TMCP #636: Director Pete Segal & Anghel Restorations – Bringing The Screen Used Tommy Boy Car Back To Life!
The MuscleCar Place
TMCP #636: Director Pete Segal & Anghel Restorations – Bringing The Screen Used Tommy Boy Car Back To Life!
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Concept
muscle car
Muscle cars are powerful cars that are designed for speed. They often have big engines and are known for being fun to drive.
Car
Ford Mustang
The Ford Mustang is a popular sports car that many people recognize. It's known for being fast and stylish, and it has a long history in America.
Concept
Mopar
Mopar is a nickname for cars made by Chrysler and its brands. It's often used when talking about classic cars and their parts.
Concept
restoration
Restoration means fixing up an old car to make it look and work like it did when it was new. This can involve a lot of work, including repairs and painting.
Concept
Roval
A Roval is a type of racetrack that mixes parts of a road course with an oval track. It makes racing more interesting because drivers have to handle different types of turns and speeds.
Concept
Charlotte Motor Speedway
Charlotte Motor Speedway is a famous racetrack in North Carolina where many car races happen, especially NASCAR. It has both a round track and a road course for different types of racing.
Concept
legends car racing
Legends car racing features small race cars that look like old classic cars. They are used for racing on smaller tracks and are a great way for new drivers to get started in racing.
Concept
circle track
Circle track racing means driving around a track that is shaped like a circle. It's a common type of racing where cars go around and around in a loop.
Car
Mazda Mx5
The Mazda MX-5 is a small sports car that is fun to drive. It's often used in racing because it's light and handles well.
Concept
Legends cars
Legends cars are small race cars that look like old-fashioned cars from the past. They are used in racing events and are fun for both drivers and spectators.
Car
Chevrolet Chevelle
The Chevelle is a classic car made by Chevrolet, popular in the 1960s and 70s. It's known for being a muscle car, especially the faster versions called SS.
Car
Carmen Ghia
The Karmann Ghia is a vintage Volkswagen car that looks sporty and stylish. It was made a long time ago and is loved by collectors.
Company
National Parts Depot
National Parts Depot is a company where you can buy parts for older cars, especially muscle cars. They help people fix and restore these cars to keep them running well.
Term
automotive technology
Automotive technology is about learning how cars work and how to fix them. It includes everything from engines to electrical systems, helping people become skilled mechanics.
Car
Cadillac El
The Buick Grand National is a fast car from the 1980s that has a powerful turbo engine. It's popular with collectors and fans of classic cars.
Car
Buick Grand
Car
Chevrolet Camaros
The Chevrolet Camaro is a popular sports car that people love for its powerful engine and stylish design. The 1969 version is especially famous among car enthusiasts.
Car
Plymouth GTX
The Plymouth GTX is a cool, fast car from the past that many people admire for its speed and style. It's often talked about because it represents a fun time in car history when muscle cars were really popular.
Car
Plymouth Belvedere GTX
The Plymouth Belvedere GTX is a classic American muscle car that was built for speed and power. It's known for its strong engines and sporty look, making it a favorite among car enthusiasts.
Term
18-wheeler
An 18-wheeler is a big truck that has 18 wheels. It's often used to carry heavy loads across long distances.
Part
axles
Axles are metal rods that connect the wheels to the car. They help the wheels turn and support the car's weight.
Car
Plymouth Satellite
The Plymouth Satellite is another car made by Plymouth, which was similar to the Belvedere but had more features and a fancier design.
Concept
barn find
A barn find is when someone finds an old car that has been hidden away for a long time, usually in a barn. These cars can be special because they might be rare or need a lot of work to get them running again.
Company
Barrett Jackson
Barrett Jackson is a company that holds car auctions, where people can buy and sell classic cars. It's famous for selling rare and valuable vehicles.
Term
concourse quality
Concourse quality means the car is restored to look exactly like it did when it was new. It's the best condition a classic car can be in, often judged at competitions.
Term
bench seat
A bench seat is a long seat that can fit several people next to each other, instead of separate seats for each person. It's often seen in older cars or trucks.
Term
soft top
A soft top is a roof made of flexible material that can be opened up, like a convertible car. It lets you enjoy the outdoors while driving.
Part
Super Commando air filter
The Super Commando air filter is a special filter that helps the engine get more air. This can help the engine run better and faster.
Car
Dodge GTX
The Dodge GTX is a type of car that was built for speed and performance, especially popular in the 1960s and 1970s. It had features that made it look and drive better than regular cars.
Car
Jeep Wrangler
The Jeep Wrangler is a tough, boxy vehicle that people love to take on outdoor adventures like camping or off-roading. It's built to handle rough paths and is known for being fun to drive, especially if you like exploring nature.
LIVE
The Muscle Car Place Online Podcast, episode number 636.
This week, we're going to find out if M&M's down the dash really do hurt the resale value.
Our guests are film director Peter Siegel and auto-restorer Marcus Angel, and they're
here to talk about restoring one of the real screen-used Tommy Boy cars.
Now, Peter Siegel isn't just any old Hollywood director, he's THE Hollywood director of
Tommy Boy, and Tommy Boy, as you know, is one of my favorite car movies of all time.
This is the whole story of all of the cars used in the movie to be the Tommy Boy car,
and how Peter Siegel ended up getting this car back years later, how we found a Mustang
aficionado to restore it, and how bad the car really was.
Because of all the cars used, this is the one you remember the most, and it ended up
being pretty bad.
There's the pristine car in the first act, and then the car that Marcus has restored,
that I own today, which is everything else in the movie, which is all of the baby gate
stuff, the hood flying off at prehistoric bars, everything else was this car.
This is the Muscle Car Place online podcast, brought to you by National Parts Depot.
This is the weekly show dedicated to people worldwide who love American muscle cars.
If you're buying, selling, restoring, even racing them, this is the place for you.
Now, here's your host, Rob Kibbe.
Yes indeed, I am Rob Kibbe, and welcome to the Muscle Car Place podcast.
Well, here we are, a special edition show in just our second episode of the year.
Our guests are film director Pete Siegel, and auto-restorer Marcus Angel, and the topic
du jour is the restoration of the Tommy Boy car, well, one of the Tommy Boy cars.
So, as you know, in movies, multiple cars typically portray the role of one, and in
this case, numerous cars did.
And as you listen to the interview, you'll hear exactly which one this is, and you'll
also hear about the making of the movie, and why and who selected this car in the first
place for the movie.
And here's a little preview, it wasn't Peter, and it wasn't David Spade either,
even though he's tied with mopars and movies and stuff.
And Marcus, who is a total specialist in boss and Shelby Mustang restoration, will
describe how he became involved in the restoration in the first place.
And he also said he'll never do one again.
But more so, this is the story of two guys saving a car, even though on paper it's kind
of a dumb thing to do.
But as we all know, dumb things, financially dumb things, time-wise dumb things, that's
not the point when it comes to these cars.
If you're listening to this show, you already know that.
It's also a great lesson.
For you shop owners out there, listen to how your customer likes to be kept in the loop.
Pete Siegel, in this case, was the customer, and he often, during this three-year restoration,
which was probably supposed to only be one, found himself distant, but kept in touch because
of a website blog.
For you film nerds, this was gold.
This car, this very car, is making the show circuit round right now.
It premiered at Tommy Boy Fust in Sandusky, Ohio last year for the 30th anniversary of
Tommy Boy.
It was at McCacken 2025 last year in Chicago.
It's at the Big O'Reilly show right now.
Pete mentioned that it might end up in the Peterson Museum to be loaned there for a while.
It's a really big deal.
By the way, we have this entire interview on video right now on our YouTube channel,
and the link is in the show notes below.
It's on YouTube under the muscle car place.
Share it with your friends.
We've tried to get as many film references in there as possible to go along with what
Pete and Marcus were talking about.
It's awesome.
So that's all coming up here in the interview.
So with that, I'm actually just going to cut the rest of the monologue short
and do the Dallas Kibby Legends car racing update.
Burn, cue the update.
Intro.
So for 2026, it's already started, frankly.
But the next thing Dallas is going to do is race on the Roval in his legends car
at Charlotte Motor Speedway.
He's only done one other road course.
We don't do a lot of those because it's a more common track,
at least in what we're doing kind of on the NASCAR path to do circle track.
And going to the Roval, I mean, that's a big boy road course race.
He has only raced on one other road course in his life,
but he was pretty good at it, and that's why I did it.
I took him there in December just to make sure he had one under his belt
at something not of an entry level, but more of an easy entry than the Roval,
so that if we ever got the chance, he'd be ready.
In legends car racing, you can do road course racing.
You can do asphalt circle track, and you can do dirt circle track.
He is mostly focused on asphalt circle track, and that's what he loves.
But Dallas just loves to drive too.
So this year, as I navigate my path for him to follow,
when it comes to circle track, it doesn't need to learn how to race anymore.
Now he just needs to race the big boys at big competition events.
When it comes to road course racing, he does need more laps.
He's had very little experience at it,
but he's a good enough overall race car driver to just start competing
at a higher, harder level.
I also have a goal to get him into some Mazda races this year,
like Mazda MX-5 style.
Cup racing is what they call that.
There's a lot of ways to do that.
The event at the Charlotte Roval is two weekends.
It's actually this one is where you record January 16th through 18th,
and then whatever the next week, and it's 23 through 25 maybe.
He's only doing one.
There are two separate events.
You don't have to do one or the other or both.
I can only make the second one work, so that's what we chose.
There's numerous reasons for that.
In a peripheral world, you do both, or maybe you do the first,
so that you're kind of on the same plane with everybody,
but it doesn't matter.
Everybody's coming into these events with different levels of experience,
and some have probably raced there before numerous times.
So who cares?
Just go run, have fun, but go there to learn and compete.
So anyway, that will all happen next weekend.
This weekend, probably tomorrow as you hear this,
he's going to go to a banquet at Hawkeye Downs.
That's the only track that we raced at the whole season last year.
That was intentional.
That was our local track, number one.
Number two, it was a good track to just learn how to race
against other people really hard on,
and learn how to live with people that you got to see every single week.
Dallas is going to win runner-up in Legends.
Man, I still think if he had one more,
if that last race hadn't been arena, I think he'd have got it.
I believe that in my heart.
He didn't get that last race, so he will get runner-up,
and then he will also win Rookie of the Year.
He'll get two awards.
That's a big deal.
So that's kind of cool.
And that's really the total finale to the 2025 season.
Next month, he's going to run the Winter Nationals.
That's a big boy circle track event in Legends cars.
That's the first big national Legends circle track event of the year.
That's in Winter Haven, Florida.
More on that later.
You know what I finally realized though for that event?
It's a Sunday through Friday thing.
And Sunday is a day where all you do is like scrub in your tires
and make the set you're going to run for the week.
It's Super Bowl Sunday.
And so help me God, if the 49, if Brock Purdy is playing in the Super Bowl,
that's a problem, man.
I'm not missing Brock.
Dallas isn't going to miss Brock.
We're going to have to get creative
in how these tires get broken in.
So that's what we got going on here for the Dallas Kidby Legends car racing update.
And this season will not just be Legends cars.
So I got to stop saying it that way.
Burn and cue the outro, please.
Okay, let's go ahead and get to our feature interview.
Oh, goals last week.
Send in your goals.
If you'd like me to read them on the air, I'm happy to.
That won't be today.
That'll be for next week.
Personally, I have set a goal for my Chevelle.
It is going to either get a chassis this year or an engine this year.
Possibly both, but it has to be at least one
or the year has not been successful.
For the generally, it has to get.
Here's what it has to get to be a successful year.
Either a real drift break, but more on that later.
I've already told you what I want them, you know, past shows,
or a drift break plus a five speed or both of those plus a refreshed motor.
I have really gone back and forth all about whether or not to put an engine
through him because quite honestly, if it weren't a accurate generally replica,
that's what I would do.
I don't think I'm going to.
I think it'll just be a stroked out or 83.
I think that's what it has to be.
And for my Carmen, Gea just needs an engineering build.
And that's not a goal.
That's like a holy crap.
This card can't be used.
So I want that if I were setting a goal though for it,
it would be to refresh the wiring.
It's going to catch fire.
Okay.
So those are my automotive goals for the year.
I'd love to hear yours along with other,
all of your other personal ones and the ones that are just as important,
if not far more, of course.
Don't forget, once per month, we do have Mr.
Rick Schmidt from National Parts Depot until talk all things National Parts Depot.
But you can ask him anything you like about auto restoration, the market.
Next month is February.
I'll take your romance questions.
I'm sure sending your questions to me, Robert at themusclecarplace.com.
And of course, visit nationalpartsdepot.com to proves for all your muscle car parts needs.
They find this horse, they expect the best.
There is a difference and they've got the goods.
Alrighty, up next is director Pete Siegel and restorer Marcus Angel on the restoration
of the Tommy boy car.
Well, one of the Tommy boy cars.
And you know what?
This isn't the Tommy boy car that had the M&Ms in the heater box
because that was a different car.
And you're going to learn the whole story right now.
Enjoy.
The Muscle Car Place weekly podcast interview is brought to you by our good friends at
National Parts Depot.
See them through the link at themusclecarplace.com.
Today, our guests are Hollywood director Peter Siegel
and famed Mustang restorer Marcus Angel.
So together, these two have brought the hero Tommy boy car back to life
and put it to its onscreen livery complete with Kreggers and Callahan auto labeled
heater hoses, everything.
Today, we're going to learn the story of saving this car.
And maybe what happened to the other cars used in the movie and then determine
how we ended up doing an OEM Concours Mopar restoration by a top flight Mustang guy.
I cannot wait to find that out.
Peter and Marcus, welcome to the show.
Hi there.
Hello, Pete.
Marcus, thank you for joining.
Okay.
So fellas, doing a two person interview is genuinely hard, but I'm assuming
Pete has done this a few 10,000 times.
So it shouldn't be that hard.
Marcus, have you done a lot of interviews before?
I've done a couple.
So I think it'll flow nicely.
Like so too.
We'll start with Pete.
Pete, who are you and where are you from?
I'm Pete Siegel.
I'm a film director originally from New York and did a couple years in Phoenix
where my mom and big sister live and the rest of the time here in LA.
Marcus, who are you?
Where are you from?
I grew up on the East Coast in Pennsylvania.
I have a auto restoration shop here in Scottsdale, Arizona.
And through a number of years and series of events, I became heavily involved in the early
first generation Mustang.
So that's become my specialty.
Cool.
Okay.
So we're going to unpack all this.
So you guys are both aware.
Our listeners love cars and pop culture.
And we have watched the movie Tommy Boy and dissected it frame by frame for years.
We've all said the stuff over and over again.
It makes us laugh every single time I dug through my stuff.
I do have a Holy Schneikies edition.
Still in the saran wrap.
So I might dig it.
Pete, did you want to be a director as a kid?
How does one get into Hollywood comedy directing?
Purely by accident.
I really had no idea what I was going to do.
I majored in broadcast journalism and English double in college at USC.
I was a walk on to the football team and lasted about six weeks as a punter.
And then when I got cut, it was time to wake up and think about a career.
And so I got a job at local CBS, started there as a production assistant and kind of
started working my way up from there.
So were you going to be a football player?
Was that your dream?
Was to play pro football?
It was for a brief moment, yes, or basketball.
I was an athlete in my early days and then life changed.
And it was, like I said, time to start growing up.
Did you do high school drama, stuff like that?
No, didn't act at all.
I started doing segments for sort of the local news affiliate in LA.
And that led to comedy segments for a show about things to do on the weekends,
places to go to eat, things to do and see.
And they said we could be funny.
And so my first thing was the best pool halls in LA.
And I did a takeoff of Scorsese's The Color of Money.
And I had my wife play a prostitute, which was a common theme.
She was my girlfriend at the time.
So that's kind of a joke.
I don't know why, but in local TV, we had positions open for horse.
So we're better to go to than your own girlfriend.
Hey.
What was your first job out of college then?
Actually, for the 1984 Olympics, I was a production assistant doing research.
Then I worked for the John Robinson show, seated a lot of LA Rams in our studio,
and then did early music videos and children's specials.
What was your first foray into real Hollywood comedy,
whether that's TV or movies or what?
I got a chance to do an HBO comedy special.
At the time, Roseanne was the loose seal ball of television,
and her husband was Tom Arnold.
Tom knew these guys, Jim Carrey, Ben Stiller, and a guy named Chris Farley.
As a matter of fact, Chris became his best man in one of Tom's weddings,
which one I don't know.
That led to one appearance with Chris,
where we were doing a show about relationships.
And so his segment was how to pick up a girl at the Glendale Galleria,
and we just followed him around with a camera.
And it was some of the funniest stuff I've ever been a part of in my life.
That led to an appearance of Chris on the Jackie Thomas show,
which was a spin-off of Roseanne.
And then I said, this literally is the funniest man I've ever met.
I want to do, if I am so fortunate enough to be able to do a feature film one day,
I would love to be the guy that brings him into the limelight as a star,
not just as a second banana or third banana,
because he'd been in a couple of movies, Comb Heads and things like that by then.
And then about a year after the Jackie Thomas show,
I got this script on my desk called Billy the Third Mid-Western.
And that was the original name of Tommy Boy.
We had to change the name because at the time they were making Billy Madison,
and we didn't want two Billy-Billies from SNL people, so.
Right. Okay, Marcus, over to you.
So I've read your website.
And frankly, you have a career path that a lot of our listeners can relate to
and probably envy.
So were you at one point working as a technician
and then decided to restore cars,
or did you dabble in restoring cars the whole time your whole life?
No, no.
So after high school, I went to a technical school
in Pennsylvania there for two years,
and I graduated with an associate's degree in automotive technology.
At that age, you know, 2021, it was really hard work.
Your entry level, you're getting the worst jobs.
It's cold, there's snow coming in off the cars in the winter,
dripping down your back.
It was a difficult career path.
And I had everything set up for college,
but at the last minute, I decided after all these years,
I wanted to work and get going.
So that's what I did.
I went into automotive and then after a couple years,
I couldn't take it anymore.
And I went back to college.
I finished a degree and I wanted to travel.
So I went back into the white collar world and I did that.
And I kind of kept the automotive thing quiet in the background.
I didn't tell people and then one day my boss came in
and he had a car, the engine died on it.
And I kind of sheepishly said, you know,
I could probably do that if you needed me to.
And it started, people were like, at work, okay,
can you work on mine, this and that.
And it slowly came back.
Then I started fixing up cars.
But I never, in the beginning, I went from one brand to another.
So I'd buy a Buick Grand National or a Cadillac El Dorado,
fix it up and then start over with something else.
I did that for years until I finally landed
with the Mustang thing and kept that permanently.
And you're noted.
I mean, you do concor Mustang, rest of Shelby's too, I think.
You're located in a pretty prime spot there.
I assume that you've had cars in and out of Barrett Jackson
over the years.
Why Mustangs?
Do you just dig them?
Or is that just where you got a good name?
No, I got frustrated with constantly changing the car.
So every time you go into a new brand,
mine thinks some people can relate to this,
you got to learn people.
You got to learn, you know, there's a guy out here
and he has these parts or there's a wrecking yard
that you have to contact or there's a reseller
you have to get friendly with.
And then you give all that up when you go into another brand.
So I simply did it based on a business decision.
I went into a Barnes & Noble's one afternoon and I decided
I'm going to sit in here until I figure it out.
And it was really just either Mustangs or Camaros.
That's what we grew up with.
They're timeless, you know, a 69 Camaro and a 69 Mustang.
They always look good.
They always will.
And I decided to go into the Mustangs.
I had one earlier anyway, and that's what I did.
I then I specialized and started it from there.
The idea is if you're good at something,
try to be as good as you can.
People will come, whatever it is,
carpentry, mechanics, anything.
And that's kind of in my motto is just try to put out
the best possible product hands down.
And I'm pretty happy with the path.
I didn't plan it that way, but that's how it kind of worked out.
Okay. Well, you got a famous movie car out of it too.
So that's good.
All right, Pete, question.
I'd love to know who selected the GTX as the Tommy boy hero car and why?
So when we were writing the movie,
Fred Wolf was one of the head writers of Saturday Night Live at the time.
We were kind of throwing this original script out.
There were a lot of good parts in it,
but I just wanted to take it a different direction
and want it to be a story about these two guys
who didn't get along at Callahan Auto,
who had to work together to try to save the company.
So I knew there was going to be a road trip.
And I asked Fred, I said, you choose the car.
I love cars, but I'm not a total car guy.
I knew Fred was a muscle car guy,
and he chose a Belvedere GTX,
but we couldn't afford you need multiple cars on a move,
usually two for stunts.
And in our case, we needed to dedicate one to the destruction
of the car by the deer.
And another we had to designate as the car
that was going to go on the turntable,
which spun it around on a trailer of an 18-wheeler.
We built a big mechanical turntable,
and so we had to take off the axles
to bring the level of the car down.
And we had to put mechanics to make the hood go up and down
based on a guy who ended up sitting in a trunk,
touching two wires together to activate the hood to go up.
That was that's own thing.
And then two that were actually mobile in the film,
so we had, because of the need for four,
we couldn't afford Belvedere, so we got satellites,
which is the same body.
And then we dolled them up to look like GTXs.
And the two that were one for the deer
and one for the turntable, those were hard tops,
and we sawed off the tops.
I still have a scar on my hand from trying to do my
Starsky and Hutch impression and dive into the car
and slice my hand open.
And then there's the pristine car in the first act,
and then the car that Marcus has restored that I own today,
which is everything else in the movie,
which is all of the baby gate stuff,
the hood flying off at prehistoric bars,
everything else was this car.
That was the baby gate car?
Yes, yes.
It doesn't look like it now.
Matter of fact, the car is on its way to the O'Reilly
auto parts national convention in Houston,
and every time a truck carrier picks it up,
it says, is this the looking car from the beginning,
from the middle of the movie?
I said, yes, this is the looking car,
but it looks now like the car at the beginning.
I don't think there's a finer example of a GTX on the road.
Do you know where the other cars are?
Are they still living?
The newer one that was in the first act
now does not look that way anymore.
As a matter of fact, last I saw it was yellow.
It was at a museum in Idaho.
Someone found it online.
And when I found this car through our editor on the movie,
Bill Kerr, it was a barn find,
and it was at the Barrett Jackson auction
in Jacksonville, Florida.
I called David Spade, and I said, Dave,
we found the car.
You should bid on it.
It feels right that it should be yours.
So he bid on it long distance, and he bought it.
Then about two years after that,
I was filming something in Atlanta,
and Spade called me, and he was pissed at himself.
He said, damn it.
Barrett Jackson asked to sell one of my other cars.
He had a Chevelle SS, and he said,
do you want to just flip the Tommy Boy car?
Have you begun restoring it or anything yet?
And he said, no, I don't think I have the patience
to restore it.
So go ahead, flip it.
Anyway, he called me and said, dude,
I should have just sold it straight to you.
So then I had to bid on it at the Barrett Jackson Scottsdale.
And I bid on it, and everyone thought I was insane.
And I got it and took it to my big sister, drove it,
limping home, leaking gasoline all over the road,
and parked it at my mom's house.
She lives only a mile or two from Marcus.
But that's not how I found him.
It was through a friend in La Cognata,
where I live, who tracked down his father's Mustang
from when his dad was a young man,
and his wife got pissed that he spent this money on this car
that they needed a station wagon.
And anyway, so he found that car through a series of events
and took it to Marcus,
because Marcus's reputation for Mustangs.
And I asked Dave, my friend, I said,
I'm now looking for someone to restore this thing.
Do you have any idea where I can take it?
I initially even thought about taking it to the shows on TV,
the counting cars and places that do the renovations,
because I thought, I don't know,
maybe they can benefit out of this as much as I can.
No one responded.
I didn't get any callbacks or anything.
And then I think Dave pitched the story to Marcus,
and I'll let you take it from there.
Marcus, that was the next question to you.
Why did you say yes?
Because you just said I have picked a make
that I can stay in my lane and I know all the vendors.
I could do all this stuff.
I know he'll never restore a car like this ever again.
That I know.
Well, okay, but working backwards,
I'll just say for anybody listening,
I am definitely only doing Mustangs.
Like that is it.
Like I don't care who's calling or whatever.
It has to be a Mustang.
But the background to that is if I go back,
I don't know, maybe 10, 15 years before me and Pete got together,
is I had a 67 Plymouth.
So basically a GTX.
So when Dave contacted me,
my initial thing was like, I'm not interested.
And then explained what it was.
I'm like, well, it's funny because I restored one of those cars.
And it wasn't a GTX and I made it look like a GTX.
And this is the same kind of concept.
This car wasn't really, but we made it look like that.
So I thought, and I pick and choose the cars
that I work on based on the stories.
I always like an interesting story
because I only have so many hours, so many days, so many years.
I want these cars all to be interesting.
I don't build cars to just flip or anything like that.
So the story was exceptional.
And with that, I think everything came together.
I still had contacts out there in that world.
And yeah, it was great.
It's a strange way for it to come together.
But that was the last Mustang car for sure.
The last non Mustang car.
It was a little painful.
So walk me through the actual car.
Pete, you said it ran and drove.
Was it an original drivetrain car?
Did you decode the body tag or anything like that?
Like, do you know a lot about it?
I mean, is it going to be the Tommy Boyer car?
Again, was that always your goal, Pete, was make it nice?
That's actually a very good question.
The question was, since it was not a GTX to begin with,
I was making it something that it already was not.
But the question then would be to Marcus,
and I went back and forth.
Do I restore it as a concourse quality GTX,
or do I restore it to a pristine version of the Tommy Boy car?
Because I did a lot of modifications to the car for the movie.
I decided to go the route of there's only one Tommy Boy car.
And I don't think even though that other one exists somewhere
at some other museum,
they're not going to go through what Marcus and I went through on this.
I dare them to go through that.
But the reason how I knew it was our car,
and the reason why I wanted to restore it the same way as normally in a GTX,
you'd have two bucket seats in a center console.
I asked the transportation department when we got the car in the beginning,
I said, I knew there was going to be this deer scene
where the deer is going to be in the back seat destroying the car.
And I wanted as much surface space of the backs of the seats.
So I wanted to put in a bench because that gap in between the two,
I said, that's wasted space comedically.
So I want a bench seat.
I want a column shift because the antlers could reach that easier.
I wanted a soft top.
Obviously, we're going to destroy that.
And because we were making a GTX out of a satellite in the script,
it said David Space character says, yeah,
and I put in a 440 Magnum with a six pack.
Well, so we were going to put in a 440 Magnum.
Marcus advised me properly, but also we screwed up.
When the hood flew up, there was no six pack you could see,
and had a Super Commando air filter on it,
where normally the six pack you would see it exposed.
So that was already a faux paw on our part.
But I said, no, let's go 440 Magnum, bench seat, column shift,
and good luck with everything else.
Okay, so for what it's worth, people like me,
and everybody that listens to our show,
we wanted the Tommy Boy car anyway.
So making a concourse faux GTX.
No, that's not anybody could do that.
And what's cool is it is really the Tommy Boy car.
There might be a little different.
So one of our listeners, Steve Bigler,
probably introduced himself to you at Macacken,
like a lot of people.
He sent us a bunch of photos.
So one of the things that really caught my eye,
I mean, Marcus must be a hell of a good restorer,
because it really is as if a concourse correct Tommy Boy car existed.
Like it says Callahan on the heater hoses.
It actually has a Mopar painted engine compartment,
which I think in the scene where the hood flips up,
it's all blacked out like most movie cars are.
Where did you decide to stop taking liberties and just,
all right, this is what it's going to be.
It's going to be a Mopar concourse correct Tommy Boy car
versus just making it totally screen correct.
And Marcus, you can jump in on this too,
except for the visual things like the bench seat and the column shift
and all the accoutrements that make it GTX,
which is logos and things like that.
I said, let's make this really slick as much as possible.
So you suggested putting in like fuel injection and disc brakes.
Those were upgrades from what was there.
We definitely agreed on the 440 Magnum without a six pack.
You put in a Bluetooth, which is nice.
I'm reminded every now and then when I turn on the radio,
Bluetooth activated.
Like that's not how a 1967 car spoke.
They didn't speak, but now it does.
And at McCacken, it was fantastic
because it's the first show I've ever taken it to.
It won a couple of awards for a street mod.
The thing I was most proud of is the two judges.
Actually, the first judge came by and graded it and said,
well, I couldn't find anything wrong with the car.
It is so clean.
I said, okay, great.
I didn't really know what that meant.
He walks away and a few minutes later,
there's two judges now that are back.
And this guy was apparently the judge's boss.
And I said, is there a problem, something going on here?
I thought we already finished the judging.
And the boss said, yeah, I've never heard of a perfect score before.
So I wanted to see for myself if this was a perfect score or not.
Apparently the first judge gave it a perfect score.
So he went the whole thing is, yeah.
And he was kind of like grumbly a little bit.
And he says, yeah, it's a perfect score.
And I said, did you see the poster of the before and after
where it came from?
And he didn't understand what he was looking at.
And he said, wait a minute.
He looked at the poster.
He said, this is the car from that movie?
And I said, yeah, you see how it started?
And there are all these pictures of the barn fine.
It was just rusted out.
It was terrible.
Then he took selfies with me.
Ah, perfect, okay.
I don't think this judge did that a lot.
Marcus, how bad was it?
Your website's pretty slick.
And you have all these good photos of how you received the car
and it's got the little tow bar attachments,
I assume from being pulled as a movie car or something.
But we've seen rusty cars before and really rusty cars.
And I'll admit, it just looks like a really rough car.
But how bad was it when you got it apart?
I'll say it's the worst that I've ever seen.
I mean, it didn't have the background that it did.
It wouldn't make sense to restore the car.
I got to give credit to Pete's sister,
if she's the one that drove it from the auction.
I mean, that thing was not drivable.
Like your foot could go through the floor, the gas tank.
That wasn't working correctly.
I mean, it was just really rough.
So the hardest part with this car is you have a make in a year.
There's not a lot of parts available for that.
Most of the Mopar guys are into the late 60 stuff,
68, 69, 70.
That's where the money is.
So you have a 67.
You got to find parts for it.
But then on top of it, it's a convertible.
Like the convertible frame was-
Was this a real convertible car from there?
Yeah, it was a real convertible car.
And it started its life as a small block car.
So whatever that was, was a small block in there.
We don't have the data tag,
because you asked about that previously.
That was gone.
But we could see some of the things that were original to it.
It was a dark green car originally.
Yeah, I mean, the finding the parts for that was ridiculous.
Like some of them are so difficult.
And that's what we really focused on on there.
I wanted every single little detail.
Like when you build a car, my philosophy on it is,
do it as if every single part on that car is going to be judged.
The radio knobs, knobs for the convertible top,
little things like that, they're like impossible to find anymore.
It all comes together.
Like when you look at that interior, it's spectacular.
The bench seat.
So the bench seat that was in there was so rusted, the frame,
we couldn't use it.
So we had to find a bench seat, but we didn't know what it was.
It's like, well, what did they put in here?
We don't know what fits in here.
So we had to go through that process, found a seat in Ohio,
convinced somebody.
It's like, hey, can you box up that bench seat and send it to me?
Like I need that.
And yeah, they look like two coffins showed up
because they split up the seat.
But yeah, it goes on and on like that.
And to me, what I always wanted to see was the only thing that made sense
is when you see this car, it reminds you of the movie.
That's it.
And especially that opening scene where they're driving through town
and up to Callahan, up to the factory there.
That's the car.
And that's what we wanted.
We wanted the stance of it to be the same, the dual exhaust coming out of it.
Even the sound, we played around with the sound.
How could we get the right tone for it?
Pete asked me a lot about the sound.
It's like, well, because we're trying to figure out what's too loud, what's too quiet.
You don't want to be driving through your neighborhood and everybody is like,
well, I guess Pete's home.
We could hear him coming in with the car again.
So yeah, it's a tremendous effort.
And I just didn't realize how much of an effort it was going to be from the beginning.
So when you take a really rough car, people can relate to that.
It's a tremendous thing.
So our listeners are into Hollywood fabricated cars.
So Hollywood modified cars.
So who built a car, Pete?
I mean, for the movie originally, did it come blue painted?
Or did somebody have to prep it with the seat you wanted?
Was it a studio car?
No, no.
Like I said, we had four cars and we painted them all the same color.
And actually I still have the skateboard that Marcus used as a template for getting the color
right because this is not a Plymouth blue.
As a matter of fact, everybody asked me because when you get it in the lights at McCacken,
for example, it's just such a spectacular color.
And I call it Tommy boy blue because that's what it is.
It was an accident from the transport department.
They weren't trying to be artists.
They just said blue and they just came up with a blue.
But other than that, except for putting a super commando air filter on it to camouflage the small
block, what you see is what you get.
As a matter of fact, a lot of people kept saying there were these two extenders under
the front bumper that everyone said, oh, that was for towing or the movie towing.
I said, no.
And here's another reason why I know it's our car from the movie.
When the car has the hood sheared off from the road sign in front of the prehistoric forest.
To shear off a hood like that can be very dangerous.
You can decapitate your stunt drivers.
So what you have to do is you have to have pick points and you have a cable
that was attached to that's what those two rods extended in front of the front bumper were.
The cable attached to that to some pulleys that went up to a pick point on a crane and back down
to the other side.
So that hood when it flew off, we knew exactly where it was going to land.
And it wasn't going to hurt anybody.
It's a terrifying stunt.
It looks like someone because it goes right over the front seat and lands in the back.
Right over the heads of the actors.
So it was a safety precaution and that's what those two things were.
And they kept it on.
You know the car ended up working in other productions.
I know the most famous thing it was in is Katy Perry's music video Teenage Dreams.
It had been like spray painted silver at that point.
They kept the front attachments on.
Was it in David Spade's Joe Dirt?
Was it the orange car in that or was that the other one?
Or was it either one?
That's a different one.
Yep.
The only movie that I know of that it was in was Tommy Boy.
But it sat out in a production parking lot for a quarter century.
And that's why, as Marcus said, it was like a Fred Flintstone mobile.
Your feet could touch the ground because there wasn't much of a floorboard.
Who owned it?
Was it like a picture car warehouse car?
It was a picture car company.
I guess why they decided to turn it over.
I actually found somebody sent me online a couple that purchased it before it went to Barrett Jackson.
And they were thrilled.
They had surmised that it was the Tommy Boy car from some billing and paperwork.
And then they decided to put it up for auction.
Where it was before that, definitely it was in some field somewhere.
It did not see a garage for a couple of decades.
Marcus, did it take floors and quarters and trunk?
What all did you have to cut out and replace with new metal?
Well, there's a significant amount of metal that we had to replace.
Some of it we had to hand fabricate because you can't get the pieces and parts.
So to answer that, let's see, there was floors, sections of floors we had to replace.
We had to get new doors because they were pretty damaged.
Fenders, the hood, and the quarters had to be reworked in the tail panel.
The goal was, I know a lot of people want to keep the original sheet metal,
but that just wasn't really an option on here.
We had to replace large sections just like the quarters were just rotted.
There's nothing you could do with that.
They don't make convertible reproduction convertible quarter panels.
So we had to take hard top ones and modify them to make them fit.
There's a lot of work in that body.
And again, like Pete said, that color is phenomenal.
I actually sent Pete, you were in South Africa, I think, filming.
I sent a color sample I think that we didn't like in the beginning, right?
It was a little piece of plastic.
Yeah. Is that where I sent the first one?
And then you were like, no way.
That was actually pretty close.
And then the skateboard you sent, which I've got it right here.
Did you paint that?
Yeah, you're supposed to use that.
Yeah, the color, it's a custom color.
And I don't think a normal Mopar color, there's one that's close that just wouldn't pop like this.
When you see that car in the sun, it is spectacular.
Like Pete, you know that.
Like when you look at this thing in the sun, it's like with the chrome.
Extra touch up paint that you gave me is right on my desk.
GTX paint.
Rob, the way it's set off with the chrome, it has so much chrome and stainless,
this car, on the interior and exterior.
And finding those pieces, we could have a whole podcast on that,
but it's the chrome and that metallic color.
It's just, oh man, this looks so good.
I wished I could have seen it in person.
I wasn't able to go to McCacken or the 30th anniversary event in Sandusky,
but was the goal to save this car, Pete, for 30th anniversary stuff?
Or was this just a car you should have bought long ago and didn't?
Why did you do this?
You're making me feel the pain once again.
So when we finished filming, a transport department offered me the car for pennies.
And I thought the movie was going to bomb.
So I said, no, no, no, please, you keep it.
Of course, the movie didn't bomb.
That was the most expensive mistake I had made in my life, not buying it back then.
So I looked for the car, called the transport department over the years.
As a matter of fact, then I got to make a movie.
First time I was back in Toronto was in 2024.
Well, actually it was 2020 when we started filming My Spy,
the first My Spy with Dave Batista.
Ironically, 12 people on our crew had worked on Tommy Boy, 20 some years earlier,
because it's kind of a small town, Toronto.
The production world is not massive.
And I asked, I said, by any chance, do you have any idea where that car went?
Or any one of the cars?
Mostly the two convertibles, because the hard tops were trashed.
They said, no, we have no idea.
I mean, it was about a year or two after that that we found it in Florida.
OK, so you don't think the other two modified?
We thought the car that the deer stood on wasn't even a satellite.
We thought it was maybe a fury or something else.
It looks like it has different quarters.
It was a satellite.
What we had to do there, the deer wrangler told us, and actually,
he was the same animal wrangler that worked on My Spy.
We only had a dog in that movie.
I showed him all these storyboards of the destruction that I wanted to do.
And it was kind of like what I've read about Lucas looking at Spielberg's
storyboards for Jaws and said, because apparently the mechanical shark in that movie barely worked.
And Lucas said to him, if you could film 50% of these storyboards, it's going to be a miracle.
Well, our storyboards, only the final frame, the final cell,
the deer wrangler said, that we can do.
And it was a shot of the deer standing on top of the car and jumping off.
Everything else, we had to wing it and make it up.
So for that one shot, he said, here's what I'm going to need.
I'm going to need you to give me a car for a month.
That's why we said, OK, well, production is only going to be two months.
This wasn't a big movie.
So that was why that car was just solely for him.
He put it in a field and he hid the cameras and the lights.
We hid the cameras and lights in bushes.
He put a ramp on the backside of the car so that the deer at night in the corral
could walk up the ramp and he put food inside the car.
It could eat and then pee and poop in the car so it would smell itself.
And then one day when it got comfortable and it actually stood there long enough,
the lights would turn on.
The cameras would operate and the deer would be freaked out by the lights
and jump off and run away.
That is exactly what you see in the movie.
One take, it took one month and an entire car.
So that's terrible.
That's awesome.
But it's great.
Marcus, how long did it take you to restore this car?
Because in this world, I mean, there's no such thing as an estimate
or a project schedule.
Usually it's usually figure as you go type of work.
Well, I mean, in some respects it is people want to know.
I mean, everybody wants to know.
And I try to do everything I think initially I might have said 12 months,
something like that.
Was it three years, Pete?
Three years.
Three years.
Almost to my best.
I tested Marcus's patience because I would ask.
So no pressure, but anytime this year.
And of course, what was great about his blog is that it had I not had that blog,
I would have felt so in the dark.
And I would have felt, gosh, I don't know.
It's sort of like a plumber tells you you need copper pipes.
I don't know.
Do I?
But the fact that he was so meticulous, even down to I remember one headlight bezel,
I realized it wasn't just the physical craftsmanship.
It was, I would say you can tell me Marcus, at least half of it,
if not more was the research calling around making deals with people to find these little
tiny parts or to lead you to a place where you could get a part or create a part.
That's what was amazing to look at this blog.
And it calmed me and I actually started to look forward to another entry
because I could see even down to a nut or a bolt, hey, we found it.
You know, and I would show it to my whole family.
Look, my wife would say, yeah, any closer?
I'm like, I don't know, but he found the bolt.
Isn't that cool?
And it was definitely a scavenger hunt.
Was there a goal between the two of you to have the car
making its rounds for the 30th anniversary of the movie?
I don't know if it was or not, but it's great.
It was kismet.
It had no, I learned after several months that it was going to take
as long as it was going to take.
And as painful as that was for both of us, I just learned to be patient.
So I was not thinking about any celebrations.
The city of Sandusky actually reached out to me in 2025,
which would have been the 25th anniversary of the movie,
but then COVID happened.
The 25th anniversary, which was going to be in 2020, sorry.
But we missed it.
And then I was not thinking about anything.
As a matter of fact, I don't think we'd even begun the restoration in 2020.
And it was probably like 21 or 22 that it started.
And then suddenly they started calling me about, well, what about the 30th anniversary?
You know, we're going to do a three-day celebration in town.
And suddenly we were close.
I thought, wow, we might actually hit this.
Wouldn't that be cool?
And we did by, I think, two weeks.
I think you delivered the car on like the July 4th weekend.
And then I had to ship it there mid-July.
It's working.
I can tell you it's bringing joy to the masses because it did make that event.
I assume that they all lost their minds over it.
I don't know who wouldn't.
NBC Nightly News came and did a story that they re-ran on the Today Show.
The reporter, at first, we were going to do the interview in front of the car.
And then he said, can we do the interview in the car?
I'm like, OK, sure.
I bring this, actually, Marcus gave it to me, a plastic life-size deer hunting decoy.
But it's a deer.
And so that travels with me in the trunk everywhere I go.
And what's cool about it, especially at McCacken,
first people see the car and they go, oh, that's a nice car.
And then they see the deer and they go, wait a minute, deer car.
No.
And it's that growing sense of, holy s***, is this what I think it is?
And it's kind of fun to watch people's reactions,
because otherwise they might just walk right by it, especially at McCacken.
There's a billion beautiful cars.
When they see that deer and then this little thing, we put an empty bag of M&Ms,
peanut M&Ms on the dash.
They put two and two together and then people are lining up to take pictures
in front of it, which is really cool.
I have movie questions.
So I think before we start rolling, Marcus wanted some movie question details.
So who put in the M&M down the defroster joke?
Was that you?
Was it just in the script?
No, that was in the script.
That was Fred Wolf.
And I think that was day two of production.
And it was a very hard shoot because we really didn't have a script,
a full script when we started shooting.
I felt like we were always laying out the train track in front of the locomotive.
But on day two, we had that stunt.
And I thought, oh gosh, we're going to need like a special effects technician,
and we're going to have to put all the little M&Ms on a little monofilament
and have them all be pulled one at a time into the air vent.
No, we didn't.
We just got lucky.
We went around a curve and the actual bag was there.
And all the M&Ms did their job and they rolled right into the heater core.
And of course, one of the first things when Marcus got to the heater core,
that was the big question, whether or not there were M&Ms inside the heater.
Was that this car or was it the other car?
The other car.
Yes.
So I didn't expect there to be in this one because I knew that the other was the pristine one.
And that was the one that we used for that particular gag.
But I still get asked that question.
Marcus, did you find movie damage in the car?
Not rust, but damage, damage from filming.
Like, is this the car that had the door ripped off going backwards on the gas pump?
That's this car.
Yeah, I would say the biggest damage which was surprising was the car was definitely jumped.
For some reason, at some point in its life, I mean, the oil pan was collapsed on the bottom.
The subframe there was really damaged.
So I don't know when that happened, but I would say I'm blaming it on movie stuff of some sort.
Um, yeah.
But I would say, oh, in those brackets we talked about Pete was saying for the hood,
they just welded those to the frame.
And it wasn't very pretty.
So we had to clean all that up and cut all that out there.
Otherwise, it was connected to the bumper.
You couldn't get the bumper off.
Is this the car that had the hood fly open with Chris Farley in it?
Or was that the car that was on the 18-wheeler thing you mentioned?
No, this was the one with Farley in it.
So Farley and Spade drove this.
This was like Superstar, the carpenter song, singing anything with a baby gate was this car.
The hood shear off in front of prehistoric forest was this car.
Hyper extending the door.
All the funny stuff happened to this car.
Okay.
In the grand scheme of things, if this car is the number one car you could have got from a movie,
is there any other movie car from a movie you directed or otherwise that you wanted or would still like?
I thought about buying the Sunbeam Tiger from Get Smart, but that really was a piece of crap.
It wound up in the Warner Brothers Museum right next to the Tumblr and the Scooby-Doo car and
others.
I kind of wanted that one, but I also knew that their reputation was not great and it was going to be trouble.
But if I could choose, I would say Bullet, the Steve McQueen car.
The Mustang or the Charger?
The Charger.
The Black Charger?
Green one.
That was Mustang, right?
Yeah, Steve McQueen's green Mustang.
Yeah.
Yeah, the green Mustang.
I don't know if that was a Shelby.
No, it wasn't.
One of the two Mustangs is still alive now.
One of them survived and sold.
I think one of the Chargers survived too, but Marcus, would you take on another Pete Segal project?
If he buys a Mustang, I would, yeah.
I don't know.
I mean, the project itself was great.
If it didn't have this story behind it, I would have really been kind of painful.
But every day you're reminded of what you're working on.
Yeah, it took a lot of work, but it was gratifying to have that experience working on that.
I say that kind of joking around that, okay, but we went through it, learned a lot,
and it's the end result that we have here.
I'm happy with it.
I'm proud of the way it came out.
Awesome.
Well, I want to thank you both for the time.
This is one of these things where the interview has already gone long,
and I would love another three hours of your time because I eat this stuff up.
But you didn't save the Tommy Boy car.
Whether you own it forever or for another year, it doesn't matter.
It exists.
It's going to keep bringing people happiness, and it's awesome.
So what I'd like to do is end here.
How can people follow you both?
So Pete, you're a famous film director.
You're probably a pretty easy dude to follow, but how can people follow you?
Peter Siegel on Instagram.
I've got a blue check.
Marcus, how about you?
I have a website.
That's what I usually direct people towards angelrestaurations.com.
Although I don't make major Hollywood movies, I do small YouTube videos.
I just completed a series this weekend on some of the Mustang detailing.
I like to share some of the knowledge I've gotten over the years.
I have articles on the website and Instagram.
I love Instagram, so not hard to find me either.
We'll have links in the notes for both of you.
Thank you again.
This was a treat.
And if you do another Hollywood car or don't, you're welcome back here any time.
So thanks, fellas, very much.
Thank you.
All right.
Thank you, Pete and Marcus.
That was really fun.
Again, that entire interview was available on our YouTube channel,
is available on our YouTube channel.
Enjoy that.
The links are in the show notes.
Now, before we go, I know it and you know it.
I just didn't push the issue because it's not that important.
The scene where the deer stands up on the car and jumps off, it's not a satellite at all.
I am sure Pete remembers that that way.
And maybe they did provide a satellite, but what's in the movie isn't.
What's in the movie almost is definitely a 67 fury.
If you have those two cars side by side quite frankly, if you just pause the movie at that
section, I'm quite certain if Pete were to pause the movie at that section and then look at his
car, he'd say, oh my gosh, those are not the same car, like at all.
What they presented the movie, it is blue.
It is convertible.
It is a mopar.
It is sitting on criggers.
It is missing the driver's door.
The top is all ripped up, but it is entirely different quarter panels.
It's a different wheelbase.
It's a different car.
Again, I've been there where I clearly remembered something one way, and then I went and found
out I just had it remembered wrong in my brain.
I just sworn on a Bible.
I was right, but Pete's been in and out of the business numerous times.
I'm sure if he saw it, he would realize it's not that car.
So why didn't I push it in the interview?
A, because it's rude, but B, because it's irrelevant.
Who cares?
The car that he restored is the one that matters, and I love that he did this.
And I love that it matters to him.
How many directors out there in the world, real film directors, could care less?
He cares.
I love that about him, and I hope that he enjoys the car that he restored till the day he dies
and then gives it to the next person to love it.
So awesome.
Alrighty, that is it for this episode.
I will be back next week between now and then.
Hit me up on Facebook or Instagram anytime.
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About this episode
Director Pete Segal and auto-restorer Marcus Angel share the fascinating journey of restoring the iconic car from the film 'Tommy Boy.' The episode dives into the car's history, its multiple roles in the movie, and the challenges faced during its restoration. Segal reveals behind-the-scenes stories, including the car's transformation and the creative decisions made for filming. Angel discusses the technical aspects of the restoration, including sourcing rare parts and the meticulous attention to detail required to bring the car back to life. This episode is a treasure trove for fans of both film and automotive restoration.
Original notes
Some movies don’t just entertain us — they become part of who we are. Tommy Boy is one of those rare films, blending heart, humor, brotherhood, and horsepower into a story that has resonated with car people for nearly three decades. On this week’s episode of The MuscleCar Place, Rob Kibbe has the rare privilege of interviewing Tommy Boy director Peter Segal and master restorer Marc Anghel to tell the unbelievable story of the movie’s most famous co-star: the 1967 Plymouth Belvedere GTX. Peter understood car culture from the start and intentionally made the GTX a true character in the film — one that suffered every mishap right alongside Tommy and Richard, earning its place in automotive and movie history.
After spending more than 25 years forgotten at a picture car warehouse, the legendary GTX was reunited with Peter at a Barrett-Jackson auction and brought back to life through a concours-level restoration by Marc Anghel. The result is a real-world Tommy Boy car, complete with Callahan Auto decals and subtle nods to its cinematic legacy — and a perfect-score winner at MCACN, the “Pebble Beach of muscle cars.” This episode is a celebration of creativity, craftsmanship, and the way one movie — and one car — can leave a permanent mark on all of us.
The post TMCP #636: Director Pete Segal & Anghel Restorations – Bringing The Screen Used Tommy Boy Car Back To Life! first appeared on The Muscle Car Place.
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Robert Kibbe
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