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Speaker 1: Too Much Information was a production of iHeartRadio. Hello everyone,

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Speaker 1: and welcome to another episode of Too Much Information, the

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Speaker 1: show that brings you the secret histories and little known

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Speaker 1: facts behind your favorite movies, music, TV shows, and more.

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Speaker 1: We are your maestros of meteorology movies. You're wizards of

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Speaker 1: wind related wise words, your hosts who prove it's possible

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Speaker 1: to both suck and blow at the same time.

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Speaker 2: My name is Jordan Runtagg. That last one was a

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Speaker 2: Simpsons reference.

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Speaker 1: But is it?

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Speaker 2: I think it is. I think it is. But my

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Speaker 2: question is how did you not get anything in there

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Speaker 2: about hot air? Oh you really left that one on

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Speaker 2: the table? Oh wait, you sense your sense is of

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Speaker 2: spiraling scentileae gonna be a great one in the edit, folks.

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Speaker 2: And I'm Alex Heigel.

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Speaker 1: Now, folks, something very special happened recently. We had a

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Speaker 1: little bit of TMI kismet. Last episode we taped Van

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Speaker 1: Hayle nineteen eighty four, and Heigel mentioned wanting to do

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Speaker 1: the nineteen ninety six disaster drama Twister because Van Halen

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Speaker 1: had done a song for the soundtrack, and I mentioned

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Speaker 1: wanting to tackle a topic that involved a Dutch person

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Speaker 1: because the van Halen's are Dutch and they have a.

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Speaker 2: Lot to answer for.

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Speaker 1: So I put this idea out of my mind until

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Speaker 1: I saw a trailer for the upcoming Twister sequel, Twisters,

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Speaker 1: during the Super Bowl, and I thought, this is a

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Speaker 1: sign we gotta do Twister. And then I realized that

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Speaker 1: Twister was directed by a Dutchman named Jan de BoNT.

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Speaker 1: So all in all, we have no choice. This was

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Speaker 1: the universe telling us it was time to do Twisters,

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Speaker 1: So here we are.

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Speaker 2: I loved this movie as a kid.

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Speaker 1: It's just one of those perfect, well made nineties action movies.

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Speaker 1: Lots of practical effects, great performances. It's like a sturdy truck.

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Speaker 1: It's like a sturdy truck in the movie that gets

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Speaker 1: picked up and thrown around by the wind. That's how

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Speaker 1: I see this movie. Haiga, What do you think of Twister?

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Speaker 2: It's good. I mean, you're right about that. Yon Dubont

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Speaker 2: is a very wonderfully I don't want to say workman like,

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Speaker 2: but he builds things that stand well you know speed,

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Speaker 2: I mean speed, speed dude. He was He's really just speed. No,

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Speaker 2: because he was a he was a cinematographer on a

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Speaker 2: lot of stuff. He worked on die Hard, So anybody

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Speaker 2: in October, Yeah, anybody, Joe, Yeah, yeah, anybody who anybody

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Speaker 2: who had a handed die Hard is you know, it's

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Speaker 2: okay by friend of yours. Yeah, any yon, any yan

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Speaker 2: who worked on die Hard is a yawn of mine.

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Speaker 2: You know, I actually like meteorological phenomenon are not like

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Speaker 2: a pet project of mine. So I think I saw this,

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Speaker 2: and you know, I saw the cow and I went, yeah, Okay,

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Speaker 2: it's a good one. I mean, it broke up Van

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Speaker 2: Halen and it got Fleetwood Mac back together, so again,

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Speaker 2: can't be all bad.

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Speaker 1: How are you feeling about the sequel? You're excited? Do

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Speaker 1: you think you'll see it?

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Speaker 2: I think it's priceless. Hollywood is so bankrupt that they

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Speaker 2: finally just literally did the Jim Cameron writing an s

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Speaker 2: over Alien but making him the ship the dollar sign,

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Speaker 2: like how I mean they already did it with Predator,

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Speaker 2: they did Predators, but my god, like just stunningly. Uh yeah,

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Speaker 2: this is where we are happy twenty for twenty four, Baby,

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Speaker 2: follow an empire. Let's do this.

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Speaker 1: Both former cast members wanted to do this and take

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Speaker 1: an active interest in it. Both Bill Paxson and Helen

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Speaker 1: Hunt wanted to write and direct a sequel, and neither

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Speaker 1: of them could make it happen for themselves. So that's

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Speaker 1: what I find so infuriating. And then they went with

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Speaker 1: option three somebody and I. We'll talk about who it

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Speaker 1: is later.

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Speaker 2: I don't know.

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Speaker 1: I'm not very excited about it. I like the original

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Speaker 1: so much. I'm worried that the sequel is going to

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Speaker 1: be a disappointment. So this is a rare pessimistic take

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Speaker 1: from me. Dude, did you ever see Frailty, the Bill

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Speaker 1: Paxson movie that he directed. Yeah, No, it's pretty good.

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Speaker 2: Actually, Like it's not like, you know, it's not The Exorcist,

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Speaker 2: but it's like for Bill, and he's great in it,

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Speaker 2: so I'm like, shim' too. Yeah, he's like a end

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Speaker 2: to that man's town. I love Bill. We're gonna talk

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Speaker 2: about this more. I love Bill PAxx. Yeah, man, I

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Speaker 2: mean we didn't deserve him, No we didn't. And uh yeah,

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Speaker 2: I really truly think that like he could have. We

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Speaker 2: should have given him Twisters too. Who like watching that?

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Speaker 1: You know?

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Speaker 2: Well, also to talk about let's dive in.

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Speaker 1: From the nightmarish, injury filled set to the time Bill

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Speaker 1: Packson won over an entire town, the insane Dutch director

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Speaker 1: who had physical altercations with his crew, and the bizarre

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Speaker 1: animal noise is recorded to make that horrific wind sound.

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Speaker 1: And I'm not talking about Sammy Hagar heo. And of course,

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Speaker 1: lest we forget the secret history of Philip Seymour Hoffman's balls,

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Speaker 1: here's everything you didn't know about the film Twister. Hilariously,

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Speaker 1: this movie was green lit without a script, which I mean,

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Speaker 1: I guess kind of makes sense because I just I

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Speaker 1: remember snapshots of it people being chased by a storm

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Speaker 1: and that's kind of it.

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Speaker 2: So that makes all the sense in the world. Respect

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Speaker 2: to the woman whose name is about to come up,

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Speaker 2: because she's been in the target of a lot of

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Speaker 2: misogynous stuff for her involvement in Star Wars. But Ohtain

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Speaker 2: King Kennedy.

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Speaker 1: Yes, she works with the legendary special effects company Industrial

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Speaker 1: Light and Magic. Who I mean that was George Lucas's company.

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Speaker 1: Did he found that or did he just work with them?

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Speaker 1: I think so, yeah, it wasn't. He didn't he found

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Speaker 1: it to explicitly to make Star Wars the stuff stars,

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Speaker 1: That's what I thought. Yeah, So the folks at Industrial

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Speaker 1: Light and Magic put together a proof of concept visual

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Speaker 1: effects clip to show the folks at Warner Brothers featuring

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Speaker 1: early computer generated imagery of a pickup truck driving towards

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Speaker 1: a tornado, which was at that very moment spinning around

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Speaker 1: a tractor with one of the tractors tires snapping off

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Speaker 1: and smashing through the truck's windshield, which I think was

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Speaker 1: later used for a scene in the film Twister. As

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Speaker 1: industriallyton Magic producer Kathleen Kennedy told Wired in a twenty

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Speaker 1: fifteen roundtable discussion, the minute we took that shot.

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Speaker 2: Into the studio and they saw it, they said.

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Speaker 1: Done, we want to make it. We didn't even have

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Speaker 1: a script yet.

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Speaker 2: Which for a guy who studied four years of screenwriting

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Speaker 2: at NYU is like a dagger to my heart. I mean,

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Speaker 2: ILM just quick shout out to them. They are like,

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Speaker 2: literally it is a perfect name. First of all, what

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Speaker 2: a great name, good good, Yeah, one of the I

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Speaker 2: mean George lucas Man when he was when he had

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Speaker 2: when he was on he was on Yeah, God bless him.

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Speaker 2: You know. The just the number of firsts that they notched,

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Speaker 2: and like obviously up until like the nineties, there's a

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Speaker 2: lot of you know, there is a lot of stuff

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Speaker 2: that's just like first use of emotion controlled camera, which

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Speaker 2: is in a New Hope actually, and oh, you know,

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Speaker 2: first fully computer generated character in Young Sherlock Holmes in

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Speaker 2: nineteen eighty five, they did the first morphine sequence in Willow.

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Speaker 2: A lot of it is compositing, a lot of it

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Speaker 2: is stuff like that's less less interesting, but like the

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Speaker 2: way that they've actually been there at every step of

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Speaker 2: how we render animals and humans on screen, and you

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Speaker 2: could literally see them do it in like ten years

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Speaker 2: of real time. Like the first thing that they did

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Speaker 2: was the thing in James Cameron's The Abyss, like the

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Speaker 2: the pseudopod creature that later became the T one thousand

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Speaker 2: and then you know, Death becomes Her Actually is also

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Speaker 2: a huge milestone in that because that was the first

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Speaker 2: one where they attempted just the texture of human skin

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Speaker 2: rather than just have it be like a sort of

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Speaker 2: matte a matt thing. And then they kept racking up

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Speaker 2: different ways of using their technology. Jumanji was the first

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Speaker 2: computer generated CGI hare and fur for the digital lions

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Speaker 2: and monkeys. Dragon Heart was like the first fully computer

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Speaker 2: generated main character that was before Star Wars that was

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Speaker 2: ninety six. The Mummy was the first time that they

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Speaker 2: had done a computer character that had a full anatomy

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Speaker 2: by layers so you could see him rot. And I

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Speaker 2: remember when I was we did The Mummy, I was

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Speaker 2: watching some of the the scenes stuff and they were like,

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Speaker 2: this was not a fudge. Like we didn't we didn't

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Speaker 2: half ask this where we would just like we figured

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Speaker 2: out how, you know, guts would look through someone's skin

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Speaker 2: falling off. We like built a human layer by layer

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Speaker 2: and then made them rot, which is sociopathic, but you know, incredible,

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Speaker 2: all this, you know, all this mocap stuff. So yeah,

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Speaker 2: big shout out to ilm baby. I don't know how

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Speaker 2: new effects you are.

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Speaker 1: That's a whole film research that I never really see myself.

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Speaker 2: Movie. I just love movie magic, you know.

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Speaker 1: Well, now we're going to get into the words, which

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Speaker 1: is more my my my realm, my area of expertise.

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Speaker 1: The idea for what would become Twister made its way

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Speaker 1: to Steven Spielberg, of course, who hired Michael Crichton, the

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Speaker 1: man who had written the novel behind Spielberg's recent blockbuster

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Speaker 1: Jurassic Park.

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Speaker 2: Did he write the script for Jurassic Park? Two or

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Speaker 2: just the novel. I know he wrote the novel and

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Speaker 2: Lost World, but I think he might have been adapted

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Speaker 2: because the guy who did Jurassic Park is just back

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Speaker 2: for something else. David kemp ah Okay helped with Crichton,

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Speaker 2: but Michael Crichton man.

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Speaker 1: He also wrote the book that Westworld's based on. He

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Speaker 1: also created the show Er.

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Speaker 2: Which I don't think I realized. Hm, that's insane.

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Speaker 1: But Michael Crichton came as a package deal with his wife.

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Speaker 2: When it came to writing the Twister screenplay.

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Speaker 1: Her name is Anne Marie Martin, and together they were

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Speaker 1: paid a reported two point five million dollars and that's

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Speaker 1: nineteen ninety six money, so that's closer to four million

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Speaker 1: dollars today, which made Twister the most expensive screenplay ever

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Speaker 1: written at the time. And Crichton said that the two

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Speaker 1: basises for the script were a PBS documentary about Stormchasers,

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Speaker 1: which we'll talk about in a moment, and also the

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Speaker 1: plot of the romantic comedy His Girl Friday, where our

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Speaker 1: newspaper editor and his ex who is engaged to another man,

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Speaker 1: do one last job together, and that has been a

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Speaker 1: wife duo. They were the only credited screenwriters on Twister,

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Speaker 1: but the script was heavily reworked by a number of

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Speaker 1: Hollywood script doctors, including Joss Whedon, friend of the Pod

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Speaker 1: Joss Whedon.

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Speaker 2: No, he's not, take that back. I know, I know

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Speaker 2: he's not.

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Speaker 1: He was paid a one hundred thousand dollars to work

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Speaker 1: on the script for a few weeks until he came

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Speaker 1: down with bronchitis and had to take a break, or

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Speaker 1: so he said. So they brought in Steven Zallion, who'd

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Speaker 1: written the Oscar winning Shindler's List and also a clear

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Speaker 1: and present danger, who was also paid one hundred thousand

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Speaker 1: dollars to tinker with it, and hilariously exactly none of

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Speaker 1: his contributions made it into the finished film. He would

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Speaker 1: later say, for three weeks, I wrote scenes and fax

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Speaker 1: them to Oklahoma. Well, the film was being shot unbeknownst

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Speaker 1: to me until much later. Every page I sent was

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Speaker 1: completely ignored because the director was perfectly happy with the

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Speaker 1: script he already had. The production company was not. Anyway,

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Speaker 1: The point is, there isn't a word I wrote for

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Speaker 1: Twister that actually made it into that film. Cash that check, buddy,

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Speaker 1: nicely done. Joss Whedon would return, but then he left

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Speaker 1: the production to leave for his honeymoon. He'd say, I

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Speaker 1: turned to my last pay on June twenty fourth, nineteen

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Speaker 1: ninety five. That's the data got married. I had to say,

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Speaker 1: I hope you like this because I'm leaving the country

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Speaker 1: now for my honeymoon. And he would take a tepid

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Speaker 1: view of Twister in later years, saying there are things

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Speaker 1: that worked and things that weren't the way I intended them.

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Speaker 2: Wo wo. Let me ask you a question, what's that?

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Speaker 2: Because we also talked about wasn't Armageddon that had like

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Speaker 2: nineteen credited twelve credited writers on it something like that.

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Speaker 2: I think so. Yeah, that was like the most that

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Speaker 2: we had had on a movie that we've done. As

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Speaker 2: you mentioned, you wasted a portion of your life studying art.

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Speaker 2: What generally is the separating line for something to go

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Speaker 2: to for it to be taken into like WGA arbitration

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Speaker 2: versus like a punch up versus just like a paycheck job.

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Speaker 2: Is it come down to the individual being like I'm

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Speaker 2: comfortable with just taking the check and walking away, or

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Speaker 2: is it them being like, no, I have a stake

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Speaker 2: in this, I'd like to escalate it. And that's when

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Speaker 2: the WGA gets involved. You know, I think it's the former.

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Speaker 2: I don't really remember. I think that we were I mean,

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Speaker 2: in my program, I think we're mostly focused on just

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Speaker 2: you know, I mean, you know, it's like just the art. Yeah,

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Speaker 2: well yeah that turned out for you, buddy.

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Speaker 1: And nobody teaches you how to pay taxes or anything

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Speaker 1: like that. It's like, yeah, we were focused on storytelling

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Speaker 1: and not like, yeah, how to get an agent, or

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Speaker 1: how to sell things or how to not get ripped off.

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Speaker 1: So yeah, we didn't really spend a lot of time

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Speaker 1: discussing those finer points of the business. So I bet

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Speaker 1: I'm pretty sure it's more of a case by case

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Speaker 1: like I feel good about this, this is what I

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Speaker 1: think should happen. Okay, interesting, can I claim things? Do

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Speaker 1: you want to claim that you co wrote someone Twister?

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Speaker 2: Yeah, go for it. Knock my stulf.

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Speaker 1: Out putting that in a Twitter buyer co co render Twister.

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Speaker 2: I'm just start telling people I do uncredited punch ups

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Speaker 2: on things. That's actually kind of a funny bit. Anytime

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Speaker 2: somebody mentioned something, you're like, oh, yeah, I did an

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Speaker 2: uncredited punch up on that, Like anytime one of these

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Speaker 2: like people were like oh.

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Speaker 1: What's your favorite movie of all time? In one of these,

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Speaker 1: you know, a fi jerk offs, just like probably City Lights.

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Speaker 1: You're like, oh, I did an uncredited punch up on that.

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Speaker 1: That's like the cinematic equivalent of getting one of those

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Speaker 1: like Universal Life Church doctorates. Yeah right, and then goung

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Speaker 1: around and saying that you're a doctor. He gus, what

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Speaker 1: doctor Hunter s Thompson did.

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Speaker 2: I know definitely several people who have done that. You

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Speaker 2: can also become a necromancer, which is much cooler. That's

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Speaker 2: someone who raises corpses from the dead. Oh, I thought

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Speaker 2: it was people who have sex with corpses. I was like, yeah,

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Speaker 2: you could do that, and you should. Golf swing great

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Speaker 2: for commercial how we're trying to get who were trying

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Speaker 2: to get paid for this People magazine? We have some notes, guys,

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Speaker 2: chemistry is great. Love the topics. She jokes about necro necrophilia,

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Speaker 2: but also fewer jokes about necromancy. And I walk because

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Speaker 2: I got my principles, nothing else, he said, shaking a

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Speaker 2: prescription drug bottle. There's one adamant left in it, nothing else. Petty,

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Speaker 2: I got my prince. What are you talking about? Oh?

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Speaker 2: This is actually this is my favorite part.

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Speaker 1: They got a script doctor who was I think chiefly

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Speaker 1: responsible for punching up what they termed the car dialogue.

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Speaker 2: This guy Jeff Nathanson. He would later explain, I had

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Speaker 2: to write dialogue for the cars like look out and

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Speaker 2: Bill comes and get out of the way, which is

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Speaker 2: a class I missed in the NYU screenwriting department. Oh

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Speaker 2: what a magnificent industry.

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Speaker 1: I'm sure he got six figures for that too. However,

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Speaker 1: after Twister was released, screenwriter Stephen Kessler declared that he'd

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Speaker 1: written a screenplay called Catch the Winds years earlier, and

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Speaker 1: Twister had stolen his work without permission or payment. Kessel

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Speaker 1: took Steven Spielberg, Michael Crichton, and the studios Waterer Brothers

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Speaker 1: Ain't Universal to court over the matter, demanding profits from Twister.

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Speaker 1: The makers of Twister denied Cressler's charges, and he ultimately

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Speaker 1: lost the case. But he wasn't the only screenwriter to

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Speaker 1: claim that Twister plagiarized his work. Another writer, Daniel Perkins,

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Speaker 1: sued over claims that his script Tornado Chasers Little on

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Speaker 1: the Nose had been ripped off get his matter was.

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Speaker 2: The matter was.

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Speaker 1: Settled out of court, with both parties agreeing to keep

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Speaker 1: the details of the settlement confidential.

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Speaker 2: Why do they do that? Here's not a business question

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Speaker 2: for you, okay. Is it like an industry settlement where

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Speaker 2: they like the classic fight club thing, where they do

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Speaker 2: like calculate the cost of a recall versus the cost

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Speaker 2: of a claim like civil action or lawsuits, so they like,

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Speaker 2: you know, let's just go without craft services for like

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Speaker 2: a week and throw this guy fifty grand to get

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Speaker 2: away from us. Is that literally, like, is there an

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Speaker 2: accountant whose job it is to just crunch that has

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Speaker 2: to be right? Oh? Yeah, yeah, yeah, absolutely, I think that.

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Speaker 1: And I think a lot of the like we don't

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Speaker 1: speak about this is probably just like look, I hate you,

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Speaker 1: but just go away. Yeah, And like, I think it's

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Speaker 1: literally the legal equivalent of let's never speak of this again.

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Speaker 2: Oh yeah, oh dude, NDA's or nuts. I mean, I'm

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Speaker 2: probably violating one right now several. But let's talk for

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Speaker 2: a moment about the real non disclosure agreements, Segway. Let's

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Speaker 2: talk about the real life Stormchasers that this movie is

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Speaker 2: based on. We mentioned that the script take some of

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Speaker 2: its inspiration from a PBS documentary Your Tax dollars at work,

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Speaker 2: and I'm not saying that sarcastically. No. Yeah, and the

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Speaker 2: writers consulted with actual scientists to make sure this film

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Speaker 2: was as accurate as possible. In the movie, Intripid heroes

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Speaker 2: have a machine they called Dorothy, which is designed to

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Speaker 2: get sucked up into a cyclone wind tunnel to release

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Speaker 2: a number of sensors which help measure what's occurring within

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Speaker 2: the storm, which would aid in advanced detection techniques and

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Speaker 2: save more lives. Dorothy is based on a real machine

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Speaker 2: called TOTO I see what they did there, or Totable

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Speaker 2: Tornado Observatory. It looks again surprisingly similar to the mechanism

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Speaker 2: that you see in the movie, with a unique barrel shape.

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Speaker 2: Toto required two researchers to use it, placed in the

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Speaker 2: back of a truck bed and a special apparatus just

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Speaker 2: like what we see in the film. There was a

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Speaker 2: ton of potential risk with these researchers lugging around Toto.

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Speaker 2: It was decide that it was a metal barrel and

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Speaker 2: they were dragging it into windstorms. It could have been

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Speaker 2: struck by lightning and uh. They could have also just

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Speaker 2: been picked up and thrown around like that poor cow.

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Speaker 2: Because of how close they had to get to the

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Speaker 2: tornado to actually launch it. The closest the researchers ever

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Speaker 2: got to really using it as it was intended was

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Speaker 2: in April of nineteen eighty four. Oh man, they heard

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Speaker 2: they heard jump, and they heard you know what, might

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Speaker 2: as well jump? That was it? That's cannon now?

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Speaker 3: Uh.

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Speaker 2: You know the way that the internet works. I truly

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Speaker 2: hope some like poor fingers to the bone in turn

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Speaker 2: who works for like I don't know, the AI division

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Speaker 2: of BuzzFeed dot com is doing like thirty things you

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Speaker 2: didn't know about twisters and that that fact gets picked

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Speaker 2: up like ten years from now in the in the

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Speaker 2: post apocalyptic nucleus land, we're all getting content feeds into

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Speaker 2: our neuralink and it's just like according to the podcast TMI,

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Speaker 2: the people who invented the technology depicted and Twister were

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Speaker 2: inspired by Van Hanlan's for a single jump, I will

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Speaker 2: be a happy, happy, irradiated corpse. Where was that? Yes,

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Speaker 2: Steve Smith and Lou Wicker of NSSL Jordan. What's that?

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Speaker 2: National Storm? Severe severe storms.

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Speaker 1: Laboratory Steve Smith, Steve Smith and Low Wicker of the Okay,

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Speaker 1: I just like thought I had Steve Smith and Low

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Speaker 1: Wicker of the National Severe Storms Laboratory attempted to deploy

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Speaker 1: TOTO in Ardmore, Oklahoma, but the machine didn't have the

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Speaker 1: right center of gravity to withstand the extreme winds. Sounds

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Speaker 1: like this, does any of us? That was my first one,

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Speaker 1: And then I was gonna say, like, sounds like a

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Speaker 1: cracker barrel.

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Speaker 2: I went to an Oklahoma r my one with my

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Speaker 2: right folks like, hey, neither of us are working at

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Speaker 2: our best. Here the TOTAL homepage shows pictures of the

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Speaker 2: device lying comfortably on its side after the last failed attempt.

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Speaker 2: Total's retirement occurred because of how large and potentially dangerous

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Speaker 2: it was he used so close to a deadly tornado.

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Speaker 2: It was apparently never successfully deployed, and was retired in

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Speaker 2: nineteen eighty seven, nearly a full decade before the release

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Speaker 2: of the film, which sort of bore its name.

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Speaker 1: Per Wikipedia, theay we all be retired without ever accomplishing

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Speaker 1: any film or accomplishing anything useful.

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Speaker 2: Initially, Steven Spielberg had planned to direct this movie himself. Instead,

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Speaker 2: he busied himself on pre production for another Michael Crichton

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Speaker 2: joint Jurassic Park two, The Lost World. But even so

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Speaker 2: Spielberg remained on as executive producer. Among the other directors

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Speaker 2: considered for Twister were his good pal Robert Simchis of

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Speaker 2: Back to the Future Forrest Gump, who framed Roger Rabbit

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Speaker 2: death becomes her contact cast away. Wow, that's amaze. But

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Speaker 2: he had a great.

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Speaker 1: A sin against God, Press press that god awful CGI.

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Speaker 2: There was John Badham or is that's probably his British

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Speaker 2: name here we call him John Badham Adam United. Next

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Speaker 2: up for Badam United? Uh, John Badam, director of your

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Speaker 2: beloved Robots Struck by Lightning and gaining sentience movie short circuit,

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Speaker 2: great movie. Here's our boy Jimmy Cameron, who instead opted

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Speaker 2: for a pretty good investment called Titanic. Could call him

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Speaker 2: that one, Jim, You're my boy. I mean sorry, so

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Speaker 2: is the guy who ultimately wound up directing Twister. But

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Speaker 2: we'll talk about that. Yeah. There were some reports that

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Speaker 2: Tim Burton was in talks to do this, which I

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Speaker 2: absolutely cannot see. Dude. The Danny Elfman score for Twister

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Speaker 2: would have been so obnoxious. What would it sound like?

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Speaker 3: Boom boom boom, boom, bom boom boom boom new bombs.

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Speaker 2: But Ultimately, the man who won out was our boy Yondbant,

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Speaker 2: the recent director of Speed, Jan Dubont, whose name said

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Speaker 2: he said the entire time much like a track call

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Speaker 2: quest and who's the director? Wolf King Peterson of of

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Speaker 2: uh never antarge boat, never ending story and a large

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00:21:20,760 --> 00:21:24,800
Speaker 2: playing one large plane for us one. Yeah, God, we've

405
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Speaker 2: got a size thing here? What kind of size queens here?

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Speaker 2: At TM I lose another sponsor, just going down the list.

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Speaker 2: Jan Debant had been working as a cinematographer for twenty

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Speaker 2: five years before he directed his first feature. As we

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Speaker 2: mentioned earlier, he was the DP director photography on blockbusters

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Speaker 2: like Die Friggin Hard, The Hunt for Red, October Kujo

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Speaker 2: before Speed put him on the map, top of the

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Speaker 2: shortlist for Hollywood action directors The Bus that Couldn't Slow Down.

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Speaker 2: He got the job on Twister after he left Hollywood's

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Speaker 2: first attempt to make an American version of the iconic

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Speaker 2: Japanese monster, the Only One Godzilla, My boy man. PSA

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Speaker 2: to anyone who listened to this who has any interest

417
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Speaker 2: in Godzilla stuff. If you haven't seen Godzilla, mine is one,

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Speaker 2: go out and fix that, you dummy. It's an incredible

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Speaker 2: movie and Man. Did Yon avoid a bullet because that

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Speaker 2: American Godzilla. I watched that in movie theater with my dad.

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Speaker 2: I think it was like back to back, like we'd

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Speaker 2: like a year after each other. We did that, and

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Speaker 2: like Batman and Robin and those really crystallized my bit

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Speaker 2: my they robbed me of my boyhood notion that movies

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Speaker 2: could be not good.

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Speaker 1: When Star Wars too, was the Star Wars around the

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Speaker 1: same time the new Star Wars.

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Speaker 2: Yeah, but I was twelve, so I was like fine

429
00:22:39,200 --> 00:22:42,920
Speaker 2: with Phantom Menace, like Godzilla and like Batman and Robin

430
00:22:42,960 --> 00:22:45,240
Speaker 2: as like a ten year old. I was like, is

431
00:22:45,320 --> 00:22:49,919
Speaker 2: this legal, Like you can make a movie that's that's bad? Popa,

432
00:22:50,280 --> 00:22:53,240
Speaker 2: was this a bad movie? Yes, We've done this bit

433
00:22:53,280 --> 00:22:56,159
Speaker 2: before and yes, and he was like yes. That was

434
00:22:57,119 --> 00:22:58,560
Speaker 2: to his credit, he was like, don't ever do this

435
00:22:58,720 --> 00:23:03,560
Speaker 2: to me again, because when we saw Godzilla, but Yon

436
00:23:03,640 --> 00:23:05,800
Speaker 2: signed on, he helped develop a script that would have

437
00:23:05,840 --> 00:23:08,760
Speaker 2: cost two hundred million dollars in nineteen ninety two money

438
00:23:09,800 --> 00:23:11,399
Speaker 2: he signed on to do Godzilla, that was what that

439
00:23:11,440 --> 00:23:13,840
Speaker 2: would have cost. Oh yeah, So the initial script for

440
00:23:13,840 --> 00:23:16,479
Speaker 2: Godzilla was projected when Yon signed on at two hundred

441
00:23:16,480 --> 00:23:19,119
Speaker 2: million dollars or four hundred and forty million dollars today,

442
00:23:19,280 --> 00:23:22,520
Speaker 2: or roughly what they paid for that last Indiana Jones movie.

443
00:23:24,000 --> 00:23:26,800
Speaker 2: The studio TriStar decided that this was not going to happen,

444
00:23:27,040 --> 00:23:29,639
Speaker 2: and when they failed to agree to Yon's budget, he

445
00:23:29,720 --> 00:23:32,360
Speaker 2: walked and said, if I can't do Big Lizard, I'll

446
00:23:32,359 --> 00:23:36,399
Speaker 2: do Big Storm. I'll do Big Wind. No Large Wizard

447
00:23:36,440 --> 00:23:40,399
Speaker 2: for Yon, Large Wind instead. Godzilla would eventually ask me,

448
00:23:40,440 --> 00:23:43,000
Speaker 2: all know it got made by Independence Day director Roland

449
00:23:43,080 --> 00:23:45,600
Speaker 2: Emeric in nineteen ninety eight, and we will never speak

450
00:23:45,640 --> 00:23:48,280
Speaker 2: of it again. One of the funniest bits about that

451
00:23:48,280 --> 00:23:50,760
Speaker 2: movie is that the next time Toho did a Godzilla movie,

452
00:23:50,800 --> 00:23:53,000
Speaker 2: they made a point of having the American Godzilla get

453
00:23:53,080 --> 00:23:56,119
Speaker 2: killed in like a laughing like like a version of

454
00:23:56,119 --> 00:23:58,760
Speaker 2: that character, like just like it's like swatted off screen

455
00:23:58,840 --> 00:24:02,720
Speaker 2: and like die embarrassingly. It's just like, no, we're gonna

456
00:24:02,720 --> 00:24:04,840
Speaker 2: spend the extra couple million, yeh, just to just to

457
00:24:04,880 --> 00:24:05,800
Speaker 2: make our statement here.

458
00:24:07,119 --> 00:24:07,520
Speaker 1: Uh.

459
00:24:07,560 --> 00:24:10,439
Speaker 2: Spielberg pitched the idea to dubond as a grim fairy

460
00:24:10,520 --> 00:24:12,919
Speaker 2: tale where the monster comes out of dark clouds.

461
00:24:14,720 --> 00:24:17,520
Speaker 1: Yeah, right, Spielberg, That's that's why, that's why he's Spielberg

462
00:24:18,000 --> 00:24:19,320
Speaker 1: that's why he's the goat.

463
00:24:19,560 --> 00:24:20,119
Speaker 2: Help tall is.

464
00:24:20,160 --> 00:24:23,200
Speaker 1: Yandbon prices right Roules, I must say five foot seven.

465
00:24:23,359 --> 00:24:26,080
Speaker 1: He shoved the camera assistant like into a mud puddle,

466
00:24:26,160 --> 00:24:28,600
Speaker 1: so I'm assuming that he's he's gotta be.

467
00:24:30,640 --> 00:24:34,240
Speaker 2: I've seen five to ten. But you know he's Dutch,

468
00:24:34,320 --> 00:24:36,760
Speaker 2: so we'll take off a couple of inches. But blut

469
00:24:37,160 --> 00:24:42,439
Speaker 2: clutched his tiny little fists. I'm sorry. Just go ahead,

470
00:24:43,320 --> 00:24:46,400
Speaker 2: have anything, and now let's move on to casting.

471
00:24:46,920 --> 00:24:50,920
Speaker 1: Among those up for consideration of the role of the

472
00:24:50,960 --> 00:24:54,359
Speaker 1: female lead in Twister, no Doctor Twister. No one remembers

473
00:24:54,359 --> 00:24:56,440
Speaker 1: the names of the characters in this movie. It's just

474
00:24:56,560 --> 00:24:59,560
Speaker 1: it's Twisterrette, It's hell On Hunts and Christina.

475
00:25:00,960 --> 00:25:05,399
Speaker 2: No, no is that close. It's doctor Agent. Joe Harding

476
00:25:05,920 --> 00:25:11,479
Speaker 2: is doctor Agent Twister, Doctor Clarice Twister, Doctor Agent Clarice, Twister,

477
00:25:12,280 --> 00:25:14,080
Speaker 2: Twister Starling. Eh.

478
00:25:14,119 --> 00:25:19,040
Speaker 1: Clearly, clearly movies have been greenlit on lest someone get

479
00:25:19,080 --> 00:25:20,560
Speaker 1: me into Get me into McGee's.

480
00:25:21,119 --> 00:25:22,600
Speaker 2: I don't know. I'm so far out of the loop.

481
00:25:22,640 --> 00:25:25,960
Speaker 2: Who even makes this garbage? Get me into Kevin Figey's boardroom,

482
00:25:26,040 --> 00:25:28,200
Speaker 2: and I'm just gonna write on his dry risk board.

483
00:25:28,800 --> 00:25:32,760
Speaker 2: Twister meets silence of the Lambs. It's gonna be like,

484
00:25:32,800 --> 00:25:35,960
Speaker 2: good little Hunting. You're just gonna like leave an incredible

485
00:25:35,960 --> 00:25:38,800
Speaker 2: pitch on somebody's blackboard and they're gonna try to like

486
00:25:39,000 --> 00:25:43,040
Speaker 2: track down who it was, Get me that drunk janitor.

487
00:25:45,280 --> 00:25:51,040
Speaker 1: What else you got. It's like the Other Sister meets

488
00:25:51,600 --> 00:25:57,000
Speaker 1: Air Force Wan, there's a whole idea of like what

489
00:25:57,000 --> 00:25:59,920
Speaker 1: if we just did like prestige things meets like night

490
00:26:00,160 --> 00:26:04,160
Speaker 1: He's like absolute, it is idiocy, Like the Other Sisters

491
00:26:04,280 --> 00:26:07,200
Speaker 1: really good, I mean fine is like, uh, you know

492
00:26:07,600 --> 00:26:11,320
Speaker 1: that one of the few truly excellent jokes Kevin Smith

493
00:26:11,320 --> 00:26:16,480
Speaker 1: has made is good will hunting to Hunting Season. Yeah, yeah,

494
00:26:16,520 --> 00:26:21,320
Speaker 1: that's good stuff. As you meditate on that, we'll be

495
00:26:21,400 --> 00:26:35,439
Speaker 1: right back with more too much information after these messages. So,

496
00:26:35,600 --> 00:26:39,960
Speaker 1: the lead character in Twister, for anyone who doesn't know

497
00:26:40,000 --> 00:26:42,800
Speaker 1: this is probably most people, doctor Joe Harding. They were

498
00:26:42,800 --> 00:26:46,600
Speaker 1: considering casting Laura Dern, who'd been in Spielberg's Jurassic Park,

499
00:26:46,920 --> 00:26:49,360
Speaker 1: which would have been great, but I guess coming so

500
00:26:49,359 --> 00:26:52,960
Speaker 1: soon after Jurassic Park. Yeah, they considered Bridget Fonda and

501
00:26:53,080 --> 00:26:53,920
Speaker 1: Kate Mulgrew.

502
00:26:53,960 --> 00:26:56,800
Speaker 2: I don't know Kate Mulgrew Oh my god, it's Captain

503
00:26:56,840 --> 00:27:00,399
Speaker 2: Janeway from uh cutric Voyager. Kate mulgrew would have been right, man,

504
00:27:00,480 --> 00:27:03,560
Speaker 2: Jane Way. Yeah yeah, that would have been cool.

505
00:27:03,800 --> 00:27:07,359
Speaker 1: Oh yeah yeah, but Helen Hunt is also cool. She

506
00:27:07,560 --> 00:27:11,439
Speaker 1: was Yon Deband's first choice for the role, apparently because

507
00:27:11,480 --> 00:27:14,720
Speaker 1: he wanted a serious actor rather than a movie star.

508
00:27:15,320 --> 00:27:17,119
Speaker 1: He was drawn to the fact that Helen Hunt had

509
00:27:17,119 --> 00:27:19,440
Speaker 1: done a great deal of stage work, including a role

510
00:27:19,520 --> 00:27:22,520
Speaker 1: in a nineteen ninety production of The Taming of the

511
00:27:22,560 --> 00:27:26,959
Speaker 1: Shrew done in Central Park alongside Tracy Ullman and Morgan Freeman.

512
00:27:27,920 --> 00:27:31,159
Speaker 1: I had no idea about No one thought it was

513
00:27:31,200 --> 00:27:33,280
Speaker 1: a good idea to have a TV actress with some

514
00:27:33,359 --> 00:27:35,680
Speaker 1: Shakespeare background to anchor an action flick.

515
00:27:35,760 --> 00:27:37,679
Speaker 2: But yeah, because her TV thing was mad about you,

516
00:27:37,760 --> 00:27:39,840
Speaker 2: I feel like you just omitted that in any of

517
00:27:40,119 --> 00:27:43,560
Speaker 2: Was that just to be assumed? Yeah? Ok, sorry, my mistake,

518
00:27:43,640 --> 00:27:47,359
Speaker 2: my mistake, Helen Hunt would later tell Entertainment Weekly. Everyone

519
00:27:47,560 --> 00:27:49,600
Speaker 2: was telling him you can't put an eighty million dollar

520
00:27:49,680 --> 00:27:51,560
Speaker 2: movie in the line because Helen has to go back

521
00:27:51,600 --> 00:27:54,560
Speaker 2: to her TV show in August Yalan was like, I'm

522
00:27:54,600 --> 00:27:55,000
Speaker 2: doing it.

523
00:27:55,320 --> 00:27:57,760
Speaker 1: Dubont actually liked the fact that she wasn't well known

524
00:27:57,760 --> 00:27:58,560
Speaker 1: for her film work.

525
00:27:58,760 --> 00:28:01,760
Speaker 2: He would later tell The Morning Hall big stars get

526
00:28:01,800 --> 00:28:02,840
Speaker 2: in the way of the movie.

527
00:28:03,960 --> 00:28:07,920
Speaker 1: Also, he felt that Helen Hunt had a certain stormy quality.

528
00:28:10,160 --> 00:28:13,400
Speaker 1: I wanted Helen because she reminds me of a whirlwind.

529
00:28:13,440 --> 00:28:16,879
Speaker 1: Yon dubonn added she can boss people around. She has

530
00:28:16,920 --> 00:28:22,080
Speaker 1: a strong persona, which I like. Hilariously, Helen Hunt wasn't

531
00:28:22,080 --> 00:28:25,160
Speaker 1: interested in the part at first, saying I just didn't

532
00:28:25,160 --> 00:28:28,080
Speaker 1: know what I could really contribute acting wise, but she

533
00:28:28,200 --> 00:28:30,639
Speaker 1: changed her mind when Debaunt and Spielberg took her to

534
00:28:30,680 --> 00:28:34,680
Speaker 1: lunch at the Ambulance Entertainment Offices to do Twister. Helen

535
00:28:34,720 --> 00:28:37,560
Speaker 1: Hunt ultimately passed up working with John Travolta in John

536
00:28:37,640 --> 00:28:41,960
Speaker 1: Wu's Broken Arrow, which I assume was quite the sacrifice.

537
00:28:42,640 --> 00:28:43,480
Speaker 2: Was that a good movie?

538
00:28:43,880 --> 00:28:44,240
Speaker 1: No?

539
00:28:44,560 --> 00:28:48,240
Speaker 2: But John Who's cool? Okay okay man.

540
00:28:49,720 --> 00:28:51,960
Speaker 1: Hilariously, Hunt would claimed that one of the people doing

541
00:28:51,960 --> 00:28:54,920
Speaker 1: rewrites on the Twister script was also a story editor

542
00:28:55,000 --> 00:28:57,880
Speaker 1: on That About You, and together they both worked on

543
00:28:58,080 --> 00:29:01,560
Speaker 1: rat tat Ram Commie dialogue between her and Bill Paxton's

544
00:29:01,640 --> 00:29:04,640
Speaker 1: character and her trailer, which is why I would say

545
00:29:04,640 --> 00:29:06,880
Speaker 1: that the relationship in this movie is a cut above

546
00:29:07,320 --> 00:29:09,200
Speaker 1: nineties disaster movie for sure.

547
00:29:09,240 --> 00:29:12,280
Speaker 2: They have a good good chemistry, good dialogue. It works.

548
00:29:12,680 --> 00:29:15,280
Speaker 1: And speaking of Mad About You, production on the fourth

549
00:29:15,280 --> 00:29:17,200
Speaker 1: season of the show was delayed two and a half

550
00:29:17,280 --> 00:29:20,800
Speaker 1: weeks when the Twister shoot ran long, and I realized

551
00:29:20,800 --> 00:29:23,520
Speaker 1: that Paul Riser like created that show and I assume

552
00:29:23,560 --> 00:29:25,680
Speaker 1: like own a stake in it. So he was the

553
00:29:25,680 --> 00:29:28,000
Speaker 1: one getting a call being like, helln's gonna be late. Sorry,

554
00:29:29,480 --> 00:29:31,560
Speaker 1: but he was gracious about it. What's his appeal?

555
00:29:31,920 --> 00:29:32,600
Speaker 2: Couldn't tell you.

556
00:29:32,960 --> 00:29:36,960
Speaker 1: He's like Billy Crystal with like the less likability. I

557
00:29:37,000 --> 00:29:43,400
Speaker 1: was gonna say, just like somehow more palatable towards women.

558
00:29:43,640 --> 00:29:49,480
Speaker 1: But hmmm maybe threatening, Yeah yeah, no, edge less smugging.

559
00:29:49,560 --> 00:29:53,120
Speaker 2: H well, yeah, you know that's a check in my column.

560
00:29:55,440 --> 00:30:00,320
Speaker 1: And now to the undistinguished man in Twister, doctor William Bill,

561
00:30:00,400 --> 00:30:04,520
Speaker 1: the extreme hearting who's Joe's estranged husband who is seeking

562
00:30:04,520 --> 00:30:07,720
Speaker 1: her signature on the divorce papers. The original choice for

563
00:30:07,760 --> 00:30:10,640
Speaker 1: the role was who else? Tom Hanks, who has a

564
00:30:10,800 --> 00:30:14,640
Speaker 1: near perfect record when it comes to nineties movies, fantasy casting,

565
00:30:15,360 --> 00:30:17,840
Speaker 1: every movie we've talked about on here, When Harry met

566
00:30:17,880 --> 00:30:21,360
Speaker 1: SAALLYO that's eighties hook, I believe I just so many

567
00:30:21,360 --> 00:30:23,800
Speaker 1: movies he's his first call for like twenty five years.

568
00:30:24,080 --> 00:30:25,400
Speaker 2: Yeah. Yeah.

569
00:30:25,760 --> 00:30:29,080
Speaker 1: Also considered were your beloved Kurt Russell. Hell yeah, how

570
00:30:29,080 --> 00:30:29,760
Speaker 1: do you feel about that?

571
00:30:29,800 --> 00:30:31,760
Speaker 2: It would have been amazing? Are you kidding me? Just

572
00:30:31,800 --> 00:30:34,360
Speaker 2: like dude, he's good in anything if you just put

573
00:30:34,440 --> 00:30:37,920
Speaker 2: him up against an unbeatable, unidentifiable odd and have him

574
00:30:37,920 --> 00:30:42,360
Speaker 2: just set that jaw withd had done five hundred mili

575
00:30:42,840 --> 00:30:46,120
Speaker 2: foreign and domestic great highest grossing film of all time.

576
00:30:46,280 --> 00:30:48,440
Speaker 2: How do you feel about Michael Keaton, who was also considered.

577
00:30:50,240 --> 00:30:51,040
Speaker 2: I love Keaton.

578
00:30:51,280 --> 00:30:53,720
Speaker 1: Keaton's good at Batman because he's squirrely and weird and

579
00:30:53,760 --> 00:30:55,400
Speaker 1: they don't actually make him fight at all.

580
00:30:55,560 --> 00:31:00,360
Speaker 2: But like a, here's nothing about that man's screams action

581
00:31:00,520 --> 00:31:00,720
Speaker 2: to me?

582
00:31:01,280 --> 00:31:03,959
Speaker 1: I mean, nope, Well I guess what Bill Paxon, Now

583
00:31:03,960 --> 00:31:05,480
Speaker 1: you're right, I guess Bill Paxton.

584
00:31:08,320 --> 00:31:11,080
Speaker 2: Come on, man to that day. At this point, he

585
00:31:11,120 --> 00:31:13,680
Speaker 2: had been killed by an alien, a predator, and a terminator.

586
00:31:13,800 --> 00:31:16,000
Speaker 2: That's a great trivia question. Yeah, that's like a pub

587
00:31:16,040 --> 00:31:19,080
Speaker 2: trivia like typeated question. Right, Yeah, that's really good. That's

588
00:31:19,200 --> 00:31:22,920
Speaker 2: really good. Well, he actually speaking of which got the gig?

589
00:31:22,960 --> 00:31:25,320
Speaker 2: Bill Paxon? That is got the gig on the recommendation

590
00:31:25,360 --> 00:31:26,080
Speaker 2: of James.

591
00:31:25,880 --> 00:31:29,840
Speaker 1: Cameron, who, as you mentioned, worked with him on Aliens

592
00:31:30,120 --> 00:31:33,160
Speaker 1: and True Lies. And this is where I'm legally obligated

593
00:31:33,160 --> 00:31:37,120
Speaker 1: to remind listeners that Bill Paxon both waived at JFK's

594
00:31:37,120 --> 00:31:40,520
Speaker 1: Motor Kae the day he was assassinated in Texas and

595
00:31:40,640 --> 00:31:44,000
Speaker 1: dove on Titanic with James Cameron. And this pretty much

596
00:31:44,040 --> 00:31:47,640
Speaker 1: makes him my hero. This makes you my new best friend.

597
00:31:47,920 --> 00:31:50,000
Speaker 2: If you want to one up anyone who thinks they

598
00:31:50,040 --> 00:31:52,520
Speaker 2: got you with that Paxton question, if you're like, hey,

599
00:31:52,560 --> 00:31:54,760
Speaker 2: do you know the only actor who's been killed by

600
00:31:54,920 --> 00:31:57,520
Speaker 2: you know, an alien, predator and a Terminator, and they're like,

601
00:31:57,800 --> 00:31:59,680
Speaker 2: du Bill Paxson, do you want how to flex them?

602
00:32:00,000 --> 00:32:01,720
Speaker 2: And be like, do you know the makeup artist that

603
00:32:01,800 --> 00:32:08,680
Speaker 2: links all of those? Oh, Stan Winston, Baby, Predator and Terminatory?

604
00:32:08,720 --> 00:32:12,640
Speaker 2: Do something else we did? I mean almost everything was

605
00:32:12,640 --> 00:32:15,200
Speaker 2: on book. Yeah he was.

606
00:32:15,760 --> 00:32:19,120
Speaker 1: Paxton had just started alongside Tom Hanks and Apollo thirteen,

607
00:32:19,280 --> 00:32:22,600
Speaker 1: and the clothes that he wears in Twister are supposedly

608
00:32:22,640 --> 00:32:25,880
Speaker 1: the same ones that Hanks selected for his wardrobe when

609
00:32:26,040 --> 00:32:29,960
Speaker 1: I guess he was doing tests for Twister. I'm quite

610
00:32:30,000 --> 00:32:32,160
Speaker 1: sure how that works, I guess Hanks went further along

611
00:32:32,200 --> 00:32:36,160
Speaker 1: in the uh in the process than a boy be imagined.

612
00:32:36,440 --> 00:32:37,600
Speaker 2: Yeah.

613
00:32:37,720 --> 00:32:40,520
Speaker 1: Paxson would later recall his brief from director Jan Debond.

614
00:32:40,560 --> 00:32:43,200
Speaker 1: He kept asking, how close can I put you to

615
00:32:43,240 --> 00:32:46,040
Speaker 1: one of these tornadoes? That's all he wanted to talk about.

616
00:32:46,280 --> 00:32:51,040
Speaker 1: I'm thinking, oh boy, we'll all be killed. He was

617
00:32:51,320 --> 00:32:51,880
Speaker 1: not wrong.

618
00:32:53,840 --> 00:32:56,440
Speaker 2: We'll get more about the incredible danger the actors were

619
00:32:56,440 --> 00:32:59,600
Speaker 2: in when making this movie. In a little bit but

620
00:32:59,640 --> 00:33:04,160
Speaker 2: still casting. The production initially wanted Mira Servino, who.

621
00:33:04,160 --> 00:33:06,480
Speaker 1: Was fresh off her Oscar wind to play the part

622
00:33:06,520 --> 00:33:10,680
Speaker 1: of Bill's fiance, the high strung therapist Melissa Reeves. Or

623
00:33:10,720 --> 00:33:14,760
Speaker 1: maybe she's normally strung and being put in an insane

624
00:33:14,800 --> 00:33:18,200
Speaker 1: situation being dumped in the middle of a tornado zone, so.

625
00:33:18,480 --> 00:33:19,440
Speaker 2: I scratch that.

626
00:33:20,360 --> 00:33:23,320
Speaker 1: But unfortunately, Jan Dubant wanted Mira Servino to dye her

627
00:33:23,320 --> 00:33:27,920
Speaker 1: hair brown, presumably to telegraph the differences between her and

628
00:33:28,040 --> 00:33:32,280
Speaker 1: Helen Hunt's character, who was blonde, but Servina refused, and

629
00:33:32,320 --> 00:33:34,960
Speaker 1: so she was out in favor of the brunette actress

630
00:33:35,120 --> 00:33:39,160
Speaker 1: Jamie Gertz. I don't know much about her. Helen Hult

631
00:33:39,160 --> 00:33:41,240
Speaker 1: would later say that the original version of the script,

632
00:33:41,280 --> 00:33:44,040
Speaker 1: she was given had much more sniping between her character

633
00:33:44,120 --> 00:33:48,000
Speaker 1: and this girlfriend character, which, as we all know, is

634
00:33:48,000 --> 00:33:52,000
Speaker 1: an old, tired trope. Helen Hunt told Vulture for the

635
00:33:52,080 --> 00:33:54,920
Speaker 1: twenty twenty piece Helen Hunt Answers every question we have

636
00:33:55,000 --> 00:33:57,720
Speaker 1: about Twister. There was a draft that I saw where

637
00:33:57,720 --> 00:34:00,160
Speaker 1: the women were sort of catty with each other. I

638
00:34:00,160 --> 00:34:02,600
Speaker 1: didn't at that point know that I had a feminist agenda,

639
00:34:02,680 --> 00:34:04,920
Speaker 1: which I do. I just knew that it wouldn't be

640
00:34:04,920 --> 00:34:06,680
Speaker 1: fun to watch and I didn't want to play it.

641
00:34:07,160 --> 00:34:08,800
Speaker 2: The technical term would be yucky.

642
00:34:09,520 --> 00:34:12,120
Speaker 1: I just raised my hand and said there's a better way,

643
00:34:12,560 --> 00:34:15,040
Speaker 1: and nobody said, no, you have to do it that way.

644
00:34:15,600 --> 00:34:18,000
Speaker 1: Good for her, that's funny. I didn't know at that

645
00:34:18,040 --> 00:34:20,080
Speaker 1: point that I had a feminist agenda.

646
00:34:21,200 --> 00:34:22,400
Speaker 2: Here quotes are great.

647
00:34:22,680 --> 00:34:24,520
Speaker 1: Her quotes could like almost be read in like a

648
00:34:24,600 --> 00:34:29,560
Speaker 1: Gratcho Marx, like, yeah, no, she's really funny. So they

649
00:34:29,640 --> 00:34:32,520
Speaker 1: narrowly avoided one old screenplay trope, but they did not

650
00:34:32,680 --> 00:34:35,919
Speaker 1: avoid the stereotype of having a rich British jerk as

651
00:34:35,920 --> 00:34:39,080
Speaker 1: the villain. We were talking about doctor Jonas Miller, the

652
00:34:39,120 --> 00:34:43,719
Speaker 1: storm chasing rival of Joe and Bill, and if I recall,

653
00:34:44,120 --> 00:34:46,399
Speaker 1: they had all worked together at some point, and then

654
00:34:46,400 --> 00:34:49,480
Speaker 1: he went and got corporate sponsors or some kind of

655
00:34:50,000 --> 00:34:53,120
Speaker 1: dirty money that he used to build a knockoff version

656
00:34:53,120 --> 00:34:54,960
Speaker 1: of Bill Paxton's Dorothy Idea.

657
00:34:55,080 --> 00:34:56,120
Speaker 2: I think that was how that went.

658
00:34:56,440 --> 00:35:01,360
Speaker 1: Anyway, The part was offered to a pre House Hugh Laurie,

659
00:35:01,440 --> 00:35:02,560
Speaker 1: which I that would.

660
00:35:02,280 --> 00:35:04,200
Speaker 2: Have been cool. I would have liked that. Yeah, especially

661
00:35:04,200 --> 00:35:06,080
Speaker 2: if you got to play piano at one point in

662
00:35:06,160 --> 00:35:07,120
Speaker 2: the Twisters.

663
00:35:07,480 --> 00:35:10,480
Speaker 1: Yeah, that's been funny. He's a great piano player. Man,

664
00:35:10,680 --> 00:35:13,919
Speaker 1: he's an incredible piano player. I know him play piano

665
00:35:13,960 --> 00:35:14,239
Speaker 1: and everything.

666
00:35:14,280 --> 00:35:16,279
Speaker 2: It's you or I love Hugh Laurie, But no, you're

667
00:35:16,280 --> 00:35:19,080
Speaker 2: actually he's English. You know that right. I'm I'm worried that.

668
00:35:19,360 --> 00:35:20,320
Speaker 2: I'm shocked. I love you.

669
00:35:20,360 --> 00:35:21,880
Speaker 1: A couple of bits of Frian Laurie when I was

670
00:35:21,880 --> 00:35:24,680
Speaker 1: at home my parents. Oh it's a real good bit

671
00:35:24,719 --> 00:35:28,000
Speaker 1: of Frian Laurie's incredible. The Jeeves and Wooster might be

672
00:35:28,040 --> 00:35:30,000
Speaker 1: too English for you, but I loved Uh.

673
00:35:30,080 --> 00:35:34,280
Speaker 2: Yeah, No, this wasn't an invite.

674
00:35:35,200 --> 00:35:38,400
Speaker 1: Incredible episode of House where Dave Matthews is the guest

675
00:35:38,960 --> 00:35:44,760
Speaker 1: and uh and he plays her.

676
00:35:44,920 --> 00:35:45,280
Speaker 2: Awful.

677
00:35:45,680 --> 00:35:47,600
Speaker 1: Dave Matthews is like some kind of savant who can

678
00:35:47,640 --> 00:35:50,080
Speaker 1: immediately play on the piano whatever he hears, and so

679
00:35:50,160 --> 00:35:52,920
Speaker 1: he starts like playing all this complex stuff and yeah,

680
00:35:52,960 --> 00:35:55,920
Speaker 1: it's a great episode. Anyway, Hugh Laurie did not get

681
00:35:55,920 --> 00:35:57,400
Speaker 1: the part of a bad guy in Twister.

682
00:35:57,760 --> 00:35:58,799
Speaker 2: Neither did Alec.

683
00:35:58,560 --> 00:36:00,799
Speaker 1: Baldwin, who would have been an it's ridible, the very

684
00:36:00,800 --> 00:36:04,719
Speaker 1: different choice. Ultimately, they went with Carrie. I still can

685
00:36:04,719 --> 00:36:06,680
Speaker 1: never say his name. Carrie elw was the guy from

686
00:36:06,680 --> 00:36:09,000
Speaker 1: The Princess Bride and Robin Hood Mennon tights.

687
00:36:09,120 --> 00:36:11,200
Speaker 2: We just watch Liar Liar. Oh yeah, that's right.

688
00:36:11,400 --> 00:36:13,600
Speaker 1: Wow, he was the bad guy and a lot of

689
00:36:14,120 --> 00:36:15,880
Speaker 1: they just needed someone who is like a rogue.

690
00:36:15,960 --> 00:36:18,120
Speaker 2: They just needed someone who is like just handsome enough,

691
00:36:18,160 --> 00:36:20,440
Speaker 2: because he's like not he's like not Brad Pitt Hansom

692
00:36:20,440 --> 00:36:22,880
Speaker 2: where you're like, my god, put it away, man. But

693
00:36:23,040 --> 00:36:25,680
Speaker 2: like you look at him, I mean he's obviously beautiful

694
00:36:25,680 --> 00:36:28,719
Speaker 2: as Wesley, but like in Liar Liar, he just like

695
00:36:28,760 --> 00:36:30,759
Speaker 2: looks like a vaguely handsome dude who they just make

696
00:36:30,840 --> 00:36:33,759
Speaker 2: him like the most annoying guy in the world. But yeah,

697
00:36:34,080 --> 00:36:38,319
Speaker 2: he looks a lot like who's the schwashbuckling actor Eron

698
00:36:38,800 --> 00:36:42,799
Speaker 2: that's why Aeron fly, that's why he was casting Princess Bride. Right. Oh, yeah,

699
00:36:42,840 --> 00:36:43,200
Speaker 2: you're right.

700
00:36:43,440 --> 00:36:46,080
Speaker 1: He's also like a British nepo baby too, is he?

701
00:36:46,400 --> 00:36:48,239
Speaker 1: His parents are richer fantous one of the two.

702
00:36:48,280 --> 00:36:49,880
Speaker 2: Are you just saying that because he's English?

703
00:36:50,400 --> 00:36:54,160
Speaker 1: I mean, it's more more statistically likely than not. Over there,

704
00:36:54,239 --> 00:36:55,120
Speaker 1: let's see, it's.

705
00:36:54,960 --> 00:36:56,759
Speaker 2: On his Wikipedia page. I remember looking this up at

706
00:36:56,760 --> 00:37:01,080
Speaker 2: one point. Oh yeah, portrait painter dominic ELA's father an

707
00:37:01,160 --> 00:37:03,440
Speaker 2: interior designer and socialite Tessa Kennedy.

708
00:37:03,480 --> 00:37:07,120
Speaker 1: Whenever they put your profession as socialite, yes, that's usually

709
00:37:07,160 --> 00:37:08,240
Speaker 1: a pretty big red flag.

710
00:37:08,880 --> 00:37:09,560
Speaker 2: Oh wow.

711
00:37:09,640 --> 00:37:12,840
Speaker 1: One of his relatives is the British minor John Elws,

712
00:37:13,239 --> 00:37:16,560
Speaker 1: who is the inspiration for Ebenezer Scrooge and a Christmas Carol.

713
00:37:17,440 --> 00:37:20,360
Speaker 2: Wow, that's a great thing to have in your family tree. Yeah,

714
00:37:20,480 --> 00:37:23,040
Speaker 2: I'm related to the biggest literary prick of all time.

715
00:37:26,760 --> 00:37:27,759
Speaker 2: So that's the bad guy.

716
00:37:28,120 --> 00:37:31,120
Speaker 1: And now we're gonna go to the goodest guy of

717
00:37:31,200 --> 00:37:34,319
Speaker 1: this whole movie, Dusty. I didn't know his name, but

718
00:37:34,480 --> 00:37:36,839
Speaker 1: you definitely know Philip seymour Hoff.

719
00:37:36,920 --> 00:37:39,920
Speaker 2: Have a drink. Wow, the lovable.

720
00:37:39,600 --> 00:37:47,720
Speaker 1: Yeah, the lovable slacker of the storm Chasers, apparently Garth

721
00:37:47,840 --> 00:37:52,600
Speaker 1: Brooks was potentially offered. He was offered a role in Twister.

722
00:37:52,960 --> 00:37:55,200
Speaker 1: Some sources have said it was Dusty.

723
00:37:54,880 --> 00:37:56,920
Speaker 2: The part that I ultimately went to Phillip Seymore Hoffmann.

724
00:37:57,080 --> 00:38:00,280
Speaker 1: I've also seen reports that the role that Garth Brooks

725
00:38:00,360 --> 00:38:03,520
Speaker 1: was offered may have been the Bill Paxton character, which

726
00:38:03,719 --> 00:38:05,440
Speaker 1: makes a lot of sense. I can kind of see

727
00:38:05,520 --> 00:38:07,759
Speaker 1: that they both Bill Paxson's text and I don't know

728
00:38:07,760 --> 00:38:10,440
Speaker 1: where Garth book's from, but could very well be Texas.

729
00:38:11,680 --> 00:38:13,680
Speaker 1: I could see him playing the lead in Twister.

730
00:38:13,960 --> 00:38:14,720
Speaker 2: Also, I've seen.

731
00:38:14,640 --> 00:38:16,759
Speaker 1: Reports that Garth Brooks was offered the role of the

732
00:38:16,840 --> 00:38:19,120
Speaker 1: villain in this movie. I'm not sure specifics on the

733
00:38:19,160 --> 00:38:23,080
Speaker 1: roll are vague, but there's not years later in a well.

734
00:38:22,880 --> 00:38:25,280
Speaker 2: No, it gets better. The fact that Garth.

735
00:38:25,040 --> 00:38:27,120
Speaker 1: Brooks was offered a role in Twister at all came

736
00:38:27,160 --> 00:38:30,600
Speaker 1: out years later in a lawsuit filed against Garth by

737
00:38:30,600 --> 00:38:33,719
Speaker 1: his longtime business partner, and in the suit, his ex

738
00:38:33,800 --> 00:38:36,640
Speaker 1: business partner claimed that Steven Spielberg had spent Garth Brooks

739
00:38:36,719 --> 00:38:40,000
Speaker 1: the script for Twister, but quote Brooks passed on that film,

740
00:38:40,400 --> 00:38:43,480
Speaker 1: saying the star of the film was the Tornado and

741
00:38:43,600 --> 00:38:45,000
Speaker 1: Brooks wanted to be the star.

742
00:38:45,560 --> 00:38:46,560
Speaker 2: God that's so funny.

743
00:38:47,880 --> 00:38:50,320
Speaker 1: He also, allegedly, according to the suit, turned down a

744
00:38:50,400 --> 00:38:54,760
Speaker 1: role in saving Private Ryan, supposedly for a similar reason

745
00:38:54,840 --> 00:38:59,160
Speaker 1: the war is the star. At any event, the role

746
00:38:59,200 --> 00:39:02,200
Speaker 1: of Dusty went to Phillip Seymour Hoffman, and then later

747
00:39:02,280 --> 00:39:04,960
Speaker 1: asked about his reasons for taking the role, Phillip seymore

748
00:39:04,960 --> 00:39:07,560
Speaker 1: Hoffman told Esquire, I was living in la at the time,

749
00:39:07,560 --> 00:39:09,319
Speaker 1: and I knew that if I took that job, I'd

750
00:39:09,320 --> 00:39:11,799
Speaker 1: be able to move back to New York. Don't know

751
00:39:11,800 --> 00:39:15,800
Speaker 1: why that is, but so it was. This is probably

752
00:39:15,840 --> 00:39:19,000
Speaker 1: more of a me thing, but my brain accidentally swaps

753
00:39:19,080 --> 00:39:22,319
Speaker 1: him and the Harry Stoner dude from Titanic. I guess

754
00:39:22,360 --> 00:39:26,920
Speaker 1: I'm getting my rough around the edges, Bill Paxon adjacent

755
00:39:27,000 --> 00:39:29,080
Speaker 1: technician characters confused.

756
00:39:29,760 --> 00:39:32,360
Speaker 2: Well with or without the presence of one Garth Brooks.

757
00:39:32,440 --> 00:39:35,440
Speaker 2: Shooting began in nineteen ninety five. The original plan was

758
00:39:35,480 --> 00:39:37,879
Speaker 2: to film Twister in the United Kingdom in California, two

759
00:39:37,920 --> 00:39:41,399
Speaker 2: areas not usually known for the tornadoes or ones that

760
00:39:42,080 --> 00:39:45,080
Speaker 2: resemble the American Midwest in really any way, shape or form,

761
00:39:45,120 --> 00:39:48,400
Speaker 2: but director Yan debonn insisted on shooting on location in Oklahoma,

762
00:39:48,520 --> 00:39:51,520
Speaker 2: boasting that this could be the last great action movie

763
00:39:51,520 --> 00:39:55,840
Speaker 2: not shot on a sound stage. Yeah, not not far off.

764
00:39:56,239 --> 00:39:58,200
Speaker 2: They filmed all over the state, but the main location

765
00:39:58,280 --> 00:40:01,200
Speaker 2: that they chose was the small town of Kita, population

766
00:40:01,640 --> 00:40:06,840
Speaker 2: three hundred and forty four. Serves as the hotewn It's Hotown, Hotown.

767
00:40:07,080 --> 00:40:09,560
Speaker 2: It serves as the hometown of Lois Smith's character Meg,

768
00:40:10,320 --> 00:40:14,359
Speaker 2: which gets leveled by an F four tornado. The town

769
00:40:14,400 --> 00:40:16,479
Speaker 2: was chosen because there had been a hailstorm two years

770
00:40:16,480 --> 00:40:20,200
Speaker 2: earlier that destroyed many of the homes. Many remained simply unfixed,

771
00:40:20,200 --> 00:40:23,080
Speaker 2: and there was still debris laying everywhere. Producers purchased and

772
00:40:23,080 --> 00:40:25,839
Speaker 2: then leveled eight blocks of existing houses, as well as

773
00:40:25,880 --> 00:40:28,920
Speaker 2: flattening thirty homes that had been built for the shoot.

774
00:40:29,680 --> 00:40:33,160
Speaker 2: Greatest industry in the world Baby. Apparently the destruction of

775
00:40:33,160 --> 00:40:35,640
Speaker 2: the town was so convincing that an unrelated video crew

776
00:40:35,680 --> 00:40:40,359
Speaker 2: flying overhead landed their helicopter down to investigate. That's like

777
00:40:40,719 --> 00:40:43,080
Speaker 2: in coolhan Luke, when they created a prison camp so

778
00:40:43,160 --> 00:40:45,680
Speaker 2: unappealing that it was the state took notice of it.

779
00:40:45,760 --> 00:40:49,759
Speaker 2: I was like, guys, that's right.

780
00:40:50,080 --> 00:40:50,200
Speaker 1: Uh.

781
00:40:52,160 --> 00:40:55,040
Speaker 2: Given the size of Wikita, production became a town wide affair.

782
00:40:55,600 --> 00:40:58,680
Speaker 2: Bill Paxton fostered goodwill, as he did everywhere, by busting

783
00:40:58,680 --> 00:41:00,960
Speaker 2: out football soon after arrived and tossing it around with

784
00:41:01,000 --> 00:41:03,640
Speaker 2: the locals. Many of the residents signed up to be extras,

785
00:41:03,680 --> 00:41:05,680
Speaker 2: earning the princely sum of one hundred dollars a day.

786
00:41:06,080 --> 00:41:09,239
Speaker 2: The town was tiny, but mighty and filled with civic pride.

787
00:41:09,480 --> 00:41:12,080
Speaker 2: The resident's main concerns that the film would have featured

788
00:41:12,160 --> 00:41:15,360
Speaker 2: a sex scene, which they thought would reflect poorly on

789
00:41:15,440 --> 00:41:20,080
Speaker 2: their town. To sit the town from footlots, yeah, we

790
00:41:20,120 --> 00:41:23,960
Speaker 2: don't have sex here in Wikita. The locals insisted on

791
00:41:23,960 --> 00:41:26,400
Speaker 2: the town's name being used, and one citizen even requested

792
00:41:26,400 --> 00:41:28,319
Speaker 2: that they include a shot of the water tower with

793
00:41:28,320 --> 00:41:32,160
Speaker 2: the word Wakda painted on the side. Despite the wanton

794
00:41:32,200 --> 00:41:34,840
Speaker 2: acts of emotional terrorism that the director inflicted on his actors,

795
00:41:34,840 --> 00:41:37,280
Speaker 2: which will cover in a moment, relations were warm between

796
00:41:37,280 --> 00:41:40,400
Speaker 2: the production and the citizens of Wakita. Locals interviewed by

797
00:41:40,400 --> 00:41:42,839
Speaker 2: the Oklahoman noted that the crew did an excellent job

798
00:41:42,880 --> 00:41:45,280
Speaker 2: of clearing up the rubble and even planted new trees

799
00:41:46,480 --> 00:41:49,800
Speaker 2: in appreciation. The town later opened a Twister Movie museum

800
00:41:50,320 --> 00:41:53,240
Speaker 2: staffed by volunteers. It's free to visit and features props

801
00:41:53,280 --> 00:41:56,480
Speaker 2: including one of the Dorothy machines, bricks from the wrecked buildings,

802
00:41:56,520 --> 00:41:59,800
Speaker 2: and a Twister branded pinball machine donated by Paxton himself.

803
00:42:00,400 --> 00:42:05,640
Speaker 2: The actor reportedly donated numerous hand just the pinball machine.

804
00:42:05,760 --> 00:42:08,479
Speaker 2: That's what did it for you? Huh? It to us?

805
00:42:09,400 --> 00:42:16,480
Speaker 2: It's so good the action. The actor reportedly donated numerous

806
00:42:16,520 --> 00:42:19,720
Speaker 2: objects over the years, including the football mentioned earlier, each

807
00:42:19,880 --> 00:42:22,759
Speaker 2: with a handwritten note. But that's not even the most

808
00:42:22,800 --> 00:42:25,960
Speaker 2: heartwarming aspect of the film's Oklahoma based production. They were

809
00:42:25,960 --> 00:42:28,759
Speaker 2: shooting when the Oklahoma City bombing occurred, and when they

810
00:42:28,800 --> 00:42:31,960
Speaker 2: received word, they suspended production so that the cast and

811
00:42:32,000 --> 00:42:34,280
Speaker 2: crew could assist with recovery efforts.

812
00:42:34,520 --> 00:42:37,000
Speaker 1: I'd just like to add that the Twister Museum also

813
00:42:37,040 --> 00:42:40,120
Speaker 1: has a five block walking tour included of different sites

814
00:42:40,120 --> 00:42:41,160
Speaker 1: where they shot around town.

815
00:42:41,360 --> 00:42:43,239
Speaker 2: Have you been never in Wikida? Check it out? Have

816
00:42:43,320 --> 00:42:46,760
Speaker 2: you been there? No? Just this is the best sponsor

817
00:42:46,760 --> 00:42:54,840
Speaker 2: I could get, Wakita, when you're here, your family literally.

818
00:42:56,560 --> 00:42:59,360
Speaker 2: Production moved to Iowa's the season's changed and these shoots

819
00:42:59,360 --> 00:43:01,680
Speaker 2: were not easy due in large part to the weather.

820
00:43:02,120 --> 00:43:04,480
Speaker 2: Recalling the experience of The New York Times nineteen ninety six,

821
00:43:04,600 --> 00:43:06,839
Speaker 2: director Yan Debamt said that he and the three hundred

822
00:43:06,840 --> 00:43:08,920
Speaker 2: and fifty person crew were up against the floods and

823
00:43:09,080 --> 00:43:12,360
Speaker 2: the actual tornadoes that beset the state. It was like

824
00:43:12,480 --> 00:43:14,839
Speaker 2: nothing I've encountered in my life, he said. We kept

825
00:43:14,880 --> 00:43:17,319
Speaker 2: getting stuck in mud. The whole thing was like a

826
00:43:17,360 --> 00:43:21,080
Speaker 2: moving circus around dirt roads. This coupled with what have

827
00:43:21,200 --> 00:43:25,080
Speaker 2: been described as the battalion of wind machines artificially generating

828
00:43:25,120 --> 00:43:28,960
Speaker 2: two hundred mile per hour gusts of winds, made life

829
00:43:29,000 --> 00:43:32,120
Speaker 2: less than pleasant for the actors in the film. As

830
00:43:32,200 --> 00:43:34,839
Speaker 2: Yandeman onomously added during an interview with The Morning Call,

831
00:43:35,160 --> 00:43:37,520
Speaker 2: when they added rain to the mix, he said they

832
00:43:37,520 --> 00:43:41,160
Speaker 2: didn't have to act anymore. Stunt doubles were rarely used,

833
00:43:41,600 --> 00:43:43,960
Speaker 2: and though the actors used earplugs, they did not use

834
00:43:44,000 --> 00:43:47,040
Speaker 2: eye protection. After every shot, someone would come around with

835
00:43:47,080 --> 00:43:51,440
Speaker 2: the viazine. Hunt later explained general dryness, redness, and irritability.

836
00:43:51,520 --> 00:43:54,520
Speaker 2: Clear eyes. That was their tagline, right, I think so

837
00:43:55,840 --> 00:43:57,799
Speaker 2: We're not the only eye injuries that occurred on set.

838
00:43:58,200 --> 00:44:00,680
Speaker 2: Both Hunt and Paxton were temporarily black, and when giant

839
00:44:00,760 --> 00:44:05,400
Speaker 2: set lights burned their retinas, Paxton Tody w those lights

840
00:44:05,400 --> 00:44:08,120
Speaker 2: were like sunballs. They had to pump light into the

841
00:44:08,160 --> 00:44:10,160
Speaker 2: cab to get exposure down to make the sky look

842
00:44:10,200 --> 00:44:12,640
Speaker 2: behind us look dark and stormy because it was too

843
00:44:12,640 --> 00:44:16,239
Speaker 2: bright outside. And these things literally sunburned our eyeballs. I

844
00:44:16,280 --> 00:44:19,720
Speaker 2: got back to my room, I couldn't see for two days.

845
00:44:20,280 --> 00:44:23,120
Speaker 2: They needed to use eye drops and wear spoke glasses,

846
00:44:24,320 --> 00:44:27,640
Speaker 2: and still there were more eye injuries. Hunt and Paxxton

847
00:44:27,680 --> 00:44:30,080
Speaker 2: spent several hours shooting a scene in an irrigation ditch,

848
00:44:30,280 --> 00:44:35,280
Speaker 2: which they soon dubbed the irritation Ditch got their asses.

849
00:44:37,200 --> 00:44:38,840
Speaker 2: The wind in the rain blew mud and dirt and

850
00:44:38,880 --> 00:44:41,720
Speaker 2: filth into their eyes, requiring them to get hepatitis shots

851
00:44:41,760 --> 00:44:44,080
Speaker 2: just to be on the safe side. Bill Paxson had

852
00:44:44,160 --> 00:44:46,480
Speaker 2: just wrapped filming on Apollo thirteen, which required that he

853
00:44:46,600 --> 00:44:49,480
Speaker 2: be flown in the zero G, creating KC one three

854
00:44:49,560 --> 00:44:53,200
Speaker 2: five weightless Trainer, also known as the Vomit Comet. But

855
00:44:53,280 --> 00:44:55,400
Speaker 2: according to him, Twister was even more of a slog

856
00:44:55,680 --> 00:44:57,640
Speaker 2: as he asked readers of the Morning Call, I mean,

857
00:44:57,680 --> 00:44:59,400
Speaker 2: what would you rather do? Throw up or be hit

858
00:44:59,440 --> 00:45:02,000
Speaker 2: in the head real hard but a piece of ice. Well,

859
00:45:02,040 --> 00:45:05,000
Speaker 2: let's ask our listeners, hago would you rather do? How

860
00:45:05,000 --> 00:45:05,640
Speaker 2: BIG's the ice.

861
00:45:05,920 --> 00:45:11,160
Speaker 1: Hmm, I'm gonna say like softball, softball, Yeah.

862
00:45:11,120 --> 00:45:14,279
Speaker 2: Probably throw up. I really hate throwing up. Yeah, it

863
00:45:14,360 --> 00:45:19,080
Speaker 2: means you can get another meal. Jesus Christ. Hunt had

864
00:45:19,080 --> 00:45:21,240
Speaker 2: an even worse time due to the repeated head injuries

865
00:45:21,360 --> 00:45:23,840
Speaker 2: she suffered on the set. During the mud scene, she

866
00:45:23,920 --> 00:45:25,319
Speaker 2: hit her head on the bridge while they were hiding

867
00:45:25,400 --> 00:45:26,879
Speaker 2: under it and the seemer she opened the car door

868
00:45:26,880 --> 00:45:30,080
Speaker 2: while driving through a cornfield. The door simply swung back

869
00:45:30,120 --> 00:45:32,160
Speaker 2: on her and domed her in the head. She would

870
00:45:32,200 --> 00:45:35,719
Speaker 2: describe the shoot to Entertainment Weekly as brutal. Director Jan

871
00:45:35,800 --> 00:45:39,719
Speaker 2: Dubant was unsympathetic when asked about Hunt's frequent injuries, one

872
00:45:39,719 --> 00:45:42,120
Speaker 2: of which reportedly led to a concussion. He had this

873
00:45:42,160 --> 00:45:44,680
Speaker 2: to say of his leading lady, I love Helen to death,

874
00:45:44,760 --> 00:45:47,320
Speaker 2: but you know she can also be a little bit clumsy.

875
00:45:48,080 --> 00:45:50,799
Speaker 2: Hunt had some choice words for him when she heard this.

876
00:45:51,239 --> 00:45:54,720
Speaker 2: The guy burned my retinas, but I'm clumsy, perhaps needless

877
00:45:54,719 --> 00:45:57,200
Speaker 2: to say, they did not work together again. Her quotes

878
00:45:57,239 --> 00:45:57,920
Speaker 2: is too It's good.

879
00:45:58,000 --> 00:46:00,760
Speaker 1: It's like you read them like ratcha Mark's guy Bury

880
00:46:00,840 --> 00:46:02,520
Speaker 1: Rat doesn't I'm clumsy like that.

881
00:46:02,600 --> 00:46:03,879
Speaker 2: Guess what's the matter about you? Thing?

882
00:46:05,680 --> 00:46:05,919
Speaker 1: Uh?

883
00:46:06,000 --> 00:46:07,920
Speaker 2: Yen bon as really too earlier. It was kind of

884
00:46:07,920 --> 00:46:10,680
Speaker 2: a not guy nice. He was in the great piece

885
00:46:10,680 --> 00:46:14,200
Speaker 2: of in the set. A member of the crew, remember

886
00:46:14,360 --> 00:46:18,000
Speaker 2: what's the was it? No, I can't say that because

887
00:46:18,120 --> 00:46:21,160
Speaker 2: Jim when when Jim Cameron gets mad, Midge comes out

888
00:46:21,239 --> 00:46:27,120
Speaker 2: and when gets mad Nadge, it's cutting it close. Members

889
00:46:27,120 --> 00:46:29,560
Speaker 2: of the crew felt the director was quote out of control.

890
00:46:29,920 --> 00:46:31,799
Speaker 2: Matters came to a head five weeks into the shoot

891
00:46:31,800 --> 00:46:34,960
Speaker 2: when he struck a camera operator in anger for blocking

892
00:46:35,000 --> 00:46:38,239
Speaker 2: a complicated shot involving wind machines and pushed him into

893
00:46:38,239 --> 00:46:41,640
Speaker 2: the mud. His relationship with the director of photography, Don

894
00:46:41,640 --> 00:46:45,879
Speaker 2: Burgis also deteriorated, with the director angrily calling them all incompetent.

895
00:46:46,560 --> 00:46:49,440
Speaker 2: As a result, Burgus and the tire twenty person camera

896
00:46:49,480 --> 00:46:52,080
Speaker 2: crew quit in protest, like in the Midnut, Like the

897
00:46:52,200 --> 00:46:54,640
Speaker 2: casts were shocked, like they just walk off the set.

898
00:46:55,640 --> 00:46:57,680
Speaker 2: Burgus would later claim that Dubaun didn't know what he

899
00:46:57,719 --> 00:46:59,920
Speaker 2: wanted till he saw it. He would shoot one direction

900
00:47:00,080 --> 00:47:01,880
Speaker 2: with all the equipment behind the view of the camera,

901
00:47:01,960 --> 00:47:03,719
Speaker 2: and then he wanted to shoot the other direction right away,

902
00:47:03,719 --> 00:47:05,560
Speaker 2: and we'd have to move everything, and he'd get angry

903
00:47:05,600 --> 00:47:07,760
Speaker 2: that we took too long, and it was always everybody

904
00:47:07,800 --> 00:47:11,439
Speaker 2: else's fault, never his Debont, for his part, denied calling

905
00:47:11,440 --> 00:47:14,000
Speaker 2: the team incompetent and explained to Entertainment Weekly that he

906
00:47:14,080 --> 00:47:17,600
Speaker 2: pushed the assistant in about to frustration with the wind machines.

907
00:47:17,640 --> 00:47:20,000
Speaker 2: It was very loud, he said, so the crew had

908
00:47:20,040 --> 00:47:22,520
Speaker 2: to watch my hand signals a cute action, and he

909
00:47:22,560 --> 00:47:24,839
Speaker 2: walked right in the middle of the scene. We kept

910
00:47:24,880 --> 00:47:27,640
Speaker 2: losing good performances because of stupid things like that. I

911
00:47:27,640 --> 00:47:29,520
Speaker 2: don't think I'm a hothead, but I do believe you

912
00:47:29,560 --> 00:47:32,080
Speaker 2: have to be passionate. These crews get paid well, and

913
00:47:32,120 --> 00:47:34,120
Speaker 2: when they screw up, I'm going to call them on it.

914
00:47:34,880 --> 00:47:37,400
Speaker 2: Cinematographer Jack and Green and his crew took over, but

915
00:47:37,440 --> 00:47:39,760
Speaker 2: then Green was hospitalized with an injury from an onset

916
00:47:39,800 --> 00:47:43,439
Speaker 2: accident when a hydraulic house set used in the scene

917
00:47:43,440 --> 00:47:45,399
Speaker 2: in which Joe and Bill rescued Meg and her dog

918
00:47:45,440 --> 00:47:49,760
Speaker 2: from her tornado destroyed home in Wakita. The house designed

919
00:47:49,800 --> 00:47:53,439
Speaker 2: to collapse on cue was mistakenly activated with Jack Green

920
00:47:53,520 --> 00:47:55,960
Speaker 2: inside of it. A rigged ceiling hit him in the

921
00:47:55,960 --> 00:47:58,680
Speaker 2: head and injured his back, requiring him to be hospitalized.

922
00:47:58,880 --> 00:48:00,400
Speaker 2: I feel like I've had a dream about my house

923
00:48:00,440 --> 00:48:07,400
Speaker 2: eating me before, so that sucks for him. At that point, Devaunt,

924
00:48:07,400 --> 00:48:10,040
Speaker 2: a former cinematographer, took over his own director of photography

925
00:48:10,040 --> 00:48:12,000
Speaker 2: for the rest of the shoot, which I think was

926
00:48:12,080 --> 00:48:14,160
Speaker 2: at least closer to the end of it than the beginning.

927
00:48:14,560 --> 00:48:17,680
Speaker 2: The environment became so hostile that, according to sources, crew

928
00:48:17,680 --> 00:48:20,520
Speaker 2: members considered printing T shirts emblazed with the director's favorite

929
00:48:20,520 --> 00:48:24,719
Speaker 2: expletive fing hell shit. That's almost as good as on

930
00:48:26,400 --> 00:48:31,160
Speaker 2: when Ridley Scott was making Blade Runner and he gave

931
00:48:31,200 --> 00:48:33,560
Speaker 2: an interview saying complaining about American cruise and how they

932
00:48:33,560 --> 00:48:36,840
Speaker 2: were upperty and British crews would simply say yes, Governor

933
00:48:36,880 --> 00:48:39,080
Speaker 2: and get it done, where American crews wanted to argue

934
00:48:39,080 --> 00:48:41,160
Speaker 2: with you. So the American crews all got T shirts

935
00:48:41,160 --> 00:48:45,960
Speaker 2: that said yes Governor, like a whole cottage industry.

936
00:48:46,000 --> 00:48:49,160
Speaker 1: Wasn't this something on Titanic too, of like disgruntled cruise

937
00:48:49,280 --> 00:48:52,319
Speaker 1: passive aggressively making T shirts for sure?

938
00:48:52,600 --> 00:48:53,320
Speaker 2: So good.

939
00:48:54,719 --> 00:48:57,360
Speaker 1: And now for a different kind of violence. Philip Seymour

940
00:48:57,400 --> 00:49:00,960
Speaker 1: Hoffman's balls. Yes, there was this scene where Phillip Seymour

941
00:49:00,960 --> 00:49:06,400
Speaker 1: Hoffins's character claud and Shorts and other slacker attire laughs heartily. Unfortunately,

942
00:49:06,440 --> 00:49:08,880
Speaker 1: when he does so, he lifts a leg and one

943
00:49:08,920 --> 00:49:10,680
Speaker 1: of his testicles pops out of his shorts.

944
00:49:11,719 --> 00:49:14,320
Speaker 2: This shot was included and early cuts the film until

945
00:49:14,360 --> 00:49:15,680
Speaker 2: someone mercifully.

946
00:49:15,160 --> 00:49:17,759
Speaker 1: Caught it, and as a result, the CGI team, who

947
00:49:17,840 --> 00:49:20,120
Speaker 1: already had their hands full with you know, all the

948
00:49:20,120 --> 00:49:25,920
Speaker 1: tornado stuff, was called into digitally erase psh's offending balls,

949
00:49:26,280 --> 00:49:31,440
Speaker 1: thus avoiding on our rating to this otherwise PG thirteen

950
00:49:31,520 --> 00:49:35,040
Speaker 1: movie release the ball cut. I wonder if I mean

951
00:49:35,560 --> 00:49:38,480
Speaker 1: everybody's got their turning point right? Who do you think

952
00:49:38,520 --> 00:49:41,680
Speaker 1: that was? That ended a career? Some guys like real

953
00:49:41,760 --> 00:49:43,400
Speaker 1: jazz working ILM.

954
00:49:43,000 --> 00:49:46,600
Speaker 2: And John Debond storms in like we got you, we

955
00:49:46,719 --> 00:49:50,880
Speaker 2: need you to a digitally erase H Philip Seymour Hoffman's balls.

956
00:49:51,800 --> 00:49:54,520
Speaker 2: I think the guy went home and rethought his life,

957
00:49:55,560 --> 00:49:56,759
Speaker 2: went to work on an oil rig.

958
00:49:58,440 --> 00:50:01,520
Speaker 1: Is a cigar chopping executive reading the line items for

959
00:50:01,640 --> 00:50:03,000
Speaker 1: all the CGI work.

960
00:50:03,480 --> 00:50:07,200
Speaker 2: What's this one? Five grand to erase Simo Hoffin's balls.

961
00:50:07,680 --> 00:50:11,359
Speaker 2: I paid for those balls. Balls are gonna win him

962
00:50:11,360 --> 00:50:17,480
Speaker 2: an oscar someday. We didn't get Garth Brooks, we keep

963
00:50:17,520 --> 00:50:18,440
Speaker 2: Hoffman's balls.

964
00:50:21,800 --> 00:50:23,800
Speaker 1: It's one of the best uses of the cigar shopping

965
00:50:23,840 --> 00:50:25,040
Speaker 1: executive we've had in a while.

966
00:50:26,560 --> 00:50:28,760
Speaker 2: That was not the only last minute change to the film.

967
00:50:29,239 --> 00:50:32,279
Speaker 1: The prologue scene, in which Joe witnesses her father getting

968
00:50:32,320 --> 00:50:34,719
Speaker 1: sucked up into a cyclone as he desperately tries to

969
00:50:34,760 --> 00:50:38,080
Speaker 1: hold the door to their storm shelter, was added at

970
00:50:38,080 --> 00:50:41,120
Speaker 1: the very last minute. It's a classic filmmaking technique to

971
00:50:41,160 --> 00:50:45,040
Speaker 1: provide backstory and motivation for the main character, allow Jodie

972
00:50:45,080 --> 00:50:49,799
Speaker 1: Foster losing her astronomy loving dad in contact. Initially, they

973
00:50:49,840 --> 00:50:52,320
Speaker 1: shot a nightmare sequence which was going to be intercut

974
00:50:52,360 --> 00:50:54,560
Speaker 1: throughout the film in order to give insight into the

975
00:50:54,680 --> 00:50:58,000
Speaker 1: haunted state of mind of Helen Hunt's character, but they

976
00:50:58,040 --> 00:51:00,520
Speaker 1: realized during editing that this didn't really work, so they

977
00:51:00,600 --> 00:51:03,680
Speaker 1: hastily wrote an introductory scene and shot it during last

978
00:51:03,760 --> 00:51:07,279
Speaker 1: minute reshoots. The young version of Helen Hunt's character in

979
00:51:07,360 --> 00:51:10,279
Speaker 1: these scenes is played by Alexa Vega, who went on

980
00:51:10,400 --> 00:51:15,640
Speaker 1: to appear in Spy Kids Millennial Childhood Favorite Spy Kids.

981
00:51:17,040 --> 00:51:18,680
Speaker 2: Did you know that I love this?

982
00:51:19,160 --> 00:51:24,120
Speaker 1: Alexa Vega married a guy named Pina Vega, so she's

983
00:51:24,160 --> 00:51:25,720
Speaker 1: now Alexa Pina Vega.

984
00:51:26,120 --> 00:51:29,000
Speaker 2: I thought that, but wouldn't it be Alexa Pina Vega Vega.

985
00:51:29,800 --> 00:51:31,840
Speaker 2: I know, I think she that's what I thought. I

986
00:51:31,880 --> 00:51:34,440
Speaker 2: thought maybe the guy's name was Pina, and so she

987
00:51:34,719 --> 00:51:37,239
Speaker 2: just like had an irrational phobia of hyphens, so she

988
00:51:37,400 --> 00:51:40,040
Speaker 2: just smashed the two names together. But no, that's like,

989
00:51:40,160 --> 00:51:43,680
Speaker 2: that's like you if you changed your name to like

990
00:51:43,920 --> 00:51:47,520
Speaker 2: Alex Sakhaigel or something, who's a Sack. I don't know,

991
00:51:47,680 --> 00:51:49,640
Speaker 2: somebody if he married somebody that had the last name

992
00:51:49,719 --> 00:51:54,360
Speaker 2: of Sack, and you were you Echi Sakamoto deceased Japanese

993
00:51:54,520 --> 00:51:58,719
Speaker 2: minimalist composer Reuichi Sacramoto. It was this is not really

994
00:51:58,760 --> 00:52:01,239
Speaker 2: an It was a bad comparison, But isn't that weird?

995
00:52:01,360 --> 00:52:03,680
Speaker 1: Like somebody had a really specific last name and then

996
00:52:03,719 --> 00:52:07,440
Speaker 1: they married somebody who Okay, it's.

997
00:52:07,280 --> 00:52:13,720
Speaker 2: Like Julia Gulia and wedding singer, right, oh yeah, yeah, okay, okay,

998
00:52:14,800 --> 00:52:19,799
Speaker 2: wonder if i'll leave that. I thought we'd get more

999
00:52:19,880 --> 00:52:24,759
Speaker 2: mileage out of that. I'm gonna be honest. I thought

1000
00:52:24,760 --> 00:52:25,680
Speaker 2: that one would pop more.

1001
00:52:27,760 --> 00:52:30,040
Speaker 1: One of the most striking moments in Twister, aside from

1002
00:52:30,280 --> 00:52:33,399
Speaker 1: the Cow, which I assume we'll talk about at some point,

1003
00:52:34,239 --> 00:52:36,400
Speaker 1: is the scene at the drive in movie where Stanley

1004
00:52:36,440 --> 00:52:38,640
Speaker 1: Kubrick's The Shining is Playing and.

1005
00:52:38,719 --> 00:52:41,719
Speaker 2: The Ringers retrospective on effects used in Twister, which you

1006
00:52:41,760 --> 00:52:42,560
Speaker 2: should really read.

1007
00:52:42,600 --> 00:52:45,320
Speaker 1: You would love that piece Igel Industrial Light in Magic's

1008
00:52:45,360 --> 00:52:48,000
Speaker 1: Ben Snow said that he was desperate to work on

1009
00:52:48,200 --> 00:52:50,600
Speaker 1: this specific scene. He said, we wanted to project the

1010
00:52:50,680 --> 00:52:54,279
Speaker 1: image of the film onto the tornado itself.

1011
00:52:54,560 --> 00:52:57,680
Speaker 2: And it's so great. It's of course the here's Johnny

1012
00:52:57,800 --> 00:52:59,960
Speaker 2: scene and you've got Shelley Duvall freaking out.

1013
00:53:00,000 --> 00:53:02,440
Speaker 1: I get the knife being plunged in. It's so wonderful,

1014
00:53:03,560 --> 00:53:05,719
Speaker 1: and Yon de BoNT said, let's use the shining. It

1015
00:53:05,840 --> 00:53:08,480
Speaker 1: was a dream come true scene. You had to take

1016
00:53:08,520 --> 00:53:11,360
Speaker 1: the film footage, it converted into little texture maps and

1017
00:53:11,440 --> 00:53:14,480
Speaker 1: then project that, which was quite an accomplishment back in

1018
00:53:14,560 --> 00:53:18,520
Speaker 1: nineteen ninety six. Bizarrely, I love this. In nineteen ninety six,

1019
00:53:18,600 --> 00:53:21,600
Speaker 1: the year Twister came out, an Ontario drive in theater

1020
00:53:21,800 --> 00:53:25,560
Speaker 1: was destroyed by a tornado mere hours before a scheduled

1021
00:53:25,640 --> 00:53:29,759
Speaker 1: screening of Twister. This incident later evolved into a myth

1022
00:53:29,840 --> 00:53:33,120
Speaker 1: that the Twister actually came when the movie Twister was

1023
00:53:33,200 --> 00:53:37,239
Speaker 1: being screened, which sadly was just an urban legend. But

1024
00:53:37,600 --> 00:53:42,200
Speaker 1: it gets weirder on May tenth, twenty ten, the fourteenth

1025
00:53:42,280 --> 00:53:46,240
Speaker 1: anniversary of Twister's release in the United States, a tornado

1026
00:53:46,360 --> 00:53:50,239
Speaker 1: destroyed a farmhouse in Fairfax, Oklahoma, where numerous scenes of

1027
00:53:50,280 --> 00:53:54,000
Speaker 1: the film were shot. The house that was used in

1028
00:53:54,080 --> 00:53:57,120
Speaker 1: the movie Twister was destroyed by a twister on the

1029
00:53:57,200 --> 00:54:00,560
Speaker 1: anniversary of its release. I think that's crazy of the hall.

1030
00:54:00,880 --> 00:54:04,720
Speaker 1: A former Oklahoma state senator named Jay Barry Harrison commented

1031
00:54:04,800 --> 00:54:07,880
Speaker 1: that the tornado appeared eerily similar to the fictitious one

1032
00:54:07,920 --> 00:54:08,399
Speaker 1: in the film.

1033
00:54:09,880 --> 00:54:12,120
Speaker 2: That was a deep state hit and I actually did that.

1034
00:54:13,080 --> 00:54:16,920
Speaker 2: I killed that guy. He's alive. He gave a quote

1035
00:54:17,560 --> 00:54:21,279
Speaker 2: that joke, didn't lurk um. Where were on the topic

1036
00:54:21,320 --> 00:54:23,680
Speaker 2: of classic Hollywood films that were helmed by abusive directors

1037
00:54:23,680 --> 00:54:25,360
Speaker 2: who made life hell for their actors, All all the

1038
00:54:25,400 --> 00:54:28,360
Speaker 2: shining and Twister itself. There are several other references to

1039
00:54:28,520 --> 00:54:32,719
Speaker 2: movies with nightmarish productions slipped into Twister. For example, the

1040
00:54:32,800 --> 00:54:35,359
Speaker 2: oil truck scene flying around the tornado bears the same

1041
00:54:35,480 --> 00:54:38,759
Speaker 2: name ben Thic Petroleum, which is the company in James

1042
00:54:38,840 --> 00:54:43,120
Speaker 2: Cameron's underwater epic The Abyss, where Ed Harris has taken

1043
00:54:43,200 --> 00:54:45,279
Speaker 2: a blood oath to never speak of the making of

1044
00:54:45,360 --> 00:54:49,239
Speaker 2: that film again because it was so horrendous, Like didn't

1045
00:54:49,239 --> 00:54:51,759
Speaker 2: he kill someone doing that production? Someone was? Yeah, like

1046
00:54:51,840 --> 00:54:58,560
Speaker 2: someone was like clinically dead. God, Jim Cameron man the

1047
00:54:58,680 --> 00:55:02,800
Speaker 2: greatest of all time. You're talking about a Nietzsche and

1048
00:55:02,920 --> 00:55:04,879
Speaker 2: uber Mensch in the Pursuit of Art.

1049
00:55:07,560 --> 00:55:11,880
Speaker 1: Director in the world Baby, the name of the instrument

1050
00:55:11,960 --> 00:55:14,520
Speaker 1: package Dorothy is Did you really feel it was necessary

1051
00:55:14,560 --> 00:55:17,120
Speaker 1: to put this in, Jordan? Do you really feel necessary

1052
00:55:17,160 --> 00:55:18,960
Speaker 1: to call attention to the fact that Dorothy is a

1053
00:55:19,040 --> 00:55:21,120
Speaker 1: character of The Wizard of Oz, a film that revolves

1054
00:55:21,160 --> 00:55:22,320
Speaker 1: promably around tornadoes.

1055
00:55:22,600 --> 00:55:26,800
Speaker 2: Folks? Hey, everyone, everyone listen to too much information. Jordan

1056
00:55:26,920 --> 00:55:30,120
Speaker 2: wants you to know this really specific and obscure fact

1057
00:55:31,800 --> 00:55:37,160
Speaker 2: the fuck out of my podcast. You're sicken me. Aunt

1058
00:55:37,239 --> 00:55:40,200
Speaker 2: Maggie's watching the movie at the time the tornado hits

1059
00:55:40,239 --> 00:55:43,920
Speaker 2: her house because that wasn't on the nose enough. And

1060
00:55:44,400 --> 00:55:48,200
Speaker 2: Young Joe's Cairen terrier is the same breed as Toto

1061
00:55:48,440 --> 00:55:52,880
Speaker 2: in the Judy Garland movie classic whimsical production of Golden

1062
00:55:52,960 --> 00:55:57,279
Speaker 2: Age Hollywood, where Judy Garland was fed more pills than

1063
00:55:58,040 --> 00:56:01,680
Speaker 2: nineteen fifties British housewife and sexually assaulted by little people

1064
00:56:02,239 --> 00:56:08,680
Speaker 2: let's talk about something more uplifting. Cows ly uplifted? Okay, Hey,

1065
00:56:09,440 --> 00:56:11,280
Speaker 2: arguably the funniest scene in the movies when the cows

1066
00:56:11,320 --> 00:56:13,200
Speaker 2: come flying through the air and a stunned Helen Haunt

1067
00:56:13,239 --> 00:56:17,239
Speaker 2: can only offer a play by play cow another cow,

1068
00:56:18,200 --> 00:56:20,080
Speaker 2: and then Bill Paxton with one of the all time

1069
00:56:20,160 --> 00:56:24,800
Speaker 2: great grips. I think that's the same cow. The effect

1070
00:56:24,880 --> 00:56:27,120
Speaker 2: was obviously achieved through CGI. I do you remember the

1071
00:56:27,200 --> 00:56:30,840
Speaker 2: movie theater SETI Stand Ease that came out in the

1072
00:56:31,040 --> 00:56:33,600
Speaker 2: lobby that had the cow like jutting out of the

1073
00:56:33,840 --> 00:56:37,879
Speaker 2: of the post. Oh, I remember seeing those. Funnily enough,

1074
00:56:37,960 --> 00:56:41,520
Speaker 2: that cow is actually based on a zebra from nineteen

1075
00:56:41,600 --> 00:56:42,719
Speaker 2: ninety five's Jumanji.

1076
00:56:42,880 --> 00:56:45,000
Speaker 1: Yeah, it was like in the way CGI works, they

1077
00:56:45,040 --> 00:56:48,920
Speaker 1: have like a standard shape or something gets alted.

1078
00:56:49,000 --> 00:56:53,800
Speaker 2: Yeah, hoofed model to base it on us. But the

1079
00:56:53,920 --> 00:56:56,520
Speaker 2: cow was inspired by real events. During an interview with

1080
00:56:56,640 --> 00:57:00,680
Speaker 2: VFX Blog in twenty sixteen, visual effects supervisor Stefan Foungmir

1081
00:57:00,840 --> 00:57:04,719
Speaker 2: said it was based on actual real occurrences. Farmers after

1082
00:57:04,719 --> 00:57:07,440
Speaker 2: a tornado had gone through were reporting finding their cows

1083
00:57:07,560 --> 00:57:09,480
Speaker 2: miles and miles away from the field where they had

1084
00:57:09,560 --> 00:57:15,080
Speaker 2: last seen them alive. They lived. I guess, well, he

1085
00:57:15,200 --> 00:57:16,000
Speaker 2: didn't specify.

1086
00:57:16,120 --> 00:57:19,320
Speaker 1: I'm choosing to believe no, because I don't want Peter

1087
00:57:19,440 --> 00:57:20,640
Speaker 1: to pant our podcast read.

1088
00:57:20,720 --> 00:57:24,840
Speaker 2: So I'm gonna say that they survived. If Peter painted

1089
00:57:24,840 --> 00:57:28,919
Speaker 2: a pod of pickled pepper podcast pink, how much wood

1090
00:57:29,800 --> 00:57:30,880
Speaker 2: would that would? Chuck? Chuck.

1091
00:57:33,680 --> 00:57:35,560
Speaker 1: We're going to take a quick break, but we'll be

1092
00:57:35,720 --> 00:57:38,040
Speaker 1: right back with more too much information.

1093
00:57:37,760 --> 00:57:51,120
Speaker 2: In just a moment. On the topic of special effects,

1094
00:57:51,160 --> 00:57:54,600
Speaker 2: we should talk about the wind. No, not Warren Zvon's

1095
00:57:54,640 --> 00:57:58,360
Speaker 2: elegaic last record, a devastating monument to slowly dying and

1096
00:57:58,440 --> 00:58:00,480
Speaker 2: putting one last stamp on the world before your exited,

1097
00:58:00,520 --> 00:58:03,880
Speaker 2: but the actual wind. In Twister, we already talked about

1098
00:58:03,880 --> 00:58:06,000
Speaker 2: the wind machines and the jet engines that blue gusts

1099
00:58:06,000 --> 00:58:08,000
Speaker 2: of more than two hundred miles an hour that provided

1100
00:58:08,040 --> 00:58:09,960
Speaker 2: the look for the wind, But the sound of the

1101
00:58:10,080 --> 00:58:13,520
Speaker 2: wind was achieved by using the unorthodox method of manipulating

1102
00:58:13,560 --> 00:58:16,360
Speaker 2: a recording of a camel's moan and mixing it with

1103
00:58:16,440 --> 00:58:20,920
Speaker 2: a lion's growl and a tiger's snarl. I love that stuff, man.

1104
00:58:20,960 --> 00:58:22,840
Speaker 2: The second silence of the lambs, where they're like mixing

1105
00:58:22,960 --> 00:58:26,240
Speaker 2: whale sounds and stuff into the submix just to be like,

1106
00:58:26,600 --> 00:58:30,560
Speaker 2: this is going to sound like hell. According to author K.

1107
00:58:30,800 --> 00:58:33,640
Speaker 2: Davidson's book Twister, The Science of Tornadoes and the Making

1108
00:58:33,680 --> 00:58:36,440
Speaker 2: of a Natural Disaster Movie. To make new and different

1109
00:58:36,480 --> 00:58:39,120
Speaker 2: wind sounds, they constructed a box filled with chicken wire,

1110
00:58:39,400 --> 00:58:41,920
Speaker 2: stuck a microphone inside, and placed it on top of

1111
00:58:41,960 --> 00:58:45,200
Speaker 2: a car. Then they rolled the car downhill, turning the

1112
00:58:45,240 --> 00:58:47,800
Speaker 2: engine off so that it wouldn't interfere with the sound recording.

1113
00:58:48,200 --> 00:58:52,520
Speaker 2: That rules. That's like David Lynch's buddy Alan Splett oscar punchline,

1114
00:58:52,560 --> 00:58:56,200
Speaker 2: Alan Splett trailblazing sound designer Alan Splett being like off

1115
00:58:56,280 --> 00:58:59,320
Speaker 2: grid because he was in the remote highlands of Scotland

1116
00:58:59,400 --> 00:59:03,680
Speaker 2: recording wind. That's freight. We used to be a proper country.

1117
00:59:03,920 --> 00:59:07,520
Speaker 1: And speaking of going downhill, we must talk about the

1118
00:59:07,640 --> 00:59:11,160
Speaker 1: soundtrack of this movie, which features less than stellar work

1119
00:59:11,200 --> 00:59:14,200
Speaker 1: from two gargantuans selling bands of the seventies and eighties,

1120
00:59:14,320 --> 00:59:17,000
Speaker 1: Van Halen and Fleetwood Mac.

1121
00:59:17,080 --> 00:59:19,400
Speaker 2: Most of Fleetwood Mac that wasn't technically Fleetwood Mac.

1122
00:59:20,040 --> 00:59:23,720
Speaker 1: Hilariously, the Twister soundtrack reunited one of these musical partnerships

1123
00:59:24,320 --> 00:59:26,640
Speaker 1: and destroyed the other. Oh Hi, you got to talk

1124
00:59:26,680 --> 00:59:29,560
Speaker 1: about van Halen This is this is so you well,

1125
00:59:29,600 --> 00:59:31,720
Speaker 1: as we mentioned in the just episode of the episode

1126
00:59:31,760 --> 00:59:34,960
Speaker 1: we just did about van Halen's nineteen eighty four, van

1127
00:59:35,080 --> 00:59:38,680
Speaker 1: Halen was on their second front man, Sammy Hagar at

1128
00:59:38,760 --> 00:59:42,680
Speaker 1: the time, and they contributed the song humans Being is

1129
00:59:42,960 --> 00:59:45,920
Speaker 1: I can't say that humans being Yeah, it's like a

1130
00:59:46,760 --> 00:59:50,360
Speaker 1: it's a wordplay, right, but it's.

1131
00:59:50,280 --> 00:59:53,680
Speaker 2: Really stupid wordplay. The band had just gotten a new

1132
00:59:53,840 --> 00:59:56,480
Speaker 2: manager who happened to be Alex van Halen's brother in law.

1133
00:59:57,640 --> 01:00:02,040
Speaker 2: Family in business, never a losing combination. Sammy Hagar didn't

1134
01:00:02,040 --> 01:00:04,400
Speaker 2: get along with him very well, and especially didn't appreciate

1135
01:00:04,480 --> 01:00:07,040
Speaker 2: his suggestion that the band cut into their badly needed

1136
01:00:07,120 --> 01:00:10,280
Speaker 2: post tour break to record this song for a Bill

1137
01:00:10,360 --> 01:00:13,600
Speaker 2: Paxton movie about the Wind. Eddie and Alex were eager

1138
01:00:13,680 --> 01:00:15,600
Speaker 2: to do it, but Sammy wanted to take some time

1139
01:00:15,680 --> 01:00:17,880
Speaker 2: off to recuperate and spend time with his wife, who

1140
01:00:17,920 --> 01:00:20,400
Speaker 2: was just about to give birth. Eddie and al went

1141
01:00:20,480 --> 01:00:22,800
Speaker 2: right into the studio, Hagar claimed in nineteen ninety seven.

1142
01:00:23,120 --> 01:00:24,840
Speaker 2: They said they had to make money, but I said, WHOA,

1143
01:00:24,880 --> 01:00:27,400
Speaker 2: were you crazy? We're not hurting for money. I wanted

1144
01:00:27,400 --> 01:00:29,280
Speaker 2: to spend two months with my new baby, then make

1145
01:00:29,320 --> 01:00:32,320
Speaker 2: another record. But Eddie said, I'm frustrated because you never

1146
01:00:32,400 --> 01:00:35,280
Speaker 2: do what I ask you to do. To be fair,

1147
01:00:35,360 --> 01:00:37,080
Speaker 2: that was the same reason he was frustrated with David

1148
01:00:37,160 --> 01:00:40,800
Speaker 2: Lee Roth. Sammy claims that they pressured him into recording

1149
01:00:40,840 --> 01:00:44,680
Speaker 2: the new song human Being Humans Being. What theck is

1150
01:00:44,720 --> 01:00:49,480
Speaker 2: the name of this song, Jordan Humans Being? Okay? Sammy

1151
01:00:49,560 --> 01:00:51,720
Speaker 2: claims that they pressured him into recording the new song

1152
01:00:52,080 --> 01:00:56,080
Speaker 2: humans Being for the soundtrack, but the sessions were painful

1153
01:00:56,240 --> 01:00:58,600
Speaker 2: all the way through. He wanted to record the vocals

1154
01:00:58,640 --> 01:01:00,440
Speaker 2: in Hawaii, where he and his wife were staying as

1155
01:01:00,480 --> 01:01:02,400
Speaker 2: she prepared to give birth to their baby, but the

1156
01:01:02,440 --> 01:01:04,520
Speaker 2: band wanted him to record the vocals at their fifty

1157
01:01:04,560 --> 01:01:07,280
Speaker 2: one to fifty studios in LA and it took him

1158
01:01:07,320 --> 01:01:09,640
Speaker 2: three separate trips to La to nail it down. I

1159
01:01:09,760 --> 01:01:11,920
Speaker 2: was a reminder, fifty one to fifty studios is in

1160
01:01:12,160 --> 01:01:16,479
Speaker 2: Eddie Van Halen's backyard, making matters worse. At the last minute,

1161
01:01:16,640 --> 01:01:19,680
Speaker 2: Eddie scrapped another song that he and Sammy had been

1162
01:01:19,720 --> 01:01:24,560
Speaker 2: writing together, a ballad called Between Us Two. These are

1163
01:01:24,680 --> 01:01:28,360
Speaker 2: just worse and worse huh yeah, yeah, requiring Sammy to

1164
01:01:28,400 --> 01:01:32,720
Speaker 2: come back once again and extend humans being to make

1165
01:01:32,760 --> 01:01:36,120
Speaker 2: it longer with a paid by the man. I know,

1166
01:01:36,240 --> 01:01:38,200
Speaker 2: I was trying to figure that out. Yeah, I don't

1167
01:01:38,240 --> 01:01:42,560
Speaker 2: really understand. Maybe it was I don't know, I don't know. Well,

1168
01:01:43,480 --> 01:01:45,560
Speaker 2: he came in an hour and a half before his flight,

1169
01:01:45,920 --> 01:01:50,040
Speaker 2: wrote two new verses, banged out the additional recordings, and left.

1170
01:01:50,720 --> 01:01:53,240
Speaker 2: Then it turned out the band required an additional song

1171
01:01:53,440 --> 01:01:56,320
Speaker 2: after all, and Eddie tried to get him back to

1172
01:01:56,400 --> 01:02:00,880
Speaker 2: finish between Us two again. Sam He refused, and the

1173
01:02:00,960 --> 01:02:04,520
Speaker 2: Van Halen brothers recorded an instrumental instead, a chain of

1174
01:02:04,560 --> 01:02:07,440
Speaker 2: events that would ultimately lead to Sammy's departure from the band.

1175
01:02:08,040 --> 01:02:10,080
Speaker 2: Details of the final split are with anything in the

1176
01:02:10,160 --> 01:02:13,640
Speaker 2: Van Halen mythos disputed, but it apparently ended up with

1177
01:02:13,680 --> 01:02:17,360
Speaker 2: a phone call on Father's Day nineteen ninety six. In

1178
01:02:17,560 --> 01:02:20,280
Speaker 2: Eddie's version, he called Sammy and read him the Riot Act.

1179
01:02:20,760 --> 01:02:23,040
Speaker 2: If you want to make another record or do another tour,

1180
01:02:23,320 --> 01:02:25,960
Speaker 2: you've got to be a team player. Van Halen is

1181
01:02:26,000 --> 01:02:28,760
Speaker 2: a band, not the Sammy Hagar show, Not the Eddie

1182
01:02:28,800 --> 01:02:31,800
Speaker 2: van Halen, Alex van Halen or Michael Anthony show, he

1183
01:02:31,920 --> 01:02:35,800
Speaker 2: recalled an interview with Guitar World Sammy apparently responded by saying,

1184
01:02:35,880 --> 01:02:38,360
Speaker 2: I'm fing frustrated. I want to go back to being

1185
01:02:38,400 --> 01:02:42,200
Speaker 2: a solo artist. Eddie thanked him for his honesty, and

1186
01:02:42,600 --> 01:02:46,160
Speaker 2: with minimal fury, supposedly said, well, you can't be in

1187
01:02:46,160 --> 01:02:50,480
Speaker 2: a band and do that too, so see you, and

1188
01:02:50,680 --> 01:02:57,440
Speaker 2: so Sammy quittna huff to go back to being Sammy Hagar. Sammy, though,

1189
01:02:57,840 --> 01:03:00,160
Speaker 2: disputes this version and said that he was fired and

1190
01:03:00,240 --> 01:03:02,320
Speaker 2: adding insult to injury, he said he was horrified by

1191
01:03:02,360 --> 01:03:04,680
Speaker 2: how quickly that they brought David Lee Roth back into

1192
01:03:04,720 --> 01:03:07,080
Speaker 2: the band to complete the two new songs for the

1193
01:03:07,160 --> 01:03:10,760
Speaker 2: nineteen ninety six Greatest Hits compilation, which was, if I

1194
01:03:10,880 --> 01:03:13,400
Speaker 2: recall correctly, in and of itself, a giant sticking point

1195
01:03:13,400 --> 01:03:16,120
Speaker 2: because when they renegotiated the creation of that, they like

1196
01:03:17,120 --> 01:03:21,000
Speaker 2: everybody got a higher royalty rate than David Lee Roth. Yeah,

1197
01:03:21,440 --> 01:03:24,800
Speaker 2: what a hilarious what a hilarious band, Hagar said of

1198
01:03:24,840 --> 01:03:27,560
Speaker 2: this man, that's worse than sleeping with the enemy. We

1199
01:03:27,680 --> 01:03:29,920
Speaker 2: bumped heads, and the next thing I know, Eddie calls

1200
01:03:29,920 --> 01:03:36,000
Speaker 2: and David Lee Roth is back. Roth or Hagar, whichever

1201
01:03:36,080 --> 01:03:37,560
Speaker 2: one of them was in the band at this point,

1202
01:03:38,000 --> 01:03:42,320
Speaker 2: would soon be replaced by Gary Charon of Extreme But

1203
01:03:42,520 --> 01:03:46,480
Speaker 2: that's another story. There's a Gary Sharon soundboard.

1204
01:03:48,960 --> 01:03:51,920
Speaker 1: Other artists featured on the Twister soundtrack include Torry Amos,

1205
01:03:52,080 --> 01:03:57,760
Speaker 1: Katie Lang, Red Hot Chili Peppers, Shania Twain, and Buckingham Nicks, who,

1206
01:03:58,440 --> 01:04:00,920
Speaker 1: although in nineteen ninety six it was more Nick Buckingham,

1207
01:04:01,840 --> 01:04:05,000
Speaker 1: this was the pair's first time back together since reuniting

1208
01:04:05,120 --> 01:04:08,160
Speaker 1: someone under Duress at Bill Clinton's request for his inauguration

1209
01:04:08,720 --> 01:04:09,880
Speaker 1: in nineteen ninety three.

1210
01:04:10,880 --> 01:04:11,520
Speaker 2: More of the point.

1211
01:04:11,600 --> 01:04:14,200
Speaker 1: This was Stevie Nickson, Lindsay Buckingham's first time reuniting on

1212
01:04:14,360 --> 01:04:18,240
Speaker 1: records since nineteen eighty seven's Tango in the Night with

1213
01:04:18,440 --> 01:04:21,400
Speaker 1: sessions that ended with Lindsay quitting the band, feuding with

1214
01:04:21,520 --> 01:04:24,400
Speaker 1: Stevie and tossing her over the hood of his car

1215
01:04:24,760 --> 01:04:27,480
Speaker 1: I believe with his hands around her neck.

1216
01:04:28,400 --> 01:04:29,200
Speaker 2: May maybe not.

1217
01:04:29,360 --> 01:04:30,840
Speaker 1: That might have been the time he tried to strangle

1218
01:04:30,920 --> 01:04:33,880
Speaker 1: the engineer during the recording of Rumors I Forget But

1219
01:04:34,240 --> 01:04:37,760
Speaker 1: what a great Guyah yeah, yeah yeah. Stevie was asked

1220
01:04:37,800 --> 01:04:39,760
Speaker 1: to provide a song for the soundtrack to Twister, and

1221
01:04:40,400 --> 01:04:43,560
Speaker 1: she decided to call in Buckingham to produce it, and

1222
01:04:43,680 --> 01:04:48,120
Speaker 1: also Mick Fleetwood to play drums. Buckingham ultimately shared vocals

1223
01:04:48,200 --> 01:04:51,040
Speaker 1: with Stevie, which went a long way towards thawing their

1224
01:04:51,080 --> 01:04:54,200
Speaker 1: relations and leading to their nineteen ninety seven reunion concert

1225
01:04:54,320 --> 01:05:00,080
Speaker 1: and live album, The Dance with that incredible version of

1226
01:05:00,760 --> 01:05:06,160
Speaker 1: Silver Springs. And I didn't realize that this would lead

1227
01:05:06,240 --> 01:05:09,320
Speaker 1: to a twenty one year reunion between Buckingham and Nicks,

1228
01:05:09,360 --> 01:05:11,800
Speaker 1: which is their longest unbroken time together.

1229
01:05:12,440 --> 01:05:14,360
Speaker 2: Did you know that? Yeah?

1230
01:05:15,120 --> 01:05:18,040
Speaker 1: It all came to a crashing end in twenty eighteen

1231
01:05:18,120 --> 01:05:20,560
Speaker 1: when Nix ousted him from the band in favor of

1232
01:05:21,160 --> 01:05:25,600
Speaker 1: Check's Notes, the Guys from Crowded House and the Heartbreakers.

1233
01:05:26,240 --> 01:05:28,400
Speaker 1: The release date for Twister was pushed up a week

1234
01:05:28,480 --> 01:05:31,760
Speaker 1: in order to avoid competition with Paramount's Mission Impossible two

1235
01:05:31,800 --> 01:05:35,040
Speaker 1: weeks later, and this caused even more headaches for the

1236
01:05:35,120 --> 01:05:37,880
Speaker 1: visual effects folks at Industrial Light and Magic, who were

1237
01:05:37,920 --> 01:05:40,880
Speaker 1: already working over time to try to see Gi out

1238
01:05:40,960 --> 01:05:42,640
Speaker 1: all of the blue skies that have been in the

1239
01:05:42,680 --> 01:05:46,000
Speaker 1: background during filming, since that sort of spoils the whole

1240
01:05:46,040 --> 01:05:52,320
Speaker 1: Tornado effect and the aforementioned phillipsy Moore Hoffman's balls. Industrial

1241
01:05:52,360 --> 01:05:54,000
Speaker 1: Light and Magic had originally been on the hook to

1242
01:05:54,040 --> 01:05:57,160
Speaker 1: do digital sky replacements on one hundred and fifty shots,

1243
01:05:57,480 --> 01:06:01,320
Speaker 1: but Yondbon ultimately needed them to double that number. This

1244
01:06:01,480 --> 01:06:04,480
Speaker 1: increased workload put everybody under a time crunch to meet

1245
01:06:04,480 --> 01:06:08,080
Speaker 1: the delivery date set by Warner Brothers. Visual effects producer

1246
01:06:08,200 --> 01:06:11,360
Speaker 1: Kim Bromley Carson described it to Entertainment Weekly as as

1247
01:06:11,480 --> 01:06:14,920
Speaker 1: close to drop dead as it gets, but ultimately they

1248
01:06:14,960 --> 01:06:18,000
Speaker 1: made it in time for the premiere, which was adorably

1249
01:06:18,160 --> 01:06:19,280
Speaker 1: held at a theater.

1250
01:06:19,160 --> 01:06:22,360
Speaker 2: At an Oklahoma City mall. The film would go on

1251
01:06:22,440 --> 01:06:25,040
Speaker 2: to receive a PG thirteen rating from the Motion Picture

1252
01:06:25,040 --> 01:06:31,200
Speaker 2: Association of America due to quote intense depiction of very

1253
01:06:31,320 --> 01:06:37,680
Speaker 2: bad weather. That's gotta be that's gotta be one of

1254
01:06:37,760 --> 01:06:43,080
Speaker 2: the best ones I've ever heard. Yep, very very bad weather,

1255
01:06:44,600 --> 01:06:49,040
Speaker 2: speaking of great speaking of great phrases. Producers apparently originally

1256
01:06:49,120 --> 01:06:56,120
Speaker 2: intended to release Twister with the tagline it sucks. I've

1257
01:06:56,400 --> 01:07:00,480
Speaker 2: checked this Apparently that's for real, but sadly they weresuaded

1258
01:07:00,520 --> 01:07:02,280
Speaker 2: from doing so when it occurred to them that this

1259
01:07:02,320 --> 01:07:06,480
Speaker 2: would merely provide AMMO for critics who weren't especially positive

1260
01:07:06,520 --> 01:07:10,240
Speaker 2: about the movie. Instead, they opted for the Dark Side

1261
01:07:10,280 --> 01:07:12,600
Speaker 2: of Nature, which is nowhere near as good.

1262
01:07:14,040 --> 01:07:17,160
Speaker 1: All the topic of marketing. Snafhoo's Jamie Gertz, who's Bill

1263
01:07:17,200 --> 01:07:20,360
Speaker 1: Paxson's girlfriend in the movie, recalled a hilarious incident that

1264
01:07:20,400 --> 01:07:23,560
Speaker 1: occurred during interviews to promote the movie. She told the

1265
01:07:23,600 --> 01:07:25,520
Speaker 1: av Club, the biggest thing I remember from when we

1266
01:07:25,560 --> 01:07:27,240
Speaker 1: were doing press for the film was that we went

1267
01:07:27,280 --> 01:07:30,400
Speaker 1: on Oprah. We came on individually. We were talking about

1268
01:07:30,440 --> 01:07:32,920
Speaker 1: how tough it was to shoot. We'd get to breathe

1269
01:07:32,960 --> 01:07:35,440
Speaker 1: in our eyes and the wind machines and we have

1270
01:07:35,520 --> 01:07:38,440
Speaker 1: to use eyew wash, and sometimes when we were in

1271
01:07:38,520 --> 01:07:41,080
Speaker 1: the makeup trailer, we'd have to turn off the electricity

1272
01:07:41,480 --> 01:07:43,600
Speaker 1: because we were so close to an electrical storm and

1273
01:07:43,640 --> 01:07:44,240
Speaker 1: they didn't want.

1274
01:07:44,120 --> 01:07:45,880
Speaker 2: To get electrocuted. Blah blah blah.

1275
01:07:46,360 --> 01:07:48,840
Speaker 1: And then Oprah breaks for commercials, and then she comes

1276
01:07:48,880 --> 01:07:52,080
Speaker 1: back and says, and now for survivors of real twisters.

1277
01:07:53,320 --> 01:07:56,160
Speaker 1: So here are all these actors, these dopey actors on stage,

1278
01:07:56,520 --> 01:07:58,080
Speaker 1: and now you have all these people who were like,

1279
01:07:58,280 --> 01:08:02,440
Speaker 1: I was burns, lightning hit me, and we're like, oh no, that.

1280
01:08:02,760 --> 01:08:06,400
Speaker 2: Didn't happen to us. Oh it was just humiliating.

1281
01:08:06,760 --> 01:08:09,120
Speaker 1: Here are these real survivors of twisters and We're just

1282
01:08:09,160 --> 01:08:13,000
Speaker 1: the pretend movie version. Helen Hunt also had a funny

1283
01:08:13,000 --> 01:08:14,680
Speaker 1: moment during the press stour. She said that when they

1284
01:08:14,720 --> 01:08:17,080
Speaker 1: were doing some show might have even been Oprah. They

1285
01:08:17,160 --> 01:08:19,840
Speaker 1: took questions from the audience, and one woman asked Hunt

1286
01:08:19,920 --> 01:08:21,960
Speaker 1: why her character wouldn't put her hair up on a

1287
01:08:22,040 --> 01:08:24,360
Speaker 1: ponytail when she was a little of a tornado.

1288
01:08:24,760 --> 01:08:26,839
Speaker 2: Apparently the whole movie her hair is down.

1289
01:08:27,080 --> 01:08:29,680
Speaker 1: To which Hunt was apparently replied, screw you don't get

1290
01:08:29,720 --> 01:08:30,439
Speaker 1: technical with me.

1291
01:08:31,840 --> 01:08:36,840
Speaker 2: I'm Helen Hunt. Bitch. Twister was a gargantuan success at

1292
01:08:36,840 --> 01:08:39,840
Speaker 2: the box office, sucking in nearly half a billion worldwide.

1293
01:08:40,479 --> 01:08:44,120
Speaker 1: This wasn't bad. Concerning the budget, this wasn't bad. Contindering

1294
01:08:45,400 --> 01:08:47,800
Speaker 1: blowing in. I know, this wasn't bad.

1295
01:08:47,880 --> 01:08:50,080
Speaker 2: Concerning the budget was ninety million, making one of the

1296
01:08:50,120 --> 01:08:54,439
Speaker 2: most expensive movies in the nineties, as Perianderbon's wishes. Only

1297
01:08:54,520 --> 01:08:57,439
Speaker 2: Independence Day made more money in nineteen tenety six at

1298
01:08:57,479 --> 01:09:01,800
Speaker 2: eight hundred and seventeen point four million. Yeah you figure

1299
01:09:01,840 --> 01:09:05,320
Speaker 2: what marketing's twice that, so you know, one hundred and

1300
01:09:05,360 --> 01:09:08,040
Speaker 2: eighty mil all told, maybe call it two fifty just

1301
01:09:08,120 --> 01:09:10,360
Speaker 2: for laughs, making almost half a bill. Good for them.

1302
01:09:11,160 --> 01:09:13,800
Speaker 2: Roger Ebert, as was his wont was something of a

1303
01:09:13,840 --> 01:09:16,679
Speaker 2: savage in his review of this well made, generally well meaning,

1304
01:09:16,760 --> 01:09:19,600
Speaker 2: if a slightly dumb movie. He gave Twister two and

1305
01:09:19,640 --> 01:09:23,000
Speaker 2: a half stars out of four and wrote, you want loud, dumb, skillful,

1306
01:09:23,200 --> 01:09:26,800
Speaker 2: escapist entertainment. Twister works that should have just been there

1307
01:09:26,840 --> 01:09:29,760
Speaker 2: Pool quote you want to think think twice about seeing it.

1308
01:09:30,439 --> 01:09:32,200
Speaker 2: Janet Maslin of The New York Times, though, has what

1309
01:09:32,320 --> 01:09:34,840
Speaker 2: is surely one of the most puzzling reviews. She writes,

1310
01:09:35,200 --> 01:09:38,320
Speaker 2: somehow Twister stays as up tempo and exuberant as a

1311
01:09:38,400 --> 01:09:43,759
Speaker 2: rollercoaster ride, neatly avoiding the idea of real danger, does it, Janet?

1312
01:09:44,760 --> 01:09:48,559
Speaker 2: I don't know. I thought it was pretty scary. Lisa

1313
01:09:48,600 --> 01:09:51,439
Speaker 2: Schwartz Bom Entertainment Weekly is more aligned with your thinking,

1314
01:09:51,520 --> 01:09:54,439
Speaker 2: you write in her review, she said, giving the film

1315
01:09:54,479 --> 01:09:57,160
Speaker 2: a B. She write, the images that linger longest in

1316
01:09:57,240 --> 01:10:01,120
Speaker 2: my memory are those of windswept livestock in a teacup.

1317
01:10:01,200 --> 01:10:04,559
Speaker 2: Sums up everything that's right and wrong about this appealingly noisy,

1318
01:10:04,720 --> 01:10:10,639
Speaker 2: but ultimately flyaway first blockbuster of summer. The reviews took

1319
01:10:10,680 --> 01:10:13,960
Speaker 2: a serious, almost existentialist view of the Violet Wins questioning

1320
01:10:14,000 --> 01:10:16,160
Speaker 2: whether the film did enough to illustrate the extent of

1321
01:10:16,160 --> 01:10:19,000
Speaker 2: the horrores. Writing in Time Magazine, Richard Schickel said, when

1322
01:10:19,080 --> 01:10:21,960
Speaker 2: action is never shown to have deadly or pitable consequences,

1323
01:10:22,120 --> 01:10:25,559
Speaker 2: it tends towards abstraction. Pretty soon, you're not tornado watching

1324
01:10:25,960 --> 01:10:29,120
Speaker 2: your special effects watching. Yeah, you know, this movie is

1325
01:10:29,160 --> 01:10:32,080
Speaker 2: really irresponsible in the way that inspired all those school tornadoes.

1326
01:10:36,520 --> 01:10:39,800
Speaker 2: In his review for The Washington Post, Desson Howe, I'm

1327
01:10:39,800 --> 01:10:42,720
Speaker 2: wanna bully that guy wrote, it's a triumph of technology.

1328
01:10:43,320 --> 01:10:45,960
Speaker 2: It's a triumph of technology over storytelling, and the actress

1329
01:10:46,040 --> 01:10:48,800
Speaker 2: craft characters merely exist to tell a couple of jokes,

1330
01:10:48,960 --> 01:10:53,840
Speaker 2: cower in fear of downdrafts, and otherwise killed time between tornadoes. Yeah,

1331
01:10:56,680 --> 01:10:59,040
Speaker 2: what do you just want one giant? It's the whole time.

1332
01:11:00,520 --> 01:11:03,040
Speaker 2: It's not the Seventh Seal, dude. The reviews for this

1333
01:11:03,120 --> 01:11:09,120
Speaker 2: are really harsh. Yeah, oh, man, I don't know. Do

1334
01:11:09,160 --> 01:11:12,320
Speaker 2: you think film criticism got no, I mean that's an

1335
01:11:12,320 --> 01:11:15,040
Speaker 2: interesting point. I do think film criticism has actually gotten

1336
01:11:15,160 --> 01:11:20,479
Speaker 2: nicer as a whole because we need access, Yeah exactly. Yeah. Yeah,

1337
01:11:20,640 --> 01:11:23,280
Speaker 2: and the people who used to have access and write

1338
01:11:23,320 --> 01:11:25,519
Speaker 2: this kind of stuff have been replaced by people who

1339
01:11:25,520 --> 01:11:30,240
Speaker 2: will just write nice garbage in exchange for perks. Despite

1340
01:11:30,240 --> 01:11:33,800
Speaker 2: all this criticism, Twister was up for two Oscars, Perhaps unsurprisingly,

1341
01:11:33,880 --> 01:11:36,720
Speaker 2: they were of the technical variety. Movie was nominated for

1342
01:11:36,800 --> 01:11:39,280
Speaker 2: Best Sound and Best Visual Effects by the Oscars, but

1343
01:11:39,360 --> 01:11:42,080
Speaker 2: it did not win either award. On the other end

1344
01:11:42,120 --> 01:11:44,400
Speaker 2: of the award show spectrum, Twister earned some Razzie knoms

1345
01:11:44,439 --> 01:11:48,080
Speaker 2: for Jamie Gertz aka the Girlfriend, for Worst supporting writers

1346
01:11:48,120 --> 01:11:50,960
Speaker 2: Michael An Crichton and Anne Marie Martin, winning in the

1347
01:11:51,600 --> 01:11:55,200
Speaker 2: probably limited category of worst written film that grossed over

1348
01:11:55,280 --> 01:11:57,920
Speaker 2: one hundred mil. Never forget that the Razzies have written

1349
01:11:57,960 --> 01:12:01,840
Speaker 2: by we're creating a bunch of bitter Hollywood journalists. But

1350
01:12:02,600 --> 01:12:05,759
Speaker 2: once again, you know, history has proven the winner because

1351
01:12:05,800 --> 01:12:07,960
Speaker 2: Twister would go on to be an important footnote in

1352
01:12:08,040 --> 01:12:12,560
Speaker 2: the history of cinema. It is the first movie to

1353
01:12:12,640 --> 01:12:16,439
Speaker 2: be released on DVD for home viewing in October of

1354
01:12:16,560 --> 01:12:19,840
Speaker 2: nineteen ninety seven, another good pub trivia question. The film's

1355
01:12:19,880 --> 01:12:22,800
Speaker 2: legacy could also be felt in tourism. Following the release

1356
01:12:22,840 --> 01:12:25,880
Speaker 2: of Twister, there was an uptick in Tornado tourism, with

1357
01:12:26,040 --> 01:12:29,160
Speaker 2: adventurous souls traveling to twister prone areas and trying their

1358
01:12:29,200 --> 01:12:33,080
Speaker 2: hand at being amateur storm chasers a dumb thing to do.

1359
01:12:34,479 --> 01:12:38,080
Speaker 2: Tami does not endorse this behavior unless you have money

1360
01:12:38,120 --> 01:12:41,600
Speaker 2: for us, in which case I'll do literally anything. And

1361
01:12:41,720 --> 01:12:45,360
Speaker 2: speaking of dumb, what of our directorial tyrant Yon Debont

1362
01:12:45,760 --> 01:12:48,760
Speaker 2: whatever became of him? Given the success of Twister, he

1363
01:12:48,880 --> 01:12:53,080
Speaker 2: seemed poised to take over Hollywood, but unfortunately karma is real.

1364
01:12:53,280 --> 01:12:56,280
Speaker 2: His next films, Speed to Cruise Control and The Haunting

1365
01:12:56,640 --> 01:12:59,759
Speaker 2: flipped flopped. They flipped and flopped at the box office

1366
01:12:59,760 --> 01:13:03,439
Speaker 2: and torn apart by critics. As a result, his reputation suffered,

1367
01:13:05,040 --> 01:13:08,759
Speaker 2: something that apparently failed to happen in the after effects

1368
01:13:08,800 --> 01:13:13,400
Speaker 2: of Twister, when he was beating his crew and taking

1369
01:13:13,439 --> 01:13:15,800
Speaker 2: shots at his lead actress in the press. Anyway, he

1370
01:13:15,840 --> 01:13:17,759
Speaker 2: has not directed a movie since two thousand and threes.

1371
01:13:17,920 --> 01:13:21,080
Speaker 2: Laura Croft tomb Raider colon The Cradle of Life. I

1372
01:13:21,160 --> 01:13:23,439
Speaker 2: have no memory of this film, do you no? I

1373
01:13:23,520 --> 01:13:25,920
Speaker 2: mean it was a sequel, I remember the first one.

1374
01:13:26,000 --> 01:13:28,920
Speaker 2: But yeah, what does he I mean? He's Dutch, right,

1375
01:13:28,960 --> 01:13:30,800
Speaker 2: they get free healthcare. He's probably just back there from

1376
01:13:31,160 --> 01:13:36,599
Speaker 2: sticking his finger in dykes again. Low hanging fruit people

1377
01:13:36,640 --> 01:13:38,600
Speaker 2: I'm sorry, but if you want your country to be

1378
01:13:38,840 --> 01:13:42,479
Speaker 2: more accurately and hilariously made fun of, be more interesting.

1379
01:13:43,240 --> 01:13:45,320
Speaker 2: The only thing I haven't touched is shots of Pete

1380
01:13:45,400 --> 01:13:46,360
Speaker 2: because it's just weird.

1381
01:13:46,880 --> 01:13:50,599
Speaker 1: Well, speaking of woefully misbegotten sequels, naturally, given the huge

1382
01:13:50,600 --> 01:13:54,520
Speaker 1: success of Twister, there was lots of talk of a sequel. Surprisingly,

1383
01:13:54,720 --> 01:13:59,120
Speaker 1: the only project to materialize for decades at least, was

1384
01:13:59,200 --> 01:14:03,240
Speaker 1: a direct to video sequel called Twister Warp Speed, a

1385
01:14:03,360 --> 01:14:07,960
Speaker 1: film I can find literally nothing about online. No Wikipedia page,

1386
01:14:08,000 --> 01:14:11,320
Speaker 1: no IMDb page, which leads me to believe listical sites

1387
01:14:11,360 --> 01:14:13,599
Speaker 1: are lying to me. If you were a loved one

1388
01:14:13,720 --> 01:14:17,240
Speaker 1: have seen this movie, please get in touch. So instead,

1389
01:14:17,360 --> 01:14:19,400
Speaker 1: let's talk about one of the great near misses in

1390
01:14:19,479 --> 01:14:22,679
Speaker 1: the cannon of great cinema, a sequel to Twister, directed

1391
01:14:22,760 --> 01:14:26,960
Speaker 1: by its original star Bill Paxton. I didn't know this

1392
01:14:27,400 --> 01:14:30,240
Speaker 1: until starting researching this episode. I didn't know that Bill

1393
01:14:30,320 --> 01:14:32,719
Speaker 1: Paxson got into directing at the dawn of the millennium.

1394
01:14:33,200 --> 01:14:35,400
Speaker 1: I would assume maybe from all that time hanging out

1395
01:14:35,439 --> 01:14:38,240
Speaker 1: with James Cameron. As you mentioned earlier, he was behind

1396
01:14:38,360 --> 01:14:42,559
Speaker 1: the acclaimed question Mark two thousand and one horror movie Frailty.

1397
01:14:42,960 --> 01:14:46,160
Speaker 2: It's definitely like an A minus film. Oh wow, Okay,

1398
01:14:46,400 --> 01:14:52,600
Speaker 2: got a great crazy Matthew McConaughey performance. Oh yeah, we.

1399
01:14:52,640 --> 01:14:55,000
Speaker 1: Haven't had an impression this episode yet. You got mcnaughey,

1400
01:14:55,200 --> 01:14:57,200
Speaker 1: You got to McConaughey seeing a cow.

1401
01:14:58,760 --> 01:15:01,639
Speaker 2: Now moon Man, that's more. Owen Wilson.

1402
01:15:02,000 --> 01:15:04,839
Speaker 1: No, I just watched rewatch the first season A True Detective,

1403
01:15:04,920 --> 01:15:09,520
Speaker 1: So I'm just I'm stuck in that horrible, nihilistic McConaughey.

1404
01:15:09,880 --> 01:15:11,479
Speaker 1: Let's get back to Bill Packson, who has all the

1405
01:15:11,560 --> 01:15:14,360
Speaker 1: earnestness that we need right now. He hoped to revisit

1406
01:15:14,400 --> 01:15:18,160
Speaker 1: Twister with himself behind the lens. He told the AV

1407
01:15:18,280 --> 01:15:20,679
Speaker 1: Club in twenty twelve, I'd love the direct a sequel

1408
01:15:20,680 --> 01:15:22,920
Speaker 1: to that movie. I always felt like there was a

1409
01:15:23,080 --> 01:15:25,640
Speaker 1: Jaws version of that movie. I always felt like we

1410
01:15:25,720 --> 01:15:28,479
Speaker 1: did the pepsi light version of that movie. There was

1411
01:15:28,520 --> 01:15:31,479
Speaker 1: a tougher version of that movie. I think now I've

1412
01:15:31,600 --> 01:15:33,599
Speaker 1: kind of designed it so that me and Helen Hunt

1413
01:15:33,640 --> 01:15:35,840
Speaker 1: would have a daughter, a junior in high school, but

1414
01:15:35,920 --> 01:15:38,439
Speaker 1: she's already dating a guy in college, and we kind

1415
01:15:38,479 --> 01:15:41,840
Speaker 1: of hand it off to them. I just like the

1416
01:15:41,920 --> 01:15:45,880
Speaker 1: idea of the Jaws of this where it's like the

1417
01:15:46,000 --> 01:15:52,519
Speaker 1: Twister sneaks up on them. The Twister doesn't work for

1418
01:15:52,640 --> 01:15:55,439
Speaker 1: nine of the movie, and you just never see it.

1419
01:15:55,760 --> 01:15:57,760
Speaker 1: I guess you don't see a twister really, it's just

1420
01:15:58,600 --> 01:15:59,000
Speaker 1: the wind.

1421
01:16:02,800 --> 01:16:05,400
Speaker 2: Also, just like I don't know, just just seemed pretty tough,

1422
01:16:05,560 --> 01:16:08,439
Speaker 2: but alright, whatever, whatever Paston. I wonder if it's I

1423
01:16:08,479 --> 01:16:10,160
Speaker 2: think it's it's kind of funny that you're like, this

1424
01:16:10,280 --> 01:16:11,120
Speaker 2: movie scared the shit.

1425
01:16:11,160 --> 01:16:12,800
Speaker 1: I mean, for the past ten minutes, we've been hearing

1426
01:16:12,840 --> 01:16:14,719
Speaker 1: people being about this movie is for WIMPs.

1427
01:16:15,439 --> 01:16:20,439
Speaker 2: Yeah, pretty much. Yeah. I was also like nine, well, sure, yeah, yeah.

1428
01:16:22,280 --> 01:16:24,960
Speaker 1: Paxon apparently hoped to use the three D technology that

1429
01:16:25,080 --> 01:16:27,559
Speaker 1: was being pioneered for the film Avatar by his buddy

1430
01:16:27,680 --> 01:16:33,519
Speaker 1: JC James Cameron Mauge, not John Carpenter or Jesus Christ,

1431
01:16:34,479 --> 01:16:40,080
Speaker 1: but apparently Paxon couldn't get studios interested in a Twister sequel,

1432
01:16:41,280 --> 01:16:44,439
Speaker 1: which I just I don't know if the technology scared

1433
01:16:44,479 --> 01:16:44,920
Speaker 1: them off.

1434
01:16:45,000 --> 01:16:47,280
Speaker 2: I mean, I guess this was like ten years after

1435
01:16:47,360 --> 01:16:48,599
Speaker 2: the fact of the original Twister.

1436
01:16:48,800 --> 01:16:51,439
Speaker 1: It's like long enough that it's weird, but not long

1437
01:16:51,520 --> 01:16:54,880
Speaker 1: enough that it's like a classic thing that revisits. I

1438
01:16:54,920 --> 01:16:58,839
Speaker 1: don't know, I still find that strange. Unfortunately, Bill Paxson

1439
01:16:59,000 --> 01:17:01,599
Speaker 1: was not able to realize this stream before his untimely

1440
01:17:01,720 --> 01:17:03,120
Speaker 1: death at the age of sixty one.

1441
01:17:04,439 --> 01:17:05,360
Speaker 2: This is very sweet.

1442
01:17:05,400 --> 01:17:09,240
Speaker 1: His passing was marked by real life storm chasers, much

1443
01:17:09,360 --> 01:17:11,439
Speaker 1: like Top Gun did for the Air Force, Twister went

1444
01:17:11,479 --> 01:17:15,440
Speaker 1: a long way and helping popularize the profession of meteorology

1445
01:17:15,640 --> 01:17:18,720
Speaker 1: and storm chasers specifically. A lot of this was thanks

1446
01:17:18,760 --> 01:17:21,280
Speaker 1: to Universal Studios, who made a grant to the University

1447
01:17:21,320 --> 01:17:24,400
Speaker 1: of Oklahoma, who acted as advisors on the film and

1448
01:17:24,640 --> 01:17:27,360
Speaker 1: funded meteorologists to go on a mobile tour of the

1449
01:17:27,479 --> 01:17:31,439
Speaker 1: eastern half of the country, staging safety presentations at science

1450
01:17:31,560 --> 01:17:34,120
Speaker 1: museums and a dozen major cities about what to do

1451
01:17:34,240 --> 01:17:36,800
Speaker 1: in the event of a tornado. And then, of course,

1452
01:17:36,880 --> 01:17:39,600
Speaker 1: following the release of the film, the number of meteorological

1453
01:17:39,640 --> 01:17:43,240
Speaker 1: majors in the United States universities increased by about ten percent,

1454
01:17:44,520 --> 01:17:46,679
Speaker 1: and a lot of the glory of this triumph reflected

1455
01:17:46,760 --> 01:17:50,160
Speaker 1: onto our beloved Bill Paxson, who later narrated a storm

1456
01:17:50,320 --> 01:17:55,800
Speaker 1: chaser documentary twenty eleven's Tornado Alley. Hence why the stormchaser

1457
01:17:55,880 --> 01:17:59,800
Speaker 1: community loved him, and shortly after Packson's death, a group

1458
01:17:59,840 --> 01:18:03,280
Speaker 1: of two hundred storm trackers arranged themselves to spell out

1459
01:18:03,360 --> 01:18:07,400
Speaker 1: his initials using their GPS trackers, which was seen by

1460
01:18:07,439 --> 01:18:11,439
Speaker 1: a Spotter Network weather report system designed to respond to

1461
01:18:11,600 --> 01:18:14,800
Speaker 1: extreme weather emergencies. I don't fully get how it works,

1462
01:18:14,840 --> 01:18:16,479
Speaker 1: but there's a YouTube equip of the moment, and it

1463
01:18:16,560 --> 01:18:18,439
Speaker 1: basically looks like a bunch of radar blips on a

1464
01:18:18,479 --> 01:18:20,040
Speaker 1: map of the country that formed the.

1465
01:18:20,080 --> 01:18:22,160
Speaker 2: Letters BP, and it's huge.

1466
01:18:22,400 --> 01:18:24,960
Speaker 1: The whole tribute it covered regions of Oklahoma and I

1467
01:18:25,040 --> 01:18:28,240
Speaker 1: think parts of Texas which were also where they filmed

1468
01:18:28,240 --> 01:18:30,719
Speaker 1: in the movie too, including the real town of Wikita.

1469
01:18:31,320 --> 01:18:34,479
Speaker 1: So I thought that was very sweet. Spotted Network president

1470
01:18:34,600 --> 01:18:37,599
Speaker 1: John Wedder said of Bill Packson, his character in Twister

1471
01:18:37,800 --> 01:18:41,880
Speaker 1: helped to make meteorology and the hobby of storm chasing cool.

1472
01:18:42,800 --> 01:18:45,920
Speaker 2: Stormchasing a hobby. I guess, man, can you imagine doing

1473
01:18:45,960 --> 01:18:47,479
Speaker 2: that for free? Yeah? Yeah.

1474
01:18:48,040 --> 01:18:51,160
Speaker 1: So Sadly, Bill Packson never got to make his Twister

1475
01:18:51,320 --> 01:18:54,000
Speaker 1: reboot or sequel or remake or whatever it was going

1476
01:18:54,080 --> 01:18:56,320
Speaker 1: to be, and for a time there were rumors that

1477
01:18:56,479 --> 01:18:58,840
Speaker 1: Helen Hunt would pick up the mantle from her fallen

1478
01:18:58,920 --> 01:19:00,759
Speaker 1: co star and develop a sequel herself.

1479
01:19:01,680 --> 01:19:03,800
Speaker 2: In June twenty twenty, in the midst of.

1480
01:19:03,800 --> 01:19:06,479
Speaker 1: The protests that erupted following the murder of George Floyd,

1481
01:19:06,880 --> 01:19:10,200
Speaker 1: she reportedly met with the studio to discuss directing and

1482
01:19:10,400 --> 01:19:13,000
Speaker 1: starring in a Twister sequel she had in mind, which

1483
01:19:13,000 --> 01:19:16,800
Speaker 1: would feature people of color. She was fairly blunt about

1484
01:19:16,840 --> 01:19:19,559
Speaker 1: the experience in a recent appearance on Watch What Happens Live,

1485
01:19:19,720 --> 01:19:22,200
Speaker 1: saying I tried to get it made with Davd Diggs

1486
01:19:22,240 --> 01:19:25,760
Speaker 1: and Rafael Cassal and me writing it. I think all

1487
01:19:25,840 --> 01:19:28,280
Speaker 1: three of them writing it and all black and brown

1488
01:19:28,400 --> 01:19:31,040
Speaker 1: storm Chasers, and they wouldn't do it. I was going

1489
01:19:31,080 --> 01:19:33,439
Speaker 1: to direct it. We could barely get a meeting. And

1490
01:19:33,560 --> 01:19:35,400
Speaker 1: this was June of twenty twenty, when it was all

1491
01:19:35,439 --> 01:19:38,360
Speaker 1: about diversity. It would have been so cool. There was

1492
01:19:38,400 --> 01:19:42,360
Speaker 1: an HBCU historically Black College University near Nashville where we

1493
01:19:42,439 --> 01:19:44,880
Speaker 1: wanted it to take place in a rocket science club,

1494
01:19:45,080 --> 01:19:46,920
Speaker 1: and in this one, they would shoot the rockets into

1495
01:19:46,920 --> 01:19:47,519
Speaker 1: the tornado.

1496
01:19:47,760 --> 01:19:51,920
Speaker 2: It was going to be so cool. Davd Diggs elaborated, there.

1497
01:19:51,880 --> 01:19:54,080
Speaker 1: Was an opportunity that we were talking about, but it

1498
01:19:54,160 --> 01:19:56,240
Speaker 1: didn't happen, and the reasons that it didn't happen are

1499
01:19:56,280 --> 01:19:59,040
Speaker 1: potentially shady, but shady in the way that we.

1500
01:19:59,120 --> 01:20:02,280
Speaker 2: Know the industry is shady. That's really wild man. Good

1501
01:20:02,320 --> 01:20:04,400
Speaker 2: for Helen Hunt. Yeah yeah.

1502
01:20:05,880 --> 01:20:08,720
Speaker 1: Hilariously, the version of the sequel that is coming out

1503
01:20:08,840 --> 01:20:11,880
Speaker 1: this summer actually took the step of killing off Helen

1504
01:20:11,960 --> 01:20:16,280
Speaker 1: Hunt's character, which is the official explanation why she will

1505
01:20:16,360 --> 01:20:20,000
Speaker 1: not be featured in Twisters. Great, great, great oral history work.

1506
01:20:20,040 --> 01:20:21,880
Speaker 1: Putting those two right next to each other.

1507
01:20:23,960 --> 01:20:24,240
Speaker 2: Thank you.

1508
01:20:27,080 --> 01:20:30,920
Speaker 1: Twisters features a script by Mark L. Smith, who'd previously

1509
01:20:30,960 --> 01:20:34,040
Speaker 1: written the Academy Award winning film The Revenant. Do we

1510
01:20:34,080 --> 01:20:36,240
Speaker 1: think this film will win an Academy Award?

1511
01:20:36,560 --> 01:20:38,400
Speaker 2: I mean The Revenant is like, I mean, it's been

1512
01:20:38,479 --> 01:20:39,960
Speaker 2: whiles as I see that movie, but it isn't like

1513
01:20:40,040 --> 01:20:44,040
Speaker 2: sixty percent of it, just like sweeping shots of vistas. Yeah,

1514
01:20:45,520 --> 01:20:49,120
Speaker 2: and Leonardo DiCaprio like grunting on his belly through the

1515
01:20:49,280 --> 01:20:55,000
Speaker 2: Dirk like okay, okay, bud okay. Man. Yeah, Mark L. Smith,

1516
01:20:55,680 --> 01:20:57,400
Speaker 2: It'd be really funny if it was Mark E. Smith,

1517
01:20:57,479 --> 01:21:00,800
Speaker 2: the famously cantankerous frontman of post punk pioneers The Fall,

1518
01:21:01,320 --> 01:21:04,080
Speaker 2: who is just like hated everything and everyone, who was

1519
01:21:04,160 --> 01:21:07,280
Speaker 2: like the world's worst person to work with. He died recently,

1520
01:21:07,360 --> 01:21:08,519
Speaker 2: didn't he a couple of years back.

1521
01:21:08,600 --> 01:21:10,200
Speaker 1: Yeah, I hit so many people in his band that

1522
01:21:10,400 --> 01:21:13,200
Speaker 1: like when people kept like alienating so many people. When

1523
01:21:13,240 --> 01:21:15,360
Speaker 1: people caught him out on it, and his quote was,

1524
01:21:15,880 --> 01:21:18,760
Speaker 1: if it's me and you're Granny on bongos, it's still

1525
01:21:18,840 --> 01:21:24,120
Speaker 1: the fall. Ah. The plot of Twisters centers on the

1526
01:21:24,240 --> 01:21:27,759
Speaker 1: child of Helen Hunt and Bill Paxson's respective characters, who's

1527
01:21:27,800 --> 01:21:32,640
Speaker 1: become a stormchaser like her parents the most just softball

1528
01:21:33,160 --> 01:21:34,880
Speaker 1: way that could have gone, Okay.

1529
01:21:34,720 --> 01:21:36,720
Speaker 2: Oh wait, we gotta spend some time pitching this. Do

1530
01:21:36,880 --> 01:21:38,960
Speaker 2: you think she's gonna go up to a tornado and

1531
01:21:39,040 --> 01:21:46,840
Speaker 2: say give me back my mom? Will Cats in the

1532
01:21:46,880 --> 01:21:50,559
Speaker 2: Cradle be played? But not the original version of Cats

1533
01:21:50,560 --> 01:21:53,120
Speaker 2: in the Cradle but like a Billie Eilish like slowed

1534
01:21:53,240 --> 01:21:57,599
Speaker 2: down reverb, haunting minor key, single note in the low

1535
01:21:57,680 --> 01:22:02,840
Speaker 2: register of the piano version. That's not bad. Yeah? Will

1536
01:22:02,920 --> 01:22:07,479
Speaker 2: the tornado be revealed to be like just trauma? Was

1537
01:22:07,520 --> 01:22:11,519
Speaker 2: the real tornado just within us? All the real storms

1538
01:22:11,600 --> 01:22:13,360
Speaker 2: that we need to fear are the ones within?

1539
01:22:14,000 --> 01:22:14,200
Speaker 3: Yeah?

1540
01:22:14,280 --> 01:22:19,920
Speaker 2: Does the storm? Does she call the storm by telling

1541
01:22:19,960 --> 01:22:22,559
Speaker 2: it it's not their fault? We could get Van Halen

1542
01:22:22,640 --> 01:22:26,240
Speaker 2: back together and break him up again for this, the

1543
01:22:26,400 --> 01:22:30,760
Speaker 2: surviving members of Van Halen reunite. No, no, no, no,

1544
01:22:32,320 --> 01:22:35,840
Speaker 2: it's Stevie Nixon, Sammy Haycar. Oh yeah, that's the pitch.

1545
01:22:36,080 --> 01:22:39,320
Speaker 2: I mean that's the yeah. Oh man, we have such

1546
01:22:39,360 --> 01:22:42,200
Speaker 2: good ideas, not even not even for the soundtrack, like

1547
01:22:42,320 --> 01:22:45,759
Speaker 2: as the stars of the movie. Wait, who is starring

1548
01:22:45,840 --> 01:22:46,760
Speaker 2: in it? Glad you asked?

1549
01:22:47,400 --> 01:22:50,240
Speaker 1: It is the where the Crawl Dads Sing? Starred Daisy

1550
01:22:50,400 --> 01:22:51,400
Speaker 1: Edgar Jones.

1551
01:22:51,120 --> 01:22:51,559
Speaker 2: In the lead.

1552
01:22:51,960 --> 01:22:52,120
Speaker 3: Ah.

1553
01:22:52,280 --> 01:22:54,040
Speaker 2: Yes, did she ever find out where?

1554
01:22:54,080 --> 01:22:54,280
Speaker 1: They do?

1555
01:22:54,360 --> 01:23:02,559
Speaker 2: In fact? Sing? Amsterdam gulfs Wing And that's a wrap.

1556
01:23:03,880 --> 01:23:06,400
Speaker 2: Oh t oh, you had you had more.

1557
01:23:07,120 --> 01:23:09,360
Speaker 1: The film was st to be released on July nineteenth,

1558
01:23:09,520 --> 01:23:13,920
Speaker 1: twenty twenty four, but I cannot imagine it will hold

1559
01:23:13,960 --> 01:23:17,200
Speaker 1: a candle to this cinematic classic. Did you already say

1560
01:23:17,200 --> 01:23:19,120
Speaker 1: a bunch of stuff about Joseph Kasinski and I just

1561
01:23:19,200 --> 01:23:19,800
Speaker 1: glazed over it.

1562
01:23:19,920 --> 01:23:21,519
Speaker 2: No, I didn't say it because I didn't care. Yeah,

1563
01:23:21,560 --> 01:23:24,519
Speaker 2: none of those words are in the Bible. No, this

1564
01:23:24,680 --> 01:23:25,479
Speaker 2: is this is funny.

1565
01:23:25,520 --> 01:23:27,639
Speaker 1: Though he was the guy who did Top Gun, Maverick

1566
01:23:27,760 --> 01:23:30,040
Speaker 1: was initially slated to direct, but this was such a

1567
01:23:30,479 --> 01:23:31,920
Speaker 1: the possibility.

1568
01:23:31,360 --> 01:23:34,160
Speaker 2: Of twisters, dude, they should have put his z on it.

1569
01:23:34,320 --> 01:23:38,120
Speaker 2: Man Zoomers are obsessed with the late nineties and early

1570
01:23:38,160 --> 01:23:42,680
Speaker 2: two thousands, right now, put his z on it. Yeah, yeah, idiots,

1571
01:23:43,160 --> 01:23:46,400
Speaker 2: Why are we such good Hollywood executives? Jordan and just

1572
01:23:46,680 --> 01:23:49,879
Speaker 2: alone talking about David Lee, Roth.

1573
01:23:51,760 --> 01:23:55,760
Speaker 1: Smashes Beard Can throws it into his empty, hot, empty room.

1574
01:23:57,080 --> 01:23:57,320
Speaker 2: Yeah.

1575
01:23:58,080 --> 01:24:00,920
Speaker 1: Imagine the prospect of this movie being so depressing that

1576
01:24:01,080 --> 01:24:04,600
Speaker 1: the guy who directed Top Gun Maverick opted out of

1577
01:24:04,680 --> 01:24:07,559
Speaker 1: this to commit to a Brad Pitt movie about Formula one.

1578
01:24:09,560 --> 01:24:12,840
Speaker 2: Actually that sounds pretty cool. Actually that sounds but it's

1579
01:24:12,880 --> 01:24:18,200
Speaker 2: at Apple TV. Oh man, Hollywood screwed up follow of

1580
01:24:18,200 --> 01:24:19,000
Speaker 2: an empire baby.

1581
01:24:19,800 --> 01:24:24,360
Speaker 1: Yeah. Well, I'd like to leave you all with the words,

1582
01:24:25,120 --> 01:24:28,600
Speaker 1: actually my favorite line from this movie, which I do

1583
01:24:28,760 --> 01:24:40,439
Speaker 1: know from heart, thank you for listening.

1584
01:24:40,720 --> 01:24:42,920
Speaker 2: I'm Alex Hagel and.

1585
01:24:42,960 --> 01:24:50,800
Speaker 1: I'm Jordan run Tag. We'll catch you next time. Too

1586
01:24:50,880 --> 01:24:54,880
Speaker 1: Much Information was a production of iHeartRadio. The show's executive.

1587
01:24:54,400 --> 01:24:56,679
Speaker 2: Producers are Noel Brown and Jordan run Talk.

1588
01:24:56,840 --> 01:25:00,320
Speaker 1: The show's supervising producer is Michael Alder June. The show

1589
01:25:00,439 --> 01:25:03,479
Speaker 1: was researched, written, and hosted by Jordan Brundagg and Alex

1590
01:25:03,560 --> 01:25:06,479
Speaker 1: Heigel with original music by Seth Applebaum and the Ghost

1591
01:25:06,560 --> 01:25:07,240
Speaker 1: Funk Orchestra.

1592
01:25:07,600 --> 01:25:09,639
Speaker 2: If you like what you heard, please subscribe and leave

1593
01:25:09,720 --> 01:25:10,200
Speaker 2: us a review.

1594
01:25:10,479 --> 01:25:14,760
Speaker 1: For more podcasts and iHeartRadio, visit the iHeartRadio app, Apple Podcasts,

1595
01:25:15,000 --> 01:25:16,719
Speaker 1: or wherever you listen to your favorite shows.