It’s impossible to talk about Night Shift without mentioning Michael Keaton.
While most people don’t associate Keaton with a “wild and crazy kid” persona, Night Shift perfectly captures him in the 1980s—goofy, funny, and undeniably charming. At the time, Keaton was virtually unknown, having only appeared in a B-comedy and the CBS sitcom Report to Murphy. This film was his breakthrough, marking his first major leading role.
“I don’t know how many times I had to go back in and audition,” Keaton recalled. “It was just callback after callback.”
Ultimately, Keaton convinced the producers and writers that he was the right choice. As Bill “Blaze” Blazejowski, with his expressive Irish face, thinning brown hair, darting green eyes, and rapid-fire speech, he was electric. His energy and comedic timing were impeccable, but there was also something more.
Reflecting on his rise to fame, Keaton once said, “I came along just at the time when the transition from television to film actors was becoming possible.”
To get into character, Keaton would blast Bruce Springsteen’s Born to Run, particularly “10th Avenue Freeze-Out.”
He fondly remembers seeing the film alone on opening day: “I wanted to sit in the middle of the theater in the afternoon. It was fantastic. To be honest, I was speechless.”
The Man Who Helped Keaton Steal the Show
When Ron Howard cast Keaton in Night Shift, he struck gold.
Keaton outshone the more experienced Henry Winkler, best known as “The Fonz” on Happy Days, in nearly every scene. The film’s success launched Keaton’s Hollywood career, but it might never have happened without Winkler’s quiet yet crucial support.
In an interview with The Boston Globe, Ron Howard revealed that Winkler was given the choice between the two lead roles and opted for the more reserved character.
“He then helped Michael steal the movie,” Howard admitted. “He gave him plenty of room. He’d say things like, ‘If you take this routine one step further, you’ll get a big laugh.’”
Winkler deliberately played against type, choosing a timid, unassuming morgue director instead of his usual tough-guy persona. “I figured I’d play Richie Cunningham for once,” he joked on Twitter.
Winkler Didn’t Initially Like Keaton
Despite their fantastic on-screen chemistry, Keaton and Winkler never worked together again. Their early interactions on Night Shift may explain why.
At first, Winkler wasn’t entirely comfortable with Keaton. “The guy’s talented, but I don’t know if I’m comfortable working with him,” he reportedly told Howard.
Howard reassured Winkler that this unease would actually enhance their dynamic, as it mirrored the awkward relationship between their characters. That initial tension gave their performances a raw, authentic feel.
The Big Names Who Almost Played Bill
Several Hollywood stars were considered for the role of Bill Blazejowski before Keaton was cast. Mickey Rourke and Kurt Russell auditioned, and Ron Howard initially had other actors in mind, including John Candy. They even reached out to Bill Murray, Dan Aykroyd, and John Belushi, but none were interested—either due to scheduling conflicts or because they felt the part was too small.
After seeing Keaton’s audition, Night Shift co-writer Lowell Ganz told Howard, “Keaton is going to be a star for somebody, and he might as well be a star for us.”
Keaton’s Improvised Brilliance
Keaton’s natural comedic genius gave Night Shift many of its funniest moments, making it feel as if he was making things up on the spot. One standout improvisation occurs when a blind man asks Keaton and Winkler for spare change—Keaton responds by offering him a check. A classic Keaton moment!
Ron Howard’s Hidden Cameos
As his directorial debut, Night Shift was a major milestone for Ron Howard, earning over $21 million at the box office. Howard also made a few sneaky appearances in the film.
In one scene, he and his wife, Cheryl, are seen kissing in front of Chuck’s (Winkler’s) apartment building. Howard also plays a saxophone player in the subway. And, of course, his brother Clint Howard appears, portraying the quirky Jeffrey.
Spotting Kevin Costner
Night Shift is filled with early appearances from future Hollywood stars.
A young Kevin Costner briefly appears as a frat boy at the morgue party, holding a bottle on his head and wearing a checkered shirt with a college cardigan tied around his waist. Though he has no lines, his presence adds to the film’s legacy.
Shannen Doherty also makes her feature film debut, playing a “Blue Bell” (a Girl Scout-like character) in an elevator scene. Her role is small, but it’s a fun early glimpse of the future Beverly Hills, 90210 star.
The Origins of a Classic Song
Did you know Night Shift introduced the song “That’s What Friends Are For”?
Originally recorded by Rod Stewart for the 1982 soundtrack, the song later became a worldwide hit in 1986 when Dionne Warwick, Elton John, Gladys Knight, and Stevie Wonder covered it. Their version topped the Billboard charts and raised over $3 million for AIDS research.
The film’s soundtrack also features Night Shift’s catchy theme by Quarterflash, Van Halen’s “You Really Got Me,” and the Rolling Stones’ live version of “Jumpin’ Jack Flash.”
Shelley Long’s Initial Reluctance
For those unfamiliar with Night Shift, Shelley Long plays Belinda, a kind yet tough prostitute who lives next door to Winkler’s Chuck. After her pimp is killed, she teams up with Chuck and Bill, leading to hilariously unconventional business arrangements.
Ron Howard admired Long’s work in Caveman (1981) and wanted her for Night Shift, but she was working on another film at the time. He convinced her to take a brief two-day break to audition.
After auditioning for Belinda, Long was asked to return the next day to read with Winkler. Initially hesitant to play a prostitute, she ultimately accepted after researching the role.
“She showed up looking the part, read with Henry, and immediately impressed us,” Howard recalled. “Even on tape, their chemistry was undeniable.”
“The Happiest, Healthiest Hooker”
In the early 1980s, comedies about prostitution were surprisingly common. Around the same time, The Best Little Whorehouse in Texas, starring Burt Reynolds and Dolly Parton, hit theaters. The following year, Risky Business would make Tom Cruise a star with its own brothel-centric plot.
Critics described Long’s Belinda as “the happiest, most wholesome hooker you’ll ever see on screen.” Some even joked that she seemed sweet enough to lead a Girl Scout troop.
The Famous Egg Scene
One of Night Shift’s most amusing moments is when Belinda makes Chuck breakfast while wearing only her underwear. Winkler’s reaction—far from his usual cool Fonzie demeanor—is priceless.
When Chuck asks for scrambled eggs, Belinda starts cooking fried eggs. However, when the meal is served, scrambled eggs somehow appear on the plate! It’s a small continuity error, but given Long’s undeniable charm in the scene, who’s really paying attention to the eggs?
A Small but Funny Movie Mistake
In another minor mistake, Chuck refers to Shannen Doherty’s character as a “Blue Bell,” but in the credits, she’s listed as a “Blue Bird.” It seems he mixed up flowers and birds!
Long’s Take on the Role
Although Belinda is comfortable flaunting her body, Shelley Long admitted she wasn’t thrilled about being in her underwear on set.
“It was difficult for me when the cameras weren’t rolling,” she said. She later joked that her husband had no complaints about her on-screen attire, laughing, “That’s a part of my anatomy he likes.”
A Subway Slip-Up
While much of Night Shift was filmed in New York, the morgue itself was built on a Hollywood soundstage.
One amusing continuity error occurs during a subway scene. When Bill exits the train, he says, “This is my stop.” However, sharp-eyed viewers will notice that the adjacent train is the Times Square–Grand Central shuttle, which doesn’t stop anywhere in between.
A Perfect Cast
Night Shift wouldn’t be the same without Michael Keaton, Henry Winkler, and Shelley Long. Their chemistry brings heart, humor, and unforgettable moments to this offbeat classic—a story of unlikely friendships, personal growth, and finding connection in the most unexpected places.