenes reportedly included barn sex, band fistfight and parental dialogue; Prince relationship with Wendys twin sister reported. — Bill Simmons
Kid reportedly says no words to Morris, Morris18 words to Kid. Darling Nicky and Tipper Gore daughters reaction linked to warning labels. — Bill Simmons
Song kick-drum sexual implication and athletic stage movement admired; later medication/body-toll connection is participant inference, not verified health explanation. — Wesley Morris
Studio idea Travolta for Prince rejected. Vanity departure explanations uncertain; Gershon declined sex scene, Beals declined for Yale, Apollonia look favored. — Bill Simmons
Other participant never saw Michael live, recognizes great reports and faster concert grooves. Michael singing preferred, top-ten vocalist versus Prince top-fifty, with no comfortable overall answer. — Wesley Morris
Prince album catalogue wins. Dangerous personal favorite Michael album but Thriller best; Prince decade of masterpieces and Batman soundtrack defended. — Wesley Morris
Bad acting enjoyed but weak; mistreatment of women central legacy, including dumpster, domestic violence and period joke. Psychological character logic defended without approving conduct. — Bill Simmons
Puppet ventriloquism odd and apparently dubbed versus dark and loved. — Bill Simmons
Des/Modernaires peak and album omission regretted. Morris/Jerome dancing at end undermines rivalry after cruel insult, compared with wrestling. — Bill Simmons
Prince/Apollonia reaction chemistry good but acting weaker. Later movie career criticized, Graffiti Bridge defended by other participant; Prince spiritual-intent quote and Wizard of Oz comparison reported. — Bill Simmons
Time and Busboys career potential regretted; Morris difficult behavior on set remains speculation. — Bill Simmons
New Fortune variant of most giffable: creepy Prince smiles choice; Apollonia apartment-disappointment look alternative, called her best look. — Wesley Morris
