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Yoohoo!

I'll make you famous.

>> Terrence Malik's Badlands has always

been one of my favorite films. Martin

Sheen's chilling performance as Kat

Brothers is unforgettable. But here's

something I only just discovered. There

are actually two Estz brothers in that

1973 masterpiece. Alio Estz, just 10

years old, appears uncredited as boy

under lampost. And sitting right next to

him is his younger brother, Charlie

Sheen, then only 7 years old. Years

before they'd become household names,

before one became a Brat Pack icon and

the other a sitcom superstar, they were

already there together. Two kids

watching their father create one of the

great performances of [music] the

decade. It's a perfect metaphor for

their entire story. Side by side from

the very beginning, both in their

father's shadow, both heading into the

same industry, but destined to take very

different paths. Today we're diving deep

into the career of Alio Estz, covering

his best movies, his relationship with

his brother and father, [music] and

where he is today. Let's fade to black.

Born on May 12th, 1962 in the Bronx, New

York, AIO Estz was literally born into

the business. His father, Rammon Antonio

Gardo Estz, had adopted the stage name

Martin Sheen in the late 1950s,

believing his Hispanic surname would

limit his opportunities in an industry

that wasn't ready for ethnic actors in

leading roles. Growing up in Malibu,

young Alio had a front row seat to his

father's career, including the making of

Apocalypse Now. When Alio was a

teenager, Martin's near fatal heart

attack on the Philippine set in 1977

profoundly impacted the entire family.

Alio has spoken about how that

experience taught him the physical and

emotional toll that acting could take

and how it made him more cautious about

the roles and projects he'd choose. The

decision to keep the Est name wasn't

made lightly. In interviews, Alio has

explained [music] that his father

actually encouraged him and his siblings

to use their birth name, feeling great

regret about having changed his own. He

made a choice he felt he had to make,

Emilio said. But he didn't want us to

feel we had to [music] make that same

choice. And keeping the name became a

point of pride for the young actor. The

relationship between Alio and his

younger brother Carlos Charlie Sheen is

fascinating and complex. Both

good-looking, both talented, both

entering Hollywood in the early 1980s,

but their approaches couldn't have been

more different. Charlie chose to follow

in his father's footsteps [music] by

taking the Sheen name and pursuing

mainstream stardom aggressively. Alio

went the opposite direction, keeping

Estz and initially gravitating toward

more alternative independent projects.

There was genuine rivalry between them,

though both have spoken about it with

affection in interviews. They competed

for roles in their early careers. Both

auditioned for The Breakfast Club with

Alio landing the part of Andrew Clark

while Charlie didn't get cast. When they

worked together on Young Guns and its

sequel, crew members noted the

competitive energy between them, each

trying to steal scenes from the other.

But there was also deep brotherhood.

Alio was protective of Charlie even as

Charlie's career exploded with Platoon

and Wall Street. When Charlie began

struggling with substance abuse in the

1990s and 2000s, Alio maintained a

careful distance publicly while offering

private support. He's been quoted saying

he had to learn to love his brother from

afar during Charlie's darkest periods,

recognizing he couldn't save someone who

didn't want to be saved. One lesserk

known story, in the mid1 1980s, at the

height of their backpack fame, Alio and

Charlie made a pact. They agreed that no

matter how successful they became,

they'd always make time for family

dinners when they were both in Los

Angeles, and they'd never let Hollywood

ego come between them. According to

Martin Sheen, they kept that promise for

years, even during difficult periods.

Alio's first major credited role came in

this ABC television movie where he

starred alongside his father, Martin

Sheen, in a powerful drama about the

juvenile justice system. As Danny

Caldwell, a teenager whose one night in

jail spirals into a month-long

nightmare, Estz delivered a haunting

performance that showcased his talent

and potential. When Dany rear ends a

police car while drunk driving, his

father decides to teach him a lesson by

letting him spend the night in jail. But

what follows is a descent into the

brutal realities of the system. The film

earned a Golden Globe nomination, and

[music] critics praised Estz's portrayal

of a young man's gradual brutalization.

It was a powerful debut and proved that

working with his father brought out

something special in both actors.

As mentioned, Alio's actual film debut

was that uncredited appearance in

Badlands in 1973, standing under a

lampost watching his father's character

drive by. But his first substantial role

came nearly a decade later in Tex

[music] in 1982, an adaptation of SE

Hinton's novel directed by Tim Hunter.

As Johnny Collins, best friend to Matt

Dylan's title character, Estz showed

natural screen presence and an intensity

that belied his 20 years. The film was a

modest production with a small budget,

but it introduced Estz to Hollywood as

more than just Martin Sheen's son.

Critics noted his [music] charisma and

predicted bigger things ahead.

Francis Ford Cppler's adaptation of SE

Hinton's beloved novel was a gamecher.

As Tubbit Matthews, the wisecracking

Mickey Mouse loving greaser, Estz was

part of an ensemble that would define

1980s [music] Hollywood. See Thomas How,

Matt Dylan, Ralph Matcher, Patrick Sees,

Roblo, Tom Cruz, and Dian Lane. The film

about class warfare between workingclass

[music] greasers and wealthy socialers

in 1960s Tulsa resonated with audiences

and launched [music] careers. While

Estz's role was supporting, his presence

in this landmark film cemented his place

in the emerging Brat Pack movement. The

film grossed over $25 million on its $10

million budget, even spawning a

successful 2023 Broadway musical.

Before the Brat Pack, Estz was a punk

rocker hunting radioactive aliens in

Alex Cox's cult classic. As Otto, a

disillusioned punk turned repo man, Estz

embraced the film's anarctic weirdness

completely. The low-budget sci-fi comedy

bombed initially, but became a midnight

movie phenomenon on VHS. It established

Estz as an actor willing to take risks

and choose interesting over safe, a

quality that would define his career.

John Hughes's masterpiece made Estz's

star. As Andrew Clark, the wrestler

crushed by his father's expectations,

Estz brought depth to what could have

been just the jock. His confession about

taping Larry Luster's buns together, the

shame and self-loathing in his eyes

showed an actor capable of real

emotional honesty. On a $1 million

budget, the film grossed over $50

million and became one of the defining

films of the 1980s, cementing Estas

[music] Pack.

Released months after The Breakfast

Club, Joel Schumaca's ensemble drama

reunited Estz with Bratpac alumni and

added Rob Low, Demi Moore, and Andrew

McCarthy.

As Kirby, a law student obsessed with an

older woman, played by Andy McDall, Estz

delivered his most vulnerable

performance of the era, romantic to the

point of delusion. Critics dismissed it,

but audiences loved it, making it a

solid commercial success and the

definitive Brat Pack film.

At 23, Estz became the youngest person

to write, direct, and star in a major

Hollywood studio film. Wisdom told the

story of a young man with a criminal

record who becomes a modern-day Robin

Hood, destroying mortgage records to

[music] help struggling farmers. The

ambitious crime drama bombed critically

and commercially, but it showed Estz was

serious about filmmaking and willing to

risk everything on a passion project

rather than coast on Brat Pack fame.

1986 was a rough year for Estz. After

the ambitious wisdom bombed, he starred

in Stephen King's directorial debut,

Maximum Overdrive, a campy horror about

sentient killer machines, the film

flopped even harder, earning only $7.4

million against its $9 million budget.

Both Estz and King earned Golden

Raspberry nominations. Two commercial

failures in one year could have derailed

his career, but salvation was coming.

After back-to-back flops, Estz

desperately needed a hit. Stakeout

delivered massively. Paired with Richard

Dus as Mismatch Seattle Detectives, the

buddy cop comedy opened at number one

and stayed there for five consecutive

weeks, becoming the eighth highest

grossing film of 1987.

Critics and audiences loved [music] it,

and it proved Estz could carry a

mainstream blockbuster. A 1993 sequel,

Another Stakeout, followed, but earned

only $20 million.

I'll make you famous. With those words,

Estz transformed Billy the Kid into a

rockstar outlaw for the MTV generation.

Director Christopher Kaine assembled a

stellar young cast, including Kefir

Sutherland, Lou Diamond Phillips, and

[music] Charlie Sheen. But Estz was the

center, manic, charismatic, and

genuinely dangerous. The Western earned

$56 million worldwide and spawned a 1990

sequel that Estz also produced, grossing

$59 million.

Est's second directorial effort was a

black comedy about garbage men who

stumble onto a murder and environmental

conspiracy. He wrote, directed, and

starred alongside Charlie in a true

family collaboration.

Their sibling chemistry is undeniable,

and Keith David nearly steals the show

as a shell shocked Vietnam vet. Critics

savaged it, and it flopped at the box

office, but Estz took it on the chin and

continued to develop his film making

skills.

Who knew Estes's most enduring character

would be a lawyer turned youth hockey

coach? As Gordon Bombay, sentenced to

community service coaching a ragtag

pee-wee team. Estz showed warmth and

humor that elevated the familiar

underdog formula. The film was a massive

hit, spawning [music] two sequels, D2 in

94, which made $46 million, and D3 and

96, which made another 23, an NHL

franchise and a Disney animated series.

For 90s kids, coach Bombay was as much a

hero as Billy the Kid. Estz's smart

profit participation deal provided

decades of residual income.

Estus had fun with this broad parody of

Lethal Weapon. Partnered with Samuel L.

Jackson and packed with celebrity cameos

including Charlie Sheen. The gleefully

stupid comedy opened at number one and

became a solid commercial hit. Critics

hated it obviously, but audiences turned

out proving Est could carry broad

comedy.

By 1996, Estz [music] had directed two

features with mixed results. The war at

home marked his return [music] to

directing after 6 years, a drama about a

Vietnam veteran played by Martin Sheen

struggling with PTSD. Directing his

father in a role that paralleled

Martin's Apocalypse Now [music]

experience was deeply personal.

After years of smaller projects, Estz

returned with his most ambitious film,

an ensemble drama set in the Ambassador

Hotel on the night RFK was assassinated

in 1968.

He wrote, directed, and appeared in the

film alongside an all-star cast

including Anthony Hopkins, [music] Helen

Hunt, Demi Moore, Sharon Stone, and

Martin Sheen. The film premiered at

Venice to a standing ovation and earned

SAG award nominations.

The Way might be Estz's masterpiece.

Martin Sheen plays an American doctor

who walks the Camino de Santiago

pilgrimage after his son dies on the

journey. Written and [music] directed by

Alio, the film is a profound meditation

on grief, faith, and fatherhood. Sheen's

performance is career best work, and the

real father-son emotion informs every

frame. Shot on location along the actual

commamino, the film found its audience

slowly through word of mouth, inspiring

actual pilgrimages. It's a quiet, deeply

personal film about legacy and

connection.

Estz's most recent directorial effort

tackles homelessness and the

privatization of public spaces. He

wrote, directed, and starred as a

Cincinnati librarian who must choose

whether to help homeless people staging

a sit-in during a deadly cold snap.

Despite strong performances from an

ensemble, including Alec Baldwin,

Christian Slater, and Martin Sheen, the

film struggled to find an audience. The

financial disappointment didn't diminish

Estz's commitment to socially conscious

cinema, but highlighted the challenges

of adult dramas in the franchise era.

Nearly 30 years later, Estz returned to

Coach Bombay in Disney Plus's series.

But this wasn't nostalgia. The show

presented a bitter, isolated Bombay

who'd lost his way. Estz brought genuine

depth and when Bombay rediscovers his

purpose, it's genuinely moving. The

series was wellreceived, but Estz and

Disney couldn't reach agreement for

[music] season 2 reportedly over CO 19

vaccination requirements. His absence

was deeply felt, but the situation

[music] was characteristically Estz

making decisions based on his principles

even when costly professionally.

Estz kept his personal life private. He

was engaged to Demi Moore in the mid

80s, married Paul Abdul from 1992 to94

and has two children Taylor and Paloma

with Kerry Sy. He directed TV episodes

of Colase and Close to Home, always

selective about his work. At 62, his

relationship with Charlie remains loving

but complicated. With Martin in his

mid80s, they've discussed one final

collaboration.

Smart investments from Mighty Ducks gave

him freedom to choose projects on his

own terms. So he lives quietly now in

Southern California, content,

Estz never became the mega star Charlie

briefly was. But he built something more

valuable, a career of substance, his

integrity [music] intact.

He was the Brat Pack's heart, the most

grounded. While others struggled or

faded, he built a lasting second [music]

act. Keeping the Estair's name, once

seen as a limitation, now feels preient.

Success is about longevity, Estabz once

said. Working when [music] you want on

what you want with people you respect.

From uncredited boy under a lampost in

Badlands to directing his father in

deeply personal films. His career is a

study in authenticity. He never changed

his name to escape his father's shadow.

He stepped into his own light. The kid

under the lampost grew up to light his

own way without pretending to be anyone

else.

Thank you all so much for watching. If

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difference to the channel. And as

always, I really do look forward to

seeing you all in the next one.