The Official "Behind The Scenes" TV/Movie Thread ( Black Sails / Ray Stevenson )

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MeatHookGekko

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I wanted to start a thread about things that go on "behind the scenes" in television and film.

Thought it would be pretty interesting to start archiving and have some discussion pathway towards

- Movie trivia, especially from very beloved iconic films
- Why some films bombed and how others managed to become huge hits beyond all odds
- Specific industry niches ( looking at the writing, casting, set design, special effects, lighting, cinematography, editing, etc, etc aspects of television and movie production)
- Interesting related interviews
- Scandals
- "Business" elements of the industry like marketing, financing, distribution, compensation, collective bargaining, etc, etc.
- All other miscellaneous tidbits that happen "below the line"
 
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Indiana Jones and the Raiders of the Lost Ark (1981) Trivia

The famous scene in which Indy shoots a marauding and flamboyant swordsman was not in the original script. Harrison Ford was supposed to use his whip to get the sword out of his attacker's hands, but the food poisoning he and the rest of the crew had gotten made him too sick to perform the stunt. After several unsuccessful tries, Ford suggested "shooting the sucker". Steven Spielberg immediately took him up on the idea, and the scene was successfully filmed.

In 1999, Raiders of the Lost Ark was added to the National Film Registry by the United States Library of Congress. It is the only Indiana Jones film to have been inducted. Films are chosen for being "culturally, historically, or aesthetically significant".

Freeze-framing during the Well of Souls scene, you can notice a golden pillar with a tiny engraving of R2-D2 and C-3PO from the Star Wars saga. They are also on the wall behind Indy when they first approach the Ark.

Indy's line to Marion when they are on the ship ("It's not the years, honey, it's the mileage") was ad-libbed by Harrison Ford.

When Brody first goes to Indy's house to discuss the mission, Jones is dressed the way he is because he is entertaining a young woman in his bedroom. The script originally planned to show her before moving to the next scene, to give Indy a more worldly persona (like James Bond). However, her appearance was cut, as Steven Spielberg thought that being a playboy did not fit Indy's character. (This also helps explain why several of the co-eds fawn over Jones and why one girl wrote "love you" on her eyelids).

The out-of-control airplane actually ran over Harrison Ford's knee, tearing a ligament in his left leg. Lucky for him, the heat had turned the rubber tire's soft, so it did not crush the bone. Rather than submit to Tunisian health care, Ford had his knee wrapped in ice and carried on.

Traditionally when one of his films is about to open, George Lucas goes on vacation to get away from all the hoopla. As Star Wars: Episode IV - A New Hope (1977) was just about to open, Lucas went to Hawaii where he was joined by Steven Spielberg. When the grosses for Lucas's film came in and it was clear it was going to be a hit, Lucas relaxed and was able to discuss other topics with his friend. It was at this point that Spielberg confessed he always wanted to direct a James Bond film, to which Lucas replied he had a much better idea, an adventure movie called "Raiders of the Lost Ark". The conversation happened while the two were making a sand castle. After their trip, they got together and developed the script with Lawrence Kasdan.

During filming in Tunisia, nearly everyone in the cast and crew got sick except director Steven Spielberg. It is thought that he avoided illness by eating only the food he'd brought with him: a lot of cans of Spaghetti-O's.

While filming the snakes scenes inside the Well of Souls, a python bit first assistant director David Tomblin's hand and wouldn't let go. Tomblin calmly asked someone to grab the python (still attached to Tomblin's hand) by the tail and whip it, so that the snap would send a wave up the snake's body and force it to let go. A stage hand did just that, the python released its bite from Tomblin's hand, and Tomblin got medical attention. The python itself was not injured.

Most of the "body blow" sounds were created by hitting a pile of leather jackets with a baseball bat.

Steven Spielberg and Melissa Mathison wrote a script during shooting breaks on the location of this film. Mathison was there to visit her husband, Harrison Ford, and Spielberg dictated to her a story idea he had. That script was eventually called E.T. the Extra-Terrestrial (1982).

The spirit effects at the climax were achieved by shooting mannequins underwater in slow motion through a fuzzy lens to achieve an ethereal quality.

Harrison Ford actually outran the boulder in the opening sequence. Because the scene was shot twice from five different angles, he had to outrun it ten times. Ford's stumble in the scene was deemed to

Alfred Molina's first credited screen role. His first scene on his first day of filming involved being covered with tarantulas.

The opening sequence featured live tarantulas on Alfred Molina, but they did not move until a female tarantula was introduced.

Indiana Jones's hat came from the famous Herbert Johnson hat shop in Saville Row, London. The hat was the shop's "Poet" model. On the Bonus Features DVD, costume designer Deborah Nadoolman said that in order to properly age the hat, she grabbed and twisted the hat, then she and Harrison Ford both sat on it, and it eventually looked like "a very lived-in, and well-loved" hat.

The monkey raising his paw and saying (in his own language) "Heil Hitler" was thought up by George Lucas, and is one of Steven Spielberg's two favorite scenes (in the video box set, he says his other favorite is the "where doesn't it hurt" love scene on the ship). In Empire magazine, Frank Marshall said that they got the monkey to do the Nazi salute by putting a grape on a fishing pole, and getting the monkey to reach for the grape, which was dangling just out of camera range. This took about fifty takes before it actually looked like a Nazi salute. Voice-artist Frank Welker provided the chattering sounds for the monkey, including the "Sieg Heil"-like chirp that the monkey gives when it raises its paw in salute. (Welker later provided similar monkey chatter for Abu, the spider monkey in Disney's Aladdin (1992).)

The sacred idol of the Hovitos, of which Dr. Jones takes possession at the beginning of the film, is apparently a fertility goddess. It is a molten image of a woman squatting down and giving birth.

The Well of Souls scene required 7,000 snakes. The only venomous snakes were the cobras, but one crew member was bitten on-set by a python.

The last line to be added to the script was Dietrich's "I am uncomfortable with this Jewish ritual" because after reading through the script, the Screenwriters realized that there was no mention of Jews or the Nazis' hatred of them.

The models used for the German U-boat were rented from the production company that was making Das Boot (1981) in the same area at the time. The company, however, had forgotten to tell this to the crew of Das Boot, who were surprised to find the model suddenly missing.

Indiana Jones's kangaroo-hide bullwhip was sold in December, 1999 at Christie's auction house in London for $43,000. His jacket and hat are on display at the Smithsonian.

John Williams had actually written two themes for the film. He played them both for Steven Spielberg on the piano and Spielberg loved them so much, he suggested that Williams use both of them. He did and the result was the famous "Raiders March", performed by the London Symphony Orchestra (who did not perform in any more Indiana Jones films). The March has become one of the most popular movie themes of all time.

To create the sound of the heavy lid of the Ark being slid open, sound designer Ben Burtt simply recorded him moving the lid of his toilet cistern at home.

Only Indiana Jones film to be nominated for a Best Picture Oscar.
 








'I'm probably the only guy who really enjoys being in the movies'

Discovering that Robert Rodriguez, director of such postmodern blood'n'guts classics as El Mariachi, Desperado and From Dusk Till Dawn, has made a children's movie is rather like finding out that Sam Peckinpah once had an option on the sequel to Bambi. It just doesn't seem right....."This is the kind of movie I used to make before Mariachi for 10 years, from the age of 12," he explains. "I'm from a family of 10 kids, and I always used to put my siblings in my movies because they were there. And the films would always win contests - people loved the combination of little kids doing action and comedy. The only reason Mariachi was an action movie was that the Spanish video market, which it was originally made for, wanted action. Even then we made it goofy - it was about a guitar guy, not an ex-cop or a road warrior type. If you watch this and then see the other movies, you can see how similar they are in tone, in the way that nobody could take them seriously."

Rodriguez's career sounds a lot more fun than that of most Hollywood directors. Having rented his body for medical tests to fund El Mariachi while still at film school, Rodriguez shot the film in a Mexican border town with no crew and no professional actors and relied on a lot of favours to make it happen.....For the opening sequence, set in a jail, the warders took all the prisoners outside so he could shoot inside the cells. (One prisoner made the most of the situation and bolted.) He says the whole thing cost $7,000. The Spanish never bought the film, but Columbia Studios did, and since then Rodriguez has resisted the lure of the big-budget movie to make films that cost next to nothing, on condition he has complete artistic freedom - almost unheard of in Hollywood....

"Even with Spy Kids, the same approach I took with Mariachi applies," says Rodriguez. "Inspector Gadget cost $90m, 102 Dalmatians was $85m, and this was $36m, with more than a third of the movie being effects. The first person you usually hire on an effects-based movie like this is an effects supervisor. I didn't - I wanted to figure out how to do it myself. It's just a case of being more creative: it looks like an expensive movie, but it's all magic tricks. I edited it in my garage, and it had to feel personal or it would be like one of those studio-made kids' movies that are just awful. It's a big home movie, basically."....Rodriguez is still determined to keep it personal. On his second movie, 1994's Roadracers, he got a crew, and didn't like it. "I thought, why are all these guys standing around doing nothing? I'd rather have the money to buy more time and get rid of them. And even though I produce my pictures now, there's still too many people. But now the studio just gives me the money and I go make the movie, and I use so little of their money they don't gripe."

....When El Mariachi came out in 1992, Rodriguez was asked how on earth he could make an action film for $7,000; now all he's asked is how he could make Spy Kids for $36m. It all comes down, he says, to growing up in the kind of family where every cent was accounted for. "We always figured out how to get around spending money in our house - it was in our blood. Now I can't even spend other people's money."....When Columbia first signed up Rodriguez and gave him a $2,000 weekly allowance for a smart Hollywood hotel and expensive restaurants, he asked if he could sleep on his office floor, eat burgers and keep the money to put his brother through college. "Film-makers screw themselves when they think they need to get as much money as they can," says Rodriguez. "The studio starts changing things to make sure it gets its money back, the film-maker ends up compromising it so much that he hates it, and the audience thinks it sucks, so it's no good for anybody."

Rodriguez has turned down a series of big-budget movies - X-Men, Superman Lives and Planet of the Apes - because "they weren't going to be fun", and gone back to his roots. ...All this from the mind of a big kid, who admits freely that the little boy in Spy Kids - nervous, physically awkward, lost in his own world - was based on himself at that age. Rodriguez is living proof that never growing up can have its advantages. "I'm probably the only guy who really enjoys being in the business, because I get to make my own rules...."


Interview with Mexican director Robert Rodriguez
 
Hans Zimmer Interview – The Art of Film Scoring

.....“The art of being a film composer hasn’t changed,” Hans Zimmer tells MusicTech, when we’re granted a rare interview with the soundtrack master. “The basic idea remains the same and that is to ask a question: ‘Why are we having music here?’”

From early work such as the subtle and empathetic Rain Man soundtrack or the laid back, country-ambience of Thelma and Louise, to his Academy Award-winning score for Disney’s The Lion King – not to mention the Ridley Scott epic Gladiator – Hans has proven time and time again that he is a composer of incredible dexterity – and that’s before we’ve mentioned his groundbreaking work with Christopher Nolan......“Needless to say I’m not in it for the money,” Hans says before telling us that it’s a relationship that goes back a long way. “I don’t think I’m telling complete porky pies if I say that we were the ones who started orchestral sampling at AIR after we did The Lion King......“I approach sample creation with two specific mindsets: the first is how much inspiration and sound can I get out of the orchestra, and my other is to just try something really outrageous and see if we can make something that allows you to do what you ‘can’t do’ in the real world.....At the end of the day, from my point of view, the key thing is not the studio – it’s how do we move air to create a sound? And how much air can we move in one go. This is more interesting to me than how it hits the microphones. So then the idea of this fantastic, huge orchestra was born. It was great for me to get everyone involved too, to see pretty much every player that’s ever played on any of our sessions all in one room together.”

.....“Creating the impossible has always been my interest,” he tells us. “I’ve never approached sampling with the idea of, ‘how do we fake an orchestra?’ It’s always been how do we expand on an orchestra?”....There’s a great danger that they’ll become irrelevant. It’s been widely reported that concert halls have great problems getting filled. But you know, right now, I’ve got a tour going and at its heart, it’s just orchestral music playing, and we’re not playing concert halls, we’re playing arenas and having some truly marvelous reactions from the audience.....We’re sold out for every night. So the orchestra is as relevant as it ever was. But it’s not just me, there’s a few other people as well, of course. Greats such as John Williams and Ennio Morricone are performing live also.”

....After moving to England in the mid-70s, it wasn’t long before Hans started performing his own music live.....“It was probably around 1978 or so. I was actually in a punk band here in England and I spent all my money on synthesisers – literally. I had an EMS VCS 3 and was living in this flat in Brighton where you had to put a 5p into the meter to get electricity. There were so many nights back then when I’d have a great idea and I’d start working it out and then – boing! – the electric would go out. I often didn’t have enough money, so I’d just be sat in the dark for the rest of the night, thinking about my idea.”
....After recording demos at a studio in Fulham, Hans was drawn into the world of advertising jingles (with his synthesiser know-how a unique attribute) it was then that he started to become fascinated with the soundtracking process. “I learned that a lot of commercials are done by great directors who had broader visions for what they were doing,” Hans recalls. “That’s what I started to find really interesting: the storytelling aspect. It appealed to me more from a music-making point of view than just being in a band.....”

.....“When an audience comes into a movie theatre they want to have an emotional experience. All I’m trying to do, quite seriously, is open the doors that lend themselves to that. It’s not my job to tell the audience what to do or what to feel – I’m trying to enhance the film experience. It’s not about dictating or patronising in any way.....Really it’s the storytelling that is driving the process at all times....A director will phone me up and say ‘I want to tell you a story’. As they’re telling me the story I’ll start to get ideas and the main one will usually be, ‘What’s the sonic world that we’re going to go and drop the audience into?’ So it’s not just instruments, I think if you just drop an orchestra on top of the sound effects then they’re too separate. What I try to do with my work is figure out how to bleed into the picture, bleed into the frame and bleed into the story. Blurring the lines between the sound design and the music. So sometimes you can’t tell what’s what......”

.....“Interstellar is a good example of a score that was driven by the desire to do something different. That score was born out of us asking, ‘What haven’t we done?’ And of course the central theme of the movie, which was what it means to be a father. It was quite a philosophical film.....The interesting thing is that now, even with all that’s happened, I’m still as terrified as I always have been going out every night in front of people. It’s kind of become a part of me – the terror has become quite exciting. I absolutely enjoy it though. I don’t really have any stage craft whatsoever...."



Hans Zimmer Interview - The Art of Film Scoring



 
Gang Wars, the Prohibition Menace: Brian De Palma’s ‘The Untouchables’

Screenwriter David Mamet came up with a Stanislavski quote to describe The Untouchables: “Tragedy is just heightened melodrama.” Brian De Palma, director of The Untouchables, practically has “heightened melodrama” in his list of job requirements. De Palma and Mamet, Capone and Ness. A no-brainer, in retrospect. Yet both were just bodies for hire..... In 1984, producer Art Linson enthused with Paramount Studio’s president Ned Tanen about adapting The Untouchables television series into a film. Tanen envisioned a “big-scale movie about mythical American heroes.” Mamet saw it as a kind of Western, about “the old gunfighter and the young gunfighter… It occurred to me, what happens if this young innocent, who’s charged with defending the law but only understands that in an abstract way, meets an old disenchanted veteran, the caretaker of the law, soured at the end of his career because of the corruption in the city?” De Palma was approached, off the back of a couple of box office disappointments, after Mamet turned in his third draft. He also appreciated the Western angle, a kind of Magnificent Seven vibe. He considered The Untouchables to be “different from anything I’ve done in the past, because it’s a traditional Americana picture, like a John Ford picture.

Art director William A. Elliott and De Palma envisioned that Capone and his environs should be reminiscent of the court of Louis IV ....Capone plays on people’s base desire, whilst he lives large in the pampered luxury of his own Trump Tower, the Lexington Hotel (I suppose the main difference between Capone and Trump is the former was an actual hard case, three people dying by his hand, or bat, and he has a working business brain, making actual money hand over fist). “My image of The Untouchables is that corruption looks great,” De Palma says in the DVD extras, “like Nazi Germany. It’s clean, it’s big, everything runs smoothly. The problem is all of the oppressed people are in some camp somewhere, and nobody ever sees them. So the world of (Capone’s) Chicago is a slick world, a world that’s run by big money and corruption. And it has to look fabulous.” Outside and in—De Niro even wore the same Sulka and Co. branded silk underwear as Capone.

Never has the old adage—when the legend becomes fact, print the legend—been more apt. Ness and Capone never met, and going to jail for income tax evasion is not very suspenseful. “So I made up a story about two of the good guys,” Mamet recalled. “Ness and Jimmy Malone (Sean Connery, playing a jaded beat cop), the idealist and the pragmatist.” The real squad comprised Ness and nine handpicked men. The film whittled the number down to a manageable four, the remainder comprised of Andy Garcia as cadet crack shot George Stone (real name Giuseppe Petri, kicking against inherent force racism), and Charles Martin Smith as the almost comic relief accountant Oscar Wallace, who unlocks the trick to bringing down Capone. De Palma and Linson originally wanted Garcia for the Nitti role, but he wisely pushed for his star making turn here (“You got him?” “Yeah, I got him.” We’ll get to that gem of a scene later.). Billy Drago, a one-time stuntman with stiletto bladed cheekbones and sly eyes did however make an indelible mark as Nitti, aided also by wardrobe. The natty killer always dresses in white suits, like “an angel of death.” As for Wallace, De Palma’s direction to Smith was, “I want the audience to be laughing with your character right up until ‘boom!’ (spoiler) you get it.”

The film looked opulent, but the budget was still tight, increased from $18m to $22.5m. and even then money was shaved.... Casting Ness was difficult, such a Dudley Do-right. But Kevin Costner had that Gary Cooper, straight arrow earnestness to him. Plus, he was relatively unknown at the time. Another star-making turn opposite Gene Hackman in No Way Out had yet to be released, but De Palma, who already liked him in Silverado, got to view it in advance, and approved. A second read of the script convinced Costner. “Ness has to ask for help. It’s the more modern notion that a smart man takes a step back sometimes—that to be a hero you don’t have to be Rambo.” De Palma was adamant he wanted De Niro for Capone, refusing to budge over the studio suggestion of Bob Hoskins. He threatened to quit, telling Tanen, “I believe if we stay with the cast we have (including Hoskins), shorten the schedule, and reduce the scale of the picture, that you will end up with a movie that at best will be suited for Masterpiece Theatre. It is not the movie I want to direct. It will not work and I cannot afford to make a movie that will not work.” De Palma got his way, and Hoskins was paid off with a rumoured $20,000.00. No hard feelings, he quipped to De Palma, “If you ever don’t want me to be in a movie, just give me a call.”

De Niro bulked up as well as plucking his hairline, taking to his Raging Bull pasta and ice cream diet, but didn’t have that film’s extended shut down leeway. He shot his scenes at the tail end of the 70-day shoot, although further prosthetic bulking was still required, ironically wearing a latex undersuit previously worn by Treat Williams in a TV movie about J. Edgar Hoover. “Capone wasn’t just pure evil,” De Niro told Newsweek. “He had to be a politician, an administrator, he had to have something going for him other than just fear. He must have a certain crazy charm.”

Connery was also swayed by the script, and De Palma was determined to have him. “Because if I kill Sean Connery, no one will believe it.” Connery hadn’t been engaged by the director’s style previously (too emotionally detached, he believed), but loved the script. He took the gig for a rare reduced fee and percentage of the gross. “I think the emotional level of the film will surprise many people,” he prophesied, however he was apparently “appalled” at the level of blood in his death scene, wired up to multiple squibs, wincing for real as he takes Nitti’s Tommy gun hammer blows. Gross, indeed, he ruefully mused, having to attend hospital, temporarily blinded by the flying stage blood and debris.

Connery won an Oscar for this role, but has been gently chided throughout his career for his never wavering Scottishness, accents an unnecessary adjunct to the job. His Malone throws in a hint of an Irish brogue in his introduction, then settles into pure Sean Connery. Sarah Lamber questioned him on “how he gets away with it” for the June 1999 issue of Total Film: “I think you have to march to your own drummer,” he considered. “I can be less Scottish sounding than I am, but there’s a certain music for me in words, which is one of the reasons I always work on a script with the director or writer in terms of speech patterns. Emotions are international anyway. I always felt that whenever I was attempting to go too far away from my speech pattern, I lost the picture of what I was trying to do, so I made an early decision not to do that.”

The mortally wounded Malone delivers the information about the book-keeper being spirited away on the night train and symbolically passes on his watch key and St Jude medal (patron saint of lost causes and policemen) to Ness. He and Stone then race to Union Station to stop the book-keeper and bring him back to testify in court against his boss. Mamet originally scripted a complex race against Chicago traffic, just missing the train until our heroes catch up at the next station, before boarding and blasting away. The scene ends with Stone taking out the hoodlum using the book-keeper as a shield with a head shot. This would have cost an estimated $200,000.00. There was no way the studio would stump up for this. Heck, they couldn’t even find two period trains in time. Linson recalled that De Palma simply shrugged and said, “OK guys, we’ve run out of money, so give me a staircase, a clock and a baby carriage.”

It was also too inconvenient for Mamet to rewrite a climactic scene—he was by now off directing his debut feature of his own script, House of Games. Besides, De Palma believed “Writers don’t have good visual ideas. It’s my job to give them ideas to work with.” So he thought back to an idea he’d had for earlier in the film, whereby Ness and his wife would be leaving hospital with their newborn. A thug takes a shot, and in the gunfight, the baby carriage bounces down the hospital steps, in a homage to Eisenstein’s Battleship Potemkin. To De Palma, it “emphasises the predicament of Ness as a man representing integrity, family. He has a dilemma, to decide whether he’s going to shoot the gangsters or save the baby, which makes a lot more tension within the scene.” He rejected it because he’d have shot his load too early—how do you top that? Why not resurrect it for the grander, easier to control, night shoot of the Union Station interior? Trouble was, he didn’t have time to write it. The shooting script simply states: Ness and Stone go into action. This action will take place on the steps, to be outlined later.

SCORSESE ON STEADICAM SHOT IN ‘THE UNTOUCHABLES’
“Brian is a great director. Nobody can interpret things visually like he does: telling a story through a lens. Take the scene in The Untouchables where Charles Martin Smith is shot in the elevator. Look at that Steadicam shot; he’s not just moving the camera to show you that we can go longer because we have the Steadicam. Francis used to tell me, ‘Marty, we can start a shot and go up to the Empire State Building and come back down. Anybody can do it. You have to know how to move a camera a little bit, that’s all.’ A lot of people use the Steadicam and don’t know what they’re doing. What Brian does with it is tell the story, progressing the story within the shot. That’s just one example. Then in Carlito’s Way there’s a scene entering a night-club and the camera tracks up. It’s extraordinary, his visual interpretation. He deals with stories that enable him to do that sort of thing. So when you get a real De Palma picture like Raising Cain or Body Double, you’re getting something really unique. He’s provocative. He goes, ‘I’m going to do this again. Hitchcock did it—so what? Who cares? I’m doing it this way.’ Brian knows. We always talk about that together.” —Martin Scorsese, Projections 7


Gang Wars, the Prohibition Menace: Brian De Palma’s ‘The Untouchables’ • Cinephilia & Beyond
 
The Untouchables (1987) Trivia

An envelope is dropped on the desk of Eliot Ness in one scene. It is assumed to be a bribe, but the amount inside is never revealed. In real life, Al Capone promised Eliot Ness that two $1,000 bills would be on his desk every Monday morning if he turned a blind eye to his bootlegging activities (an enormous amount of money then; more than $30,000 today). Ness refused the bribe, and in later years struggled with money. He died almost broke at the age of fifty-four.

Albert H. Wolff, the last survivor of the real-life Untouchables, was a consultant on this movie, and helped Kevin Costner with his portrayal of Eliot Ness.

In real life, Al Capone, knowing that killing a Prohibition agent would only lead to more trouble than he or his outfit could handle, actually had a non-violence order to his men concerning the Untouchables. While Capone did repeatedly attempt to buy them off, he never once attempted to kill Eliot Ness or any of his men.

Robert De Niro tracked down Al Capone's original tailors and had them make him some identical clothing for the movie. Robert De Niro insisted on wearing the same style of silk underwear that Al Capone wore, even though it would never be seen on-camera. The producers, knowing De Niro's reputation as a method actor, gave in.

According to director Brian De Palma and producer Art Linson in the DVD documentary, it was Sir Sean Connery's idea to film the "blood oath" scene between Ness and Malone in a Catholic church. Originally, it was going to take place on the street (in the same scene that follows the church scene). Connery felt that a church would be the only "safe" place in Chicago where the two characters would make such a commitment to fight Capone.

At the end of the film, reporter Scoop asks Ness what he'll do if they repeal prohibition, to which he replies, "I think I'll have a drink." Eliot Ness later did become a heavy drinker and even got involved in a alcohol-related traffic accident.

Despite the final courtroom scene in this movie, the real Al Capone and Eliot Ness never came face-to-face during their battles.

Eliot Ness and his role in bringing down Al Capone had been completely forgotten at the time of his death in 1957. No Chicago newspaper carried news of his passing. His heroic reputation only began with the posthumous publication of the Untouchables book he had co-written with Oscar Fraley, and The Untouchables (1959) television series adapted from it.

Though the patron saints of police are Michael the Archangel and Saint Sebastian, Irish police officers often carried Saint Jude medals, the patron saint of hopeless causes.

In the original script, the final gunfight had Eliot Ness and George Stone battling Capone gunmen on a stopped train. Brian De Palma conceived the gunfight on the steps in Chicago's Union Station when Paramount Pictures decided that staging the scene and finding a 1930s period train would be too expensive.

Brian De Palma later modified the battle-on-the-train sequence he planned for this movie, and used it in Carlito's Way (1993).

Robert De Niro didn't have much time to gain the extra weight needed for his role, so that he had to wear pads and pillows for the desired effect of looking like the chunkier Capone.

Sean Connery's only Oscar nomination (and win) came from this film.

Marlon Brando refused $5 million for two weeks' work as Al Capone during early casting. He was replaced by Robert De Niro, who portrayed young Vito Corleone in The Godfather Part II (1974).

Sir Sean Connery turned up to the shoot in his golf clothes. They did a close open, and Sean was dismissed for the day. Andy Garcia and Charles Martin Smith grabbed him after the scene and said that was "very clever of you, you just got back from golf, turn up for five minutes and do your scene, and that's it." Connery turned to them and said, "this is not my first barbecue."

The character of Oscar Wallace (Charles Martin Smith) was loosely based on Frank Wilson, the IRS agent who worked to indict Capone for income tax evasion. Wilson had been working on this project since 1928, and had next to nothing to do with Ness and the Untouchables in real life. Wilson was not killed by Capone, though Capone reportedly placed a contract on his life, which was never carried out.

The infamous dinner scene was based on an incident in Cicero, Illinois in February 1929, two weeks after the most notorious murder in Chicago gangland history. Unlike what was in the movie, Al Capone did not execute one but three disloyal associates who were plotting to assassinate him and take over his criminal empire.

Don Johnson was offered the role of Eliot Ness, but declined. Kevin Costner, a good friend of Johnson, later accepted the part. Johnson said he congratulated Costner on getting the role, never telling him he was offered the part first until several years later, in order to not offend Costner, nor steal any thunder away from his acclaim. Costner and Johnson co-starred in Tin Cup (1996).

Bob Hoskins was initially signed on to play Al Capone, but then Brian De Palma's first choice, Robert De Niro, became available. Hoskins was dismissed but still received a six-figure paycheck by De Palma, for "being a great standby".

In real life Eliot Ness disliked guns, often wore an empty holster on duty, and never shot anyone in his entire career.

When early trailers began screening in theaters prior to release, they used the music from Ennio Morricone's Academy Award nominated score for The Mission (1986), as Morricone's score for this movie was not ready yet. Robert De Niro starred in both movies.

Jack Nicholson was also offered the role of Eliot Ness, but declined.

According to Brian De Palma in the "Making of" documentary, Mel Gibson was interested in playing Eliot Ness, but couldn't commit to the role, because he was already signed to a Warner Brothers project that was scheduled at the same time as this movie. The Warner Brothers project was Lethal Weapon (1987).

William Hurt was considered for the role of Eliot Ness, but was too busy with other projects. He was replaced by Kevin Costner with whom he later co-starred in Mr. Brooks (2007).

Tommy Lee Jones was considered to play Eliot Ness. Kevin Costner, who eventually got the part, would later co-star with Jones in JFK (1991).

Alec Baldwin, Nicolas Cage, Michael Douglas, Rutger Hauer, Ed Harris, William Hurt, Don Johnson, Michael Keaton, Mel Gibson, Christopher Lambert, Stephen Lang, John Malkovich, Ron Perlman, Kurt Russell, Arnold Schwarzenegger, Sylvester Stallone, John Travolta, Bruce Willis, and James Woods were considered to play Eliot Ness.

Brian De Palma was not a fan of The Untouchables (1959) when he was growing up.



 
Unforgiven (1992) Trivia

The final screen credit reads, "Dedicated to Sergio and Don", referring to Clint Eastwood's mentors, Sergio Leone and Don Siegel.

Although the score was arranged by Lennie Niehaus, the main theme was written by Clint Eastwood.

The script floated around Hollywood for almost 20 years. Gene Hackman read and rejected it, only to be later convinced by Clint Eastwood (who had owned the rights for some time) to play a role.

Clint Eastwood's mother Ruth Wood toiled through an uncomfortable day (wearing a heavy dress) as an extra, filming a scene where she boards a train. However, the scene was eventually cut, with her son apologizing that the movie was "too long and something had to go." All was forgiven when he brought her to the Academy Awards and thanked her prominently in his acceptance speech.

Shot in Calgary, Canada, which was experiencing unusually dry weather. Most of the rain was created on-site. The snow that falls when William Munny is recovering from his beating was unexpected and unscripted.

This movie laid to rest Clint Eastwood's longstanding statement why he would never win an Oscar. Eastwood reckoned he would never be in the running because "First, I'm not Jewish. Secondly, I make too much money. Thirdly, and most importantly, because I don't give a f**k." Since his double Oscar win for this movie, Eastwood has gone on to win two more Oscars, as well as a Irving Thalberg Memorial Award, and has been nominated an additional six times.

This is the third western to win the Best Picture Oscar. The other two are Dances with Wolves (1990) and Cimarron (1931).

The boots Clint Eastwood wore are the same ones he wore in Rawhide (1959). These boots are now part of Eastwood's private collection. In 2005 they were loaned to the Sergio Leone exhibit at the Gene Autry Museum of Western Heritage in Los Angeles, CA. The boots basically book-ended Eastwood's career in Westerns.

In the early 1980s, Francis Ford Coppola got the script and met with John Malkovich to offer him the role of William Munny. Malkovich recalled, "The offer was not very serious, thank God! I say that for myself and the poor public, and for Clint, absolutely! I would have been a total, total failure. Total! Who would've wanted to see that? I wouldn't! I would've just been acting-schmacting. There are some things you can only have with a kind of mythic figure which Clint is." Malkovich worked with Clint Eastwood on In the Line of Fire (1993) and Changeling (2008).

Richard Harris was watching High Plains Drifter (1973) on television when Clint Eastwood phoned him to offer the part of English Bob.

It took Clint Eastwood several years to actually get around to reading the script, as his script reader had initially told him that it wasn't very good.

To maintain the authentic atmosphere, no motor vehicles were allowed on the Big Whiskey set.

Production designer Henry Bumstead took only 32 days to have the Big Whiskey set constructed, the fastest in his lengthy career.

Frances Fisher said that David Webb Peoples's original script was one of the most perfect she had ever seen, as it almost read like a novel. She illustrated this with the fact that while most scripts are full of later revisions marked by red ink in the margins, this one hardly had any. One of the few changes that Clint Eastwood made to Peoples' script was to remove the opening voice-over and replace it with text.

The character Corky Corcoran is the name of a cameraman who was filming a promotional spot for another Clint Eastwood movie. During a break in the interview, Clint Eastwood asked what the cameraman's name was, and when told it was Corky Corcoran, Clint did not believe him. His given name is John, but he went by Corky his whole life. Clint said that was a hell of a name.

Shot in 39 days, coming in four days ahead of schedule. The town had to be built very quickly, with a relatively short run-up time (two months) to the start of filming. The stunt coordinator used the construction period to work on actors' riding skills and stunt choreography.

(at around 37 mins) Deputy Clyde's line about why a one-armed man needed to carry three pistols, "I don't want to get killed from lack of being able to shoot back" is sometimes attributed to James Butler "Wild Bill" Hickok. He usually carried two pistols around his waist, another in a shoulder holster, sometimes another stuck in the back of his belt, and usually had at least one Derringer hidden somewhere. While working as a lawman, he usually carried a sawed-off shotgun as well. Hickok also laughed at Ned Buntline's report about his killing 20 men with 20 shots, saying that his theory was start shooting, and keep shooting, until the man you were shooting at was dead.

Producer / director Clint Eastwood and screenwriter David Webb Peoples didn't set out to make an anti-violence movie. Eastwood said that he was interested in deconstructing the myth of the Old West, with its clear distinction between heroes and villains, and wanted to show an inglorious depiction of death.

By Clint Eastwood's own recollection, he was given the script in the "early '80s" although he did not immediately pursue it, because according to him "I thought I should do some other things first." He later said that he waited purposely until he had the right age and he was in the right place of his career. Biographer Patrick McGilligan specifies that it was presented to him in the spring of 1984 by Megan Rose, a story analyst at Warner Brothers, who Eastwood happened to be sleeping with at the time.

The screenplay was written by David Webb Peoples, who debuted with the screenplay of Blade Runner (1982). Peoples had already written and sold the script for this movie sometime in the 1970s, but it took around 20 years before it got made into a movie. It was initially optioned as a project for Francis Ford Coppola and John Malkovich, but this fell through. It was subsequently bought by Clint Eastwood, but again, many years passed without anything happening (Eastwood was saving it for the right moment in his life). It was actually at a party that David and his wife Janet Peoples happened to meet Eastwood, and Janet boldly asked him if he was ever going to make this movie. Eastwood answered that he was just about to announce that.
 
Say Anything Trivia (1989)

Producer James L. Brooks said the movie was inspired when Brooks saw a man walking with his daughter, and wondered what would happen if the father committed a crime.

During the iconic scene of Lloyd holding the boombox over his head, the actual song being played during the filming was reportedly "Turn the Other Way" by Fishbone. "In Your Eyes" was added in post-production.

"I gave her my heart, and she gave me a pen." was voted #73 of "The 100 Greatest Movie Lines" by Premiere in 2007.

John Cusack's kick boxing scenes in the ring, including the one where his nose is broken, are done with Don Wilson who is a real-life kick boxing champion.

Directorial debut of Cameron Crowe.

The woman who does the voice of Bobby Hill in "King of the Hill" (Pamela Segall) plays Corey and DC's friend. She is in the scene in Corey's room where Corey asks "If you were Diane Court would you like Lloyd Dobbler?"

During the movie, Ione Skye was dating Anthony Kiedis (lead singer of the Red Hot Chili Peppers), which is why there is a Red Hot Chili Peppers song playing in the backround at one point in the movie.

The "strange victory dance" that Lloyd is doing after his date is something that the boxer "Sugar Ray" Leonard did after he won fights. He's blowing kisses to the crowd or something.

Stone Gossard, original guitarist for the rock band Pearl Jam makes a cameo in the beginning of the movie.

John Mahoney, who played Diane's father, was actually born in Blackpool, England, where his pregnant mother had been evacuated to escape Nazi bombing raids. However he moved to the US in his late teens, serving in the US army for 3 years, which he credited for gaining his authentic US accent. It was only in middle age that he became a professional actor, after actors John Malkovich and Gary Sinise invited him to join the new Steppenwolf Theatre Company. He passed away from cancer aged 77 in February 2018.

John and Joan Cusack have teamed up together for various rolls in the same movies throughout their career. Among them are: Class, 1983; Sixteen Candles, 1984; Say Anything, 1989; Grosse Pointe Blank, 1997; Cradle Will Rock, 1999; High Fidelity, 2000; and most recently, Martian Child, 2007.

Jeremy Piven (Cusack's childhood pal) played the drunk guy who "must chill" at the party and who raps at the Gas n' Sip. You see a glimpse of him in "The Grifters" (as a sailor who is fooled by John's money schemes), but he is known to play his best friend in John's other films such as "Grosse Pointe Blank" and "Serendipity." Piven's parents founded the Piven Theatre Company where John Cusack got his start in acting at a young age. Jeremy and John recently co-founded a Chicago-based experimental theatre company.

Chynna Phillips of Wilson-Phillips makes a cameo as Joe's girlfriend 'Mimi' at the party.

“Say Anything” was not particularly successful on its release. John Cusack was an established star of films like “The Sure Thing,” but co-star Ione Skye was basically unknown, and director Cameron Crowe was, despite his writing credit on “Fast Times At Ridgemont High” eight years earlier, not a known quantity. As such, despite rave reviews, it only took $20 million at the domestic box office, and a meagre $733,000 internationally — indeed, in many territories, like the U.K, it went straight to video.


1. The film was originally going to be directed by Lawrence Kasdan
As personal as the film clearly is, “Say Anything” was actually a gig-for-hire for Cameron Crowe. James L. Brooks had met the young writer while interviewing him about his time at Rolling Stone during the research proceess for “Broadcast News,” and had been impressed by the voice displayed in his script for 1984’s “Wild Life,” his mostly forgotten follow-up to “Fast Times At Ridgemont High.” Brooks hired Crowe to write a screenplay around an idea he’d had involving a girl who discovers her father is a criminal. The script evolved slowly over a four-year period, with Crowe adding Lloyd Dobler, who would eventually become the main character. Lawrence Kasdan, writer of “The Empire Strikes Back” and “Raiders Of The Lost Ark” and director of “The Big Chill” and “Body Heat,” had been circling the project, but told Crowe, according to an interview at the time, “You are that main character. You should direct it.” And so he did.

2. Robert Downey Jr could have played Lloyd, Jennifer Connelly came close to being Diane.
John Cusack and Ione Skye make one of the great screen couples in the film, but as ever, it could have been very different. Crowe wrote the part for Cusack, but was concerned that the actor wouldn’t want to play a high school character again, so started to look elsewhere. Those who auditioned for the part included Loren Dean (who ended up playing the infamous Joe in the film), and future directors Todd Field (“Little Children“) and Peter Berg (“Battleship“), while Christian Slater and .... Kirk Cameron came close. Robert Downey Jr was actually offered the part, but turned it down, leading Crowe to finally approach Cusack, who loved the part, and signed on. Meanwhile, Elisabeth Shue apparently nailed her audition to play Diane, but Ione Skye narrowly beat out Shue and future Oscar-winner Jennifer Connelly to land the role. Lastly, while Julia Roberts, hot off “Mystic Pizza” was up to play the role of D.C, it was Amy Brooks who took the role.

4. Eric Stoltz worked as a production assistant on the movie.
One other familiar face who can be glimpsed in the movie is Eric Stoltz, who plays Vahlere. The actor was already well known, having been originally cast as Marty McFly in “Back To The Future,” and starred in “Mask” and “Some Kind Of Wonderful.” The actor and Crowe were friends, Stoltz having appeared in both “Fast Times At Ridgemont High” and “The Wild Life,” and he was actually on set for the whole shoot: the actor wanted to get experience behind the camera, and volunteered his services to Crowe. As such, he spent several weeks fetching coffees for the cast and crew, and is credited as a production assistant on the movie. It must have paid off: Stoltz is now an experienced TV director, with credits including “Californication,” “Private Practice” and eight episodes of “Glee.” His friendship with Crowe would continue with cameos in both “Singles” (as a mime) and “Jerry Maguire,” and he was meant to play David Bowie in “Almost Famous” before scheduling conflicts got in the way.

5. Crowe went through several possibilities for the song for the iconic boombox scene before landing on Peter Gabriel.
The film’s most iconic scene, endlessly copied (usually unsuccessfully, we imagine) by lovestruck teenagers, is when Lloyd wins Diane back with the aid of his boombox and Peter Gabriel‘s “In Your Eyes” (a song penned for Rosanna Arquette, as it turns out). But the track was a relatively last-minute addition. Crowe had scripted it to be Billy Idol’s “To Be A Lover,” and commissioned a number of bands to write possible themes. The Smithereens were one, and they turned in the track that would become their big hit, “A Girl Like You,” but Crowe felt that it stayed too close to the plot. When the time came to film the scene, Cusack was actually playing “Bonin’ In The Boneyard” by one of his favourite bands, Fishbone, but only because they knew they’d be dubbing over it. Eventually, Crowe rediscovered “In Your Eyes” on a tape he’d made for Nancy Wilson for their wedding, and approached Gabriel. The musician sent a note back saying he liked the film, although disapproved of the lead character’s drug overdose: a puzzled Crowe swiftly discovered that Gabriel had accidentally been sent a copy of John Belushi biopic “Wired” instead. It was put right, and the rest was movie-music history
 
Nobody Thinks It Will Work, Do They? ‘Say Anything…’ Turns 30

Released in 1989, Cameron Crowe’s portrait of teenage love and rebellion is full of grand gestures, great music, and note-perfect observations about growing up in America. And the John Cusack–Ione Skye romance still resonates today. Thirty years ago Cameron Crowe’s Say Anything… arrived in theaters and ushered in a different sort of Hollywood teen romantic comedy. Far from the typically callow and horny figures that had tended to populate youth movies of the era, Crowe’s characters were fully formed, culturally sophisticated, and appropriately skeptical of the prismatically daunting future that lay just ahead of them.

A high school graduation on a late spring Seattle day. The city’s now-brilliant, now-overcast majesty on full display from the Aurora Bridge to Capitol Hill. Here is Diane Court, the stunning but painfully shy super scholar, unknown to her classmates except by her immense academic accolades. Amid graduation’s sundry antics and jubilation, she delivers a disquieting speech punctuated with the sentiment: “When I think about the future, the truth is, I am really scared.” The assembled classmates and their families murmur uneasily. Lloyd Dobler enthusiastically nods in approval. Diane, who seems not to have any friends her own age, or really any friends at all besides her father. Diane, whose mother is distant and estranged. Diane, who decides to go out on a date with Lloyd, though she can’t so much as conjure his image after four years of school together. An impulse decision fraught with ramifications. The first meaningful confrontation between Jim and Lloyd occurs over an introductory dinner, during which Jim rather reasonably asks Lloyd what he expects to do with his future, and Lloyd responds not with a plan but a worldview, indeed a sort of Gettysburg Address of noncompliance: I don’t want to sell anything, buy anything, or process anything as a career. I don’t want to sell anything bought or processed, or buy anything sold or processed, or process anything sold, bought, or processed, or repair anything sold, bought, or processed. You know, as a career, I don’t want to do that.

It’s a beguilingly nervous homily illuminating Lloyd’s knee-jerk tendency toward radical honesty. Three decades later, it is even more painfully naive than Crowe probably intended when he first wrote it.
Lloyd and Jim are very different. In contradiction with Jim’s carefully curated version of Diane’s future, Lloyd does not have a future. He is verbally acute, sharp-witted without meanness, passionate, clever, and kind. But there are many things he fails to see the point of. College is one of them, career planning of any kind another. But Jim and Lloyd are also the same, in the most crucial manner possible. All of their hopes and aspirations run directly through Diane. Though she loves him, the pressure on Diane to break up with Lloyd is immense. Her father is desperate, hunted. IRS agents come to their door and make accusations against him she cannot believe. He asks her only this: to make a clean break of her former life, to attack her new challenges in a new setting with a blank slate. To a teenager the request is unreasonable. To an adult and a parent it is fully rational and caring. This is something Say Anything… does brilliantly and a reason it rewards repeat viewings. It is the story of young people, but as you get older, you come to understand the motives and sentiment of the older players. The titular line derives from the promise that Diane can say anything to her father—she awkwardly does so when first revealing her affair with Lloyd—but the transparency doesn’t run both ways. The betrayal Diane feels when discovering her father’s criminality registers as the kind of bone-deep shock that occurs only once or twice in anyone’s life, the sort that leaves permanent scars.

Cameron Crowe : The 32-year-old writer and first-time director of Say Anything…, coaxing brilliant performances from each of his leads: Ione Skye as Diane, John Cusack as Lloyd, and the great John Mahoney as Jim. So assured in his narrative acumen and visual vernacular that he seems almost to have internalized the craft by osmosis from his executive producer and mentor, James L. Brooks, whose wonderful pictures Broadcast News and Terms of Endearment exist in a similarly rarefied place of deep human empathy and effervescent levity. Crowe, who famously wrote for Rolling Stone when he was 15, and later re-enrolled in high school and authored the book that provided the source material for Fast Times at Ridgemont High. “It’s not the absence of knowledge that makes one optimistic; it’s if people know the score, but still decide to open their hearts,” he said. Added the film’s executive producer, three-time Oscar winner James L. Brooks, “It’s a good time for that message.”

As much as Cusack’s brilliantly fidgety performance stands out best today, Crowe said Skye’s Diane was always the central figure. “It grew to be a celebration of a golden girl,” he said, “and the idea that she was able to pick the person who would honor her best. And Jim [Brooks] said, ‘Let’s create a hero for her we haven’t seen yet.'”....“We were really stuck on the leading guy,” Crowe said; that is, until his new neighbor knocked on his door one day. “This guy said, ‘I live next door. I’d like to meet you. I’m from Arkansas.’ And he wiped a hand on his pant leg first before shaking my hand because he was nervous. Then he said, ‘I’m a kickboxer. It is the sport of the future. I’d like to share my sport with you.’ I said, ‘I have to get back to work.’ Later on, I told Jim about this guy who moved in next door and Jim started laughing and said, ‘Buddy, go home and start writing this.’”


Nobody Thinks It Will Work, Do They? ‘Say Anything…’ Turns 30

Cameron Crowe And Cohorts Salute The Warrior Optimism Of ‘Say Anything…’ As It Turns 30 – Tribeca
 
I don't have any unknown insights into behind the scenes movie stuff.

I do have some gossip I overheard while I briefly worked as a butler in Beverly Hills in 2003.

It was pretty tame. Apparently Matt Damon and Ben Affleck were super into coke at the time. They were working together on some reality show about finding "the next great director" or something, and the production was a mess cause they were always super coked out.

The guy that gave me that gossip was also the first person to inform me that John Travolta is gay. 20 years ago, I guess only people in the industry knew that. He said it was the biggest open secret in Hollywood and that EVERYBODY knew. For years afterward, whenever I told people, they were always shocked cause he always had that image of being a heartthrob/romantic lead. I'm pretty sure it's common knowledge now so probably no big deal. It's sad that he feels the need to hide who is and has lived in fear of being "outed" all these decades. He should just be public and feel free. It's not like it was in the old days.

I do have a good story about Denzel Washington, but it's really sleazy and I'm sure that's not what this thread is about. But if anyone wants to hear it and doesn't mind having their image of Denzel changed, I can share.
 
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