Sean Young

[Jony 07]

Sean Young and unknown / Young Doctors in Love / (US 1982)



duration 01:59 size 72.5 vob 720 x 576
S.Y.U.D.L.rar

[General Halsey]

Fire Birds (1990) (topless) 1080p


https://www.solidfiles.com/v/3GppYdjd6M5Ag
104 MB, 90s, 1920x1080, x264/mkv


[Mod edit - dead link(s) removed]
97,2 Mb, 81s, 1920x1080, x264/mkv

PW: rt

[Jony 07]

Sean Young / No Way Out / (US 1987)



duration 02:05 size 260 mkv 1920 x 1080
S.Y.N.W.O.rar

Sean Young / No Way Out / (US 1987) no nude version



duration 02:09 size 269 mkv 1920 x 1080
S.Y.N.W.O.n.n.v.rar

unknown from No Way Out (US 1987)



duration 01:12 size 151 mkv 1920 x 1080
[Mod edit - dead link(s) removed]

[Jony 07]

Sean Young / The Boost / (US 1988)



duration 01:36 size 70.1 vob 720 x 576
S.Y.T.B.rar

[Jony 07]

Sean Young / Blue Ice / (UK US 1992)



duration 02:52 size 109 vob 720 x 576
http://**********/files/slp6hj8d9

[VintageKell]

Just some random images. Mostly new and one better versions.

[VintageKell]

Small exercise set ....

[tsunamiSD]

As mentioned in the Sally Kirkland thread, I had the use of a good VHS copy of this movie for a day. I've looked on line, and only found mention of VHS copies (except for one mention of a laser disc) and one DVD source - and that one was tagged as dangerous by my security software. I took a lot of screen shots before I had to give the copy back. Below is the first of two posts, including a poster, small images of the laser disc, its cover and back - along with partial images of a VHS back.

[tsunamiSD]

******

Excerpt from blog interview with Keith Coogan (grandson of Jackie Coogan) June 14th, 2011


JC: Your first movie after your studio days was Forever: A Ghost Of A Love Story. A few years earlier you played Sean Young’s stepson in Cousins and now you’re her lover.


KC: Yeah, and Sally Kirkland’s lover. And boy, was I in over my head. That was a last-minute turn-down by another actor that’s about my age that’s been working about as long that I may have mentioned earlier in the interview.

JC: Corey Feldman.

KC: I didn’t say that. So let’s say that this other actor got right up to the wire, they’re going to shoot Monday, and this other actor say drops out on a Friday. This other actor may have had a lot more brains that I did, ‘cause I did this movie and I did it for the money. They came at me on a Friday and said, “Will you – here, this is” and it was a good, good amount, “Now will you come on and do this picture?” And I was not right for the film. I was not right for it; I didn’t know how to pull it off. It was an 18-day shoot with effects and this, and I learned so much on working. I learned never, ever, ever, ever do anything just for the money.

But one door closes, another one opens. I got to work with Sally Kirkland, the most in-the-moment improvisational living present actress I’d ever worked with, and Sean also carries a lot of that too. But Sean is more professional than anyone will ever, ever know or give her credit for. She unfortunately is a strong woman in the industry and she’s worked with some strong men, like Oliver Stone and Charlie Sheen, and she’s gotten a reputation from loud mouths. And once you’ve actually sat on a set and worked with Sean Young – and yeah, she may be like, “Oh, watch me on The Tonight Show” and we’ll have a little bit of longer lunch ‘cause we’re watching this clip, but she also gets us out early from work the same day. So, you know, where do you draw that line?

Yeah, everyone could have a little peccadillo or something like that, but when I see someone get treated so horribly by the industry, get such a reputation that I felt was undeserved, especially when I’m sitting here working on this movie and they have someone drop out or something, and, like, we don’t have the Mary Miles Minter yet. This is about William Desmond Taylor and Mabel Normand and everything. So also they told me, “Oh, by the way, Sean’s going to do it.” “Oh, that’s great.” It was like, as soon as Sally Kirkland finished then like Sean came on. They never worked together.

So I hear from Sean, she goes, “Yeah, I was sitting at home and they were five scripts in front of me and this script was calling me.” And I said, “You came and rescued my butt.” She really did; she came in and we banged out the picture and I think it’s okay. We got shut down in mid-production. We’re in a neighborhood, shooting in a house, the haunted house, which was really a haunted house, it really had murders in it. Oh, this was big, crazy, things going on, sounds not showing up on film. I’m serious, okay.

One of the neighbors had had it with the trucks, the craft service and the parking and called the fire department. Fire department, “Permit.” “Yeah, we’re going to find it.” “Shut it down for the night.” Well, the cost. It’s going to be a whole night’s shoot. It’s like 9:00 at night. So we shut down, we went to a bar, we’re all talking about what the hell we can do and get this picture done.

We ran to the Van Nuys Airport the next day and wrote a scene, the director wasn’t even on the set. Me and Sean wrote this great scene in a hangar with this old plane, talking about movies and Hollywood and passion. I’m talking about The Exorcist, which is one of my favorite movies. And we wrote this scene – Sean pretty much wrote this scene, and it’s a good scene. But Forever, to me it’s always a painful experience anytime talking about Forever because I feel that I let everybody down. If I had just had a different attitude about it and really embraced it, but so many things were throwing me off and it wasn’t what I was used to and, you know. So I make no excuses, but I also I know that I learned a lot on it and I also know that I won’t ever make a decision that puts myself in an uncomfortable position again. But I’m still proud of the film. Hey, we got it out there, so that’s important.

[tsunamiSD]

Here are a bunch of costume pics, promo pics, and poloroids. I'm not sure if the last pic is real or a very good drawing.