1
00:00:00,080 --> 00:00:06,439
Speaker 1: Too Much Information is a production of iHeartRadio.

2
00:00:09,400 --> 00:00:12,560
Speaker 2: Hello everyone, and welcome to Too Much Information, the show

3
00:00:12,560 --> 00:00:15,360
Speaker 2: that brings you the secret histories and little known fascinating

4
00:00:15,400 --> 00:00:18,960
Speaker 2: facts and figures behind your favorite movies, music, TV shows

5
00:00:18,960 --> 00:00:22,920
Speaker 2: and more. We are your two hurdling asteroids of hurdling

6
00:00:23,600 --> 00:00:28,080
Speaker 2: facteroidst whatever. There's no bad ideas in brainstorming C Plus.

7
00:00:29,480 --> 00:00:32,600
Speaker 2: I'm Alex Hagel and I'm Jordan Roun Talk and Jordan.

8
00:00:32,880 --> 00:00:36,240
Speaker 2: Today we're talking about one of the biggest, dumbest, most

9
00:00:36,479 --> 00:00:41,280
Speaker 2: ass kick in his dude's rock movies of an action

10
00:00:41,560 --> 00:00:42,480
Speaker 2: nineties peak.

11
00:00:42,560 --> 00:00:43,919
Speaker 1: I'm a byon Era.

12
00:00:44,320 --> 00:00:47,920
Speaker 2: I'm stunned into inarticulateness by this movie's the purity of

13
00:00:47,920 --> 00:00:48,480
Speaker 2: its vision.

14
00:00:49,040 --> 00:00:49,519
Speaker 1: That's right.

15
00:00:49,560 --> 00:00:53,960
Speaker 2: We're talking about Armageddon, which turns twenty five this June.

16
00:00:54,080 --> 00:00:56,960
Speaker 2: Wow ah, the grim passage of time. It is the

17
00:00:57,000 --> 00:00:59,319
Speaker 2: movie that taught us all that oil rig workers can

18
00:00:59,400 --> 00:01:02,640
Speaker 2: with the right mind. Ontage makes successful astronauts, that there's

19
00:01:02,680 --> 00:01:05,360
Speaker 2: no problem that Uncle Sam can't blow up real good,

20
00:01:05,760 --> 00:01:09,880
Speaker 2: and that the leathery glam muppets from Aerosmith still had

21
00:01:10,000 --> 00:01:10,720
Speaker 2: hits in them.

22
00:01:11,160 --> 00:01:13,640
Speaker 1: It's like the Mister Show sketch blowing up the Moon.

23
00:01:14,360 --> 00:01:17,960
Speaker 1: Well yeah, wait, play golf on it, bounce an egg

24
00:01:18,000 --> 00:01:19,240
Speaker 1: on it? What else could you do with it?

25
00:01:20,520 --> 00:01:22,440
Speaker 2: I don't really remember this movie that much as a kid.

26
00:01:22,520 --> 00:01:24,679
Speaker 2: Having said all that, I remember this in term that

27
00:01:25,160 --> 00:01:28,360
Speaker 2: I remember that damn song more than the movie. But

28
00:01:28,560 --> 00:01:32,600
Speaker 2: for me, my preferred Michael Bay Jerry Bruckheimer joint is

29
00:01:32,760 --> 00:01:37,200
Speaker 2: The Rock and then Conair. I love con Air so deeply.

30
00:01:38,240 --> 00:01:42,240
Speaker 2: That's my preferred large plane movie. But you know, man,

31
00:01:42,480 --> 00:01:46,280
Speaker 2: Armageddon is the highest non transformers grossing film in the

32
00:01:46,319 --> 00:01:47,240
Speaker 2: bay ouvre.

33
00:01:48,600 --> 00:01:50,480
Speaker 1: It is in the Criterion collection.

34
00:01:51,200 --> 00:01:52,440
Speaker 2: We will discuss.

35
00:01:53,520 --> 00:01:55,360
Speaker 1: Rotten Tomatoes Criterion collection.

36
00:01:55,440 --> 00:01:58,040
Speaker 2: Even Michael Bay is baffled by that that might be

37
00:01:58,120 --> 00:02:00,360
Speaker 2: the lowest rated movie in the Criterion collection.

38
00:02:00,560 --> 00:02:03,440
Speaker 1: I think it has to. That's an incredible, dubious honor.

39
00:02:03,880 --> 00:02:07,760
Speaker 2: Yeah, but uh, you know, as I quote the Android

40
00:02:07,760 --> 00:02:11,679
Speaker 2: from Alien so much on this podcast, I admire its purity.

41
00:02:12,360 --> 00:02:15,960
Speaker 2: It's pre oversaturation era Ben Affleck, It's Bruce Willis, It's

42
00:02:16,000 --> 00:02:18,800
Speaker 2: got a ragtag group of character actors. It's got a

43
00:02:18,840 --> 00:02:24,799
Speaker 2: training montage, It's got a sweet bespoke vehicle jumping a canyon.

44
00:02:25,680 --> 00:02:28,440
Speaker 1: Uh, what what more you want?

45
00:02:29,280 --> 00:02:31,280
Speaker 2: It's one of the all time dudes rock movies.

46
00:02:31,639 --> 00:02:34,120
Speaker 1: I gotta say, I've never heard that term dude's rock before,

47
00:02:34,160 --> 00:02:36,799
Speaker 1: at least in the relation to movies. Tell me, tell

48
00:02:36,840 --> 00:02:37,760
Speaker 1: me more about that.

49
00:02:37,919 --> 00:02:40,280
Speaker 2: Oh well, it goes hand in hand with dad movies.

50
00:02:40,919 --> 00:02:43,840
Speaker 1: It's typically like dad movies are like Apollo thirteen, though

51
00:02:43,840 --> 00:02:47,120
Speaker 1: there's like a historical element, So you take it dadly.

52
00:02:47,200 --> 00:02:49,200
Speaker 2: I mean, you take a dad movie and you dial

53
00:02:49,280 --> 00:02:50,600
Speaker 2: up the stupidity and.

54
00:02:50,520 --> 00:02:52,440
Speaker 1: You have more explosions less Tom Hanks.

55
00:02:52,680 --> 00:02:55,760
Speaker 2: Yeah, and occasionally I think it crosses into like combat sports,

56
00:02:55,840 --> 00:02:59,160
Speaker 2: like I would describe Karate Kid or Rocky or blood

57
00:02:59,160 --> 00:03:02,400
Speaker 2: Sport as a dude rock movie. Rocky's better than that. Well,

58
00:03:02,680 --> 00:03:05,040
Speaker 2: no it's not. I mean, but because dude's rock is

59
00:03:05,040 --> 00:03:08,640
Speaker 2: not of its value negative, it's just it's it's it's

60
00:03:08,720 --> 00:03:11,360
Speaker 2: value neutral. It's like it can apply to anything, like

61
00:03:11,760 --> 00:03:15,080
Speaker 2: I would describe forty seven ronin like a cure Kurosavo

62
00:03:15,160 --> 00:03:19,239
Speaker 2: movies as dudes rock movies. You know, like Good, Bad

63
00:03:19,280 --> 00:03:21,840
Speaker 2: and Ugly is a dude's rock movie. It's just a movie.

64
00:03:21,919 --> 00:03:24,799
Speaker 1: Dude's rock. Is that like a celebration of dudes as

65
00:03:24,800 --> 00:03:26,799
Speaker 1: a dude's rock? Okay, I just want to make sure.

66
00:03:27,200 --> 00:03:32,000
Speaker 2: Yeah, of caricatured but not necessarily negative masculine values.

67
00:03:32,760 --> 00:03:36,760
Speaker 1: Okay, it's a very articulate answer to inarticulate question.

68
00:03:36,880 --> 00:03:39,920
Speaker 2: Well, it's important that they're not misogynist. You know, I

69
00:03:39,960 --> 00:03:43,080
Speaker 2: would not describe Transformers as a dude's rock movie because

70
00:03:43,120 --> 00:03:46,880
Speaker 2: it's it's got leering, grotesque misogyny in it and uh

71
00:03:47,360 --> 00:03:48,280
Speaker 2: also racist.

72
00:03:48,600 --> 00:03:51,160
Speaker 1: Yeah, loves his daughter very much, loves his daughter.

73
00:03:51,400 --> 00:03:54,680
Speaker 2: Be afflic ben Affleck. You know, there's there's this, there

74
00:03:54,760 --> 00:03:57,840
Speaker 2: is a sweetness to their romance even though it's very stupid.

75
00:03:57,960 --> 00:04:02,160
Speaker 1: And animal crackers. Yeah, so I can't eat animal crackers

76
00:04:02,200 --> 00:04:03,600
Speaker 1: to this day actually because of that.

77
00:04:03,680 --> 00:04:04,760
Speaker 2: Because of this movie.

78
00:04:05,040 --> 00:04:08,160
Speaker 1: It just I always think of it. Yeah, that's funny.

79
00:04:08,440 --> 00:04:12,680
Speaker 2: Well okay, sorry, this concludes my thesis on dudes rock movies.

80
00:04:12,920 --> 00:04:14,720
Speaker 1: Well, thank you, I mean I asked you, so I

81
00:04:14,760 --> 00:04:17,159
Speaker 1: appreciate that. But yeah, I mean, when I was a

82
00:04:17,160 --> 00:04:20,000
Speaker 1: little boy, I loved two things A tremendous amount out

83
00:04:20,000 --> 00:04:23,200
Speaker 1: of space and live Tyler. My beloved that thing you

84
00:04:23,240 --> 00:04:26,240
Speaker 1: do cemented her in my heart as my dream girl

85
00:04:26,279 --> 00:04:29,200
Speaker 1: for a time, so I was very much primed for Armageddon.

86
00:04:29,880 --> 00:04:32,599
Speaker 1: This was the era when I was also graduating from

87
00:04:32,600 --> 00:04:36,320
Speaker 1: PG to PG thirteen movies, and as everyone knows, PG

88
00:04:36,400 --> 00:04:38,960
Speaker 1: thirteen movies hit different when you're actually in the age

89
00:04:39,320 --> 00:04:42,080
Speaker 1: in the thirteen year old range. So this was very

90
00:04:42,120 --> 00:04:44,080
Speaker 1: special to me, although I have to agree with you.

91
00:04:44,400 --> 00:04:46,919
Speaker 1: Independence Day sort of got to me first, and we

92
00:04:46,960 --> 00:04:49,960
Speaker 1: are a big Sean Connery household, so The Rock is

93
00:04:50,120 --> 00:04:52,320
Speaker 1: probably my favorite Michael Bay movie.

94
00:04:52,360 --> 00:04:56,040
Speaker 2: But losers go home and whine about their best winners

95
00:04:56,080 --> 00:04:57,640
Speaker 2: go home and the prom queen.

96
00:04:59,200 --> 00:05:01,240
Speaker 1: You know, of all our years of friendship, I've never

97
00:05:01,240 --> 00:05:03,719
Speaker 1: heard you do a Sean Connery. That was pretty stunning.

98
00:05:04,560 --> 00:05:07,360
Speaker 2: Oh no, I did the Finding Forester one. My name

99
00:05:07,440 --> 00:05:10,719
Speaker 2: is William Forrester. I'm that one up there.

100
00:05:11,800 --> 00:05:14,240
Speaker 1: That's very good. Wow. And I've been watching The Succession

101
00:05:14,320 --> 00:05:17,920
Speaker 1: lately and listening to Brian Cox to his equally gravelly

102
00:05:17,960 --> 00:05:21,440
Speaker 1: Scottish accent. I'm never going to do Succession. I know.

103
00:05:21,720 --> 00:05:24,800
Speaker 2: I used to work for the Murdochs. I'm not watching.

104
00:05:25,160 --> 00:05:29,800
Speaker 2: I'm not watching a thorough humanization of their inter family squabbles.

105
00:05:30,000 --> 00:05:31,760
Speaker 1: I you know, I delayed a long time for a

106
00:05:31,800 --> 00:05:35,560
Speaker 1: similar reason. But but yeah, you know, I'm thoroughly charmed

107
00:05:35,560 --> 00:05:37,840
Speaker 1: by Michael Bay's skill for blowing stuff up in New

108
00:05:37,839 --> 00:05:40,240
Speaker 1: and exciting ways. There was a great quote from a

109
00:05:40,279 --> 00:05:43,640
Speaker 1: making of featurette for Michael Bay on the set of Armageddon.

110
00:05:43,880 --> 00:05:46,800
Speaker 1: This movie makes the rock His previous action thriller looked

111
00:05:46,800 --> 00:05:47,839
Speaker 1: like My Dinner with Entre.

112
00:05:49,880 --> 00:05:51,560
Speaker 2: He is a quote machine.

113
00:05:51,640 --> 00:05:54,120
Speaker 1: Man. It's an alreadier reference than I would have expected

114
00:05:54,120 --> 00:05:57,120
Speaker 1: from Michael Bay to be honest with you, But yeah,

115
00:05:57,200 --> 00:05:59,840
Speaker 1: I you know, I know how much you hate. I

116
00:06:00,040 --> 00:06:01,840
Speaker 1: don't want to miss a thing. I actually have a

117
00:06:01,920 --> 00:06:04,440
Speaker 1: soft spot for it. But I have a good reason.

118
00:06:04,520 --> 00:06:06,800
Speaker 1: It was the final slow dance number at my high

119
00:06:06,839 --> 00:06:10,159
Speaker 1: school dances. And you know, as every self conscious guy knows,

120
00:06:10,200 --> 00:06:12,680
Speaker 1: slow dances are the safe dances because all you have

121
00:06:12,720 --> 00:06:14,880
Speaker 1: to do is hold on to your date for dear

122
00:06:14,960 --> 00:06:17,120
Speaker 1: life and just sort of sway from side to side

123
00:06:17,160 --> 00:06:20,240
Speaker 1: a rhythmically until it's over the sound of those strings. Man,

124
00:06:20,320 --> 00:06:22,799
Speaker 1: I mean, to this day, it's so potent. It still

125
00:06:22,839 --> 00:06:25,680
Speaker 1: makes my blood pressure spike because I always associate it

126
00:06:25,720 --> 00:06:27,760
Speaker 1: with the sense of, Okay, this is the last dance,

127
00:06:27,960 --> 00:06:29,680
Speaker 1: This is your last chance to make your move that

128
00:06:29,720 --> 00:06:34,720
Speaker 1: you've been avoiding all night. So I still have good

129
00:06:34,839 --> 00:06:40,000
Speaker 1: memories question mark of that song, memories, potent memories of

130
00:06:40,040 --> 00:06:42,520
Speaker 1: that song. I say, I want to sign a value

131
00:06:42,600 --> 00:06:48,240
Speaker 1: judgment like dudes rock no value judgment. I gotta say.

132
00:06:48,400 --> 00:06:50,719
Speaker 1: We were talking about Bruce Willis shooting at Ben Affleck

133
00:06:50,760 --> 00:06:53,560
Speaker 1: in this movie. Way wrong. Answer became a minor catch

134
00:06:53,600 --> 00:06:56,520
Speaker 1: phrase among my social circle at this age, which is

135
00:06:56,560 --> 00:07:00,840
Speaker 1: probably preferable to Austin Power's references. Yeah, yeah, that's a

136
00:07:00,880 --> 00:07:05,640
Speaker 1: little lessonnoying well. From Michael Bay's visceral hatred of Ben

137
00:07:05,680 --> 00:07:11,240
Speaker 1: Affleck's natural teeth to the allegation couldn't say the fifth

138
00:07:11,240 --> 00:07:14,720
Speaker 1: episode we referenced ben afflex teeth in relation to arm

139
00:07:14,760 --> 00:07:17,480
Speaker 1: Again them Finally, I'm glad we finally put this anecdote

140
00:07:17,480 --> 00:07:18,400
Speaker 1: in its proper home.

141
00:07:19,480 --> 00:07:22,320
Speaker 2: To the allegation that the film was directly stolen out

142
00:07:22,320 --> 00:07:27,000
Speaker 2: of a lunch room conversation about the similarly asteroid themed

143
00:07:27,040 --> 00:07:31,600
Speaker 2: film Deep Impact, to that damn Aerosmith song Here's everything

144
00:07:31,640 --> 00:07:39,840
Speaker 2: you didn't know about Armageddon. There's really no way to

145
00:07:39,880 --> 00:07:42,520
Speaker 2: talk about arm Again without talking about Deep Impact. You know,

146
00:07:42,560 --> 00:07:44,280
Speaker 2: we had this whole thing in the mid nineties or

147
00:07:44,400 --> 00:07:46,520
Speaker 2: where we talked about and it happens probably still, but

148
00:07:46,560 --> 00:07:48,720
Speaker 2: it's how we talk about like, you know, we had

149
00:07:49,080 --> 00:07:51,320
Speaker 2: con Air and then the isn't there a Stephen Sigall

150
00:07:51,400 --> 00:07:53,680
Speaker 2: movie is conn Air Air Force one? And like a

151
00:07:53,680 --> 00:07:55,080
Speaker 2: Steven Sagall movie on a plane?

152
00:07:55,160 --> 00:07:57,600
Speaker 1: Right? And then we had Dante's peak.

153
00:07:59,480 --> 00:08:03,200
Speaker 2: Called Volcano No backdrafts the firefighting one though two volcano

154
00:08:03,240 --> 00:08:04,280
Speaker 2: ones around the same time.

155
00:08:05,040 --> 00:08:07,120
Speaker 1: Oh yeah, what was the other one? Well, we talk

156
00:08:07,160 --> 00:08:08,600
Speaker 1: about when we talk about armageddon.

157
00:08:09,400 --> 00:08:12,080
Speaker 2: Yes, so, but there is this thing of like, okay,

158
00:08:12,160 --> 00:08:14,400
Speaker 2: you know, multiple projects get green light, and two films

159
00:08:14,400 --> 00:08:17,440
Speaker 2: that are suspiciously similar come out around the exact same time,

160
00:08:17,600 --> 00:08:20,600
Speaker 2: and usually the bigger, dumber, sexier one wins, which is

161
00:08:20,600 --> 00:08:22,200
Speaker 2: what happened with asteroid movies.

162
00:08:22,720 --> 00:08:24,840
Speaker 1: I mean, I've never seen and really have never given

163
00:08:24,840 --> 00:08:27,320
Speaker 1: a second thought to Deep Impact is do you know

164
00:08:27,440 --> 00:08:30,120
Speaker 1: anything more? Have you seen it? Is it any good? Nope? Okay,

165
00:08:30,440 --> 00:08:30,920
Speaker 1: no idea.

166
00:08:31,080 --> 00:08:33,640
Speaker 2: And I feel bad that I feel bad because I'm

167
00:08:33,679 --> 00:08:36,800
Speaker 2: contributing to this whole epidemic, but no, I know nothing

168
00:08:36,800 --> 00:08:37,240
Speaker 2: about it.

169
00:08:37,400 --> 00:08:38,280
Speaker 1: Now we will, though.

170
00:08:38,559 --> 00:08:41,040
Speaker 2: According to a May nineteen ninety eight issue of star Log,

171
00:08:41,200 --> 00:08:43,880
Speaker 2: producers David Brown and Richard Zanek came up with the

172
00:08:43,920 --> 00:08:47,359
Speaker 2: concept for Deep Impact sometime in the late nineteen seventies

173
00:08:47,400 --> 00:08:49,680
Speaker 2: when they were contemplating a way to update the nineteen

174
00:08:49,760 --> 00:08:53,000
Speaker 2: fifty one film When Worlds Collide by Paramount.

175
00:08:53,280 --> 00:08:57,120
Speaker 1: That's such an incredible title for a movie. Hit each other.

176
00:08:57,520 --> 00:09:01,840
Speaker 1: It's a static X. Now, this is what it's like

177
00:09:01,880 --> 00:09:08,280
Speaker 1: when world's good. H You ready to go? So I

178
00:09:08,360 --> 00:09:09,720
Speaker 1: just told you how much I like don't want to

179
00:09:09,720 --> 00:09:11,120
Speaker 1: miss a thing. You think I know that? I think

180
00:09:11,120 --> 00:09:12,280
Speaker 1: I know a static X song.

181
00:09:13,800 --> 00:09:16,720
Speaker 2: Well, that movie was itself based on the nineteen thirty

182
00:09:16,760 --> 00:09:20,120
Speaker 2: three science fiction novel of the same name, concerning the

183
00:09:20,160 --> 00:09:23,880
Speaker 2: coming destruction of Earth by a rogue star and humanity's

184
00:09:23,880 --> 00:09:27,360
Speaker 2: efforts to build a space arc to transport a group

185
00:09:27,440 --> 00:09:30,120
Speaker 2: of men and women to a planet orbiting the star.

186
00:09:31,320 --> 00:09:34,400
Speaker 2: Screenplays were created and drafted, but the project landed in

187
00:09:34,480 --> 00:09:37,120
Speaker 2: development hell for years and stuck there.

188
00:09:37,840 --> 00:09:40,280
Speaker 1: Do you remember this really short lived show in the

189
00:09:40,320 --> 00:09:44,280
Speaker 1: mid nineties called Earth two No Oh. It was this

190
00:09:44,400 --> 00:09:48,960
Speaker 1: really high budget, really high concept show about similar to that.

191
00:09:49,000 --> 00:09:50,840
Speaker 1: Maybe people try to build a space arc I think

192
00:09:50,880 --> 00:09:53,280
Speaker 1: it starts with the blast off of the space arc

193
00:09:54,160 --> 00:09:56,480
Speaker 1: and they I can't remember if they're just going through

194
00:09:56,480 --> 00:09:58,319
Speaker 1: space orf they actually land on a new world. I

195
00:09:58,320 --> 00:10:01,839
Speaker 1: think they land in a new planet. It was strange.

196
00:10:01,880 --> 00:10:05,480
Speaker 1: It only lasted a season but I think Steven Spielberg,

197
00:10:05,559 --> 00:10:08,160
Speaker 1: or at least Ambulan Entertainment his production company, had something

198
00:10:08,200 --> 00:10:10,120
Speaker 1: to do with it. It was really good, and that

199
00:10:10,280 --> 00:10:12,200
Speaker 1: is relevant because.

200
00:10:12,679 --> 00:10:15,800
Speaker 2: I have a joke to make. That was the producer's

201
00:10:15,800 --> 00:10:17,760
Speaker 2: note for the Passion of the Christ. They were like,

202
00:10:17,800 --> 00:10:20,000
Speaker 2: can we change it to the lift off of the

203
00:10:20,040 --> 00:10:24,840
Speaker 2: Space Arc. I think that's just sexier that way. By

204
00:10:24,840 --> 00:10:27,920
Speaker 2: the mid nineties, Steven Spielberg, fresh off Jurassic Park, was

205
00:10:28,000 --> 00:10:31,840
Speaker 2: tapped though by coincidence, to work on Deep Impact, though

206
00:10:32,480 --> 00:10:35,440
Speaker 2: he had been actually working on a different film about

207
00:10:35,440 --> 00:10:38,079
Speaker 2: an asteroid colliding with Earth. This really gives rise to

208
00:10:38,120 --> 00:10:40,520
Speaker 2: the universal or the collective unconscious thing with just a

209
00:10:40,520 --> 00:10:41,679
Speaker 2: bunch of different people.

210
00:10:41,440 --> 00:10:43,720
Speaker 1: Being like asteroids man.

211
00:10:43,960 --> 00:10:47,040
Speaker 2: His project was based on a book by sci fi

212
00:10:47,120 --> 00:10:48,080
Speaker 2: legend Arthur C.

213
00:10:48,080 --> 00:10:49,640
Speaker 1: Clark oh Wow, who.

214
00:10:49,800 --> 00:10:52,440
Speaker 2: Most notable in the mainstream for two thousand and one

215
00:10:52,480 --> 00:10:55,400
Speaker 2: of Space Odyssey, but often thought of as one of

216
00:10:55,400 --> 00:10:58,280
Speaker 2: the Big three or four of mid century sci fi,

217
00:10:58,400 --> 00:11:02,160
Speaker 2: with Isaac Asimov and Robert Heiland in Alibert.

218
00:11:01,800 --> 00:11:04,720
Speaker 1: A sequel that was like twenty ten A Space Like

219
00:11:04,920 --> 00:11:07,120
Speaker 1: Adventure or a space.

220
00:11:07,240 --> 00:11:15,880
Speaker 2: Hog twenty ten. In the meantime, A space Hog adventure

221
00:11:16,880 --> 00:11:21,320
Speaker 2: written by Arthur C. Clark. I said this had to

222
00:11:21,320 --> 00:11:22,600
Speaker 2: be a non degreation one.

223
00:11:22,800 --> 00:11:23,280
Speaker 1: Here we are.

224
00:11:24,360 --> 00:11:28,680
Speaker 2: Spielberg had already optioned the rights for Clark's novel, which

225
00:11:28,760 --> 00:11:31,440
Speaker 2: was in nineteen ninety three called The Hammer of God,

226
00:11:31,760 --> 00:11:34,800
Speaker 2: which is Metal, and he had planned to produce and

227
00:11:34,840 --> 00:11:37,199
Speaker 2: direct this film for his DreamWorks studio, which at this

228
00:11:37,240 --> 00:11:39,559
Speaker 2: point was still kind of new, But then he decided

229
00:11:39,600 --> 00:11:42,800
Speaker 2: to simply merge these projects with Xanak and Brown. So

230
00:11:42,920 --> 00:11:46,880
Speaker 2: you have two roads joining in a wood of asteroid

231
00:11:46,920 --> 00:11:50,080
Speaker 2: movies and this is this is a Bruce.

232
00:11:49,840 --> 00:11:55,160
Speaker 1: Joel Rubin favorite Dolly painting to Yeah.

233
00:11:55,360 --> 00:11:58,920
Speaker 2: Bruce Joel Rubin, who wrote Deep Impact, told Creative Screenwriting

234
00:11:58,960 --> 00:12:01,679
Speaker 2: magazine Steve Even Spielberg called me and said he would

235
00:12:01,679 --> 00:12:03,679
Speaker 2: like me to write a movie that was inspired by

236
00:12:03,720 --> 00:12:06,520
Speaker 2: When Worlds Collide. Stephen and I spent time at his

237
00:12:06,640 --> 00:12:09,840
Speaker 2: office and his home talking about what we wanted about

238
00:12:09,880 --> 00:12:12,360
Speaker 2: who these characters should be. But we knew we couldn't

239
00:12:12,360 --> 00:12:14,680
Speaker 2: make a movie about two planets on a collision course

240
00:12:14,720 --> 00:12:17,040
Speaker 2: with the Earth and trying to save humanity by flying

241
00:12:17,080 --> 00:12:19,280
Speaker 2: one hundred movie to the rogue planet to start a

242
00:12:19,280 --> 00:12:22,760
Speaker 2: new world. Even in the nineteen fifties. That felt kind

243
00:12:22,800 --> 00:12:26,760
Speaker 2: of bogus. Sure, so we began to figure out a

244
00:12:26,760 --> 00:12:31,040
Speaker 2: more realistic scenario. I began months of research into what

245
00:12:31,160 --> 00:12:34,080
Speaker 2: might really cause an extinction level event and was led

246
00:12:34,080 --> 00:12:36,920
Speaker 2: to the comet that killed the dinosaurs. Why couldn't that

247
00:12:36,960 --> 00:12:37,559
Speaker 2: happen to us?

248
00:12:37,600 --> 00:12:41,520
Speaker 1: I thought, that's long Like, yeah, I was really researching this,

249
00:12:41,559 --> 00:12:43,520
Speaker 1: and I found us a little known incident from the past.

250
00:12:43,520 --> 00:12:47,520
Speaker 1: It's like, oh, the one that everyone knows, And so

251
00:12:47,640 --> 00:12:48,959
Speaker 1: Deep Impact was born.

252
00:12:49,880 --> 00:12:52,680
Speaker 2: Steve Spielberg had still planned to direct this film himself,

253
00:12:53,080 --> 00:12:58,640
Speaker 2: but then he got overworked with amishtad amistad? Is it amishtad?

254
00:12:58,720 --> 00:13:03,240
Speaker 2: Like Rumspringer, I'm like Sean Connery sane, I'm a stadd

255
00:13:04,000 --> 00:13:10,440
Speaker 2: I'm that one up there. Touchstone Pictures had also just

256
00:13:10,600 --> 00:13:15,040
Speaker 2: announced Armageddon, set to be released in summer of ninety eight. So,

257
00:13:16,120 --> 00:13:18,480
Speaker 2: faced with this dilemma and not wanting to look like

258
00:13:18,520 --> 00:13:24,120
Speaker 2: Johnny Come Lately to the whole asteroid craze. Imagine if

259
00:13:24,120 --> 00:13:25,440
Speaker 2: this is like the fifties and we got a bunch

260
00:13:25,440 --> 00:13:28,200
Speaker 2: of novelty themed asteroid songs like Spice Girls doing like

261
00:13:28,280 --> 00:13:34,880
Speaker 2: do the Asteroid. So the team behind Deep Impact decided

262
00:13:34,880 --> 00:13:37,920
Speaker 2: to hire Mimi later to direct the film, and Spielberg

263
00:13:38,080 --> 00:13:42,959
Speaker 2: was going to executive produce. And then Rubin has this

264
00:13:43,280 --> 00:13:47,160
Speaker 2: accusation that comes out in a book called Tales from

265
00:13:47,160 --> 00:13:47,800
Speaker 2: the Script.

266
00:13:48,440 --> 00:13:49,079
Speaker 1: That's great.

267
00:13:49,440 --> 00:13:52,960
Speaker 2: Yeah, it is fifty Hollywood screenwriters share their stories, and

268
00:13:53,040 --> 00:13:56,920
Speaker 2: this is aggregated everywhere when people talk about Deep Impact

269
00:13:57,000 --> 00:13:59,920
Speaker 2: versus Armageddon. So I actually paid for the kindle copy

270
00:14:00,160 --> 00:14:02,040
Speaker 2: this book, and it's sure enough. It is in there.

271
00:14:03,040 --> 00:14:04,640
Speaker 2: It is in there is a real quote. It's not

272
00:14:04,720 --> 00:14:05,120
Speaker 2: made up.

273
00:14:05,240 --> 00:14:07,959
Speaker 1: This guy wrote Jacob's Ladder, he wrote Ghost.

274
00:14:08,400 --> 00:14:11,280
Speaker 2: Sleeping with the Enemy. He's he's not a nobody, and

275
00:14:11,400 --> 00:14:14,600
Speaker 2: his quote in that book is as Thus, I was

276
00:14:14,640 --> 00:14:16,920
Speaker 2: working on Deep Impact and I had lunch with the

277
00:14:16,960 --> 00:14:20,440
Speaker 2: president of Disney, someone who had produced another movie I

278
00:14:20,480 --> 00:14:23,320
Speaker 2: had worked on. We're having lunch in the Disney commissary

279
00:14:23,440 --> 00:14:25,960
Speaker 2: and he starts asking me about Deep Impact. I just

280
00:14:26,000 --> 00:14:28,800
Speaker 2: started freely and openly talking about it. I had no

281
00:14:28,880 --> 00:14:32,360
Speaker 2: idea he was planning Armageddon. He was taking notes on everything.

282
00:14:32,400 --> 00:14:34,280
Speaker 2: I was saying, that's a red flag.

283
00:14:34,840 --> 00:14:35,280
Speaker 1: Yeah.

284
00:14:35,440 --> 00:14:38,080
Speaker 2: I wasn't really literally giving him my script, but I

285
00:14:38,160 --> 00:14:39,960
Speaker 2: was talking to him enough about it that he could

286
00:14:39,960 --> 00:14:43,120
Speaker 2: pick up the genre, the tone, the character driven aspect

287
00:14:43,160 --> 00:14:45,520
Speaker 2: of it. That was really clever. I thought he was

288
00:14:45,560 --> 00:14:48,400
Speaker 2: figuring out how to do a movie in juxtaposition to

289
00:14:48,440 --> 00:14:50,520
Speaker 2: the movie that I was in the process of writing.

290
00:14:51,440 --> 00:14:51,760
Speaker 1: Wrong.

291
00:14:52,840 --> 00:14:55,320
Speaker 2: He was getting all of my ideas. It was really

292
00:14:55,360 --> 00:14:57,920
Speaker 2: fascinating that there was a kind of subterfuge that was

293
00:14:57,960 --> 00:15:00,440
Speaker 2: happening with his head of a major studio. When I

294
00:15:00,440 --> 00:15:03,360
Speaker 2: found out that Disney was doing Armageddon, I went, wow,

295
00:15:03,560 --> 00:15:04,320
Speaker 2: that's interesting.

296
00:15:04,840 --> 00:15:08,000
Speaker 1: Wow, the barely restrained pass of a cresh and then

297
00:15:08,040 --> 00:15:10,080
Speaker 1: this rite is tremendous.

298
00:15:10,440 --> 00:15:13,240
Speaker 2: I didn't know this, but Armageddon has what was rumored

299
00:15:13,240 --> 00:15:16,080
Speaker 2: to be nine credited screenwriters. That's what Ebert wrote in

300
00:15:16,120 --> 00:15:18,320
Speaker 2: his in his contemporaneous review.

301
00:15:18,840 --> 00:15:20,520
Speaker 1: But it doesn't have that many. I imagine in the

302
00:15:20,560 --> 00:15:24,320
Speaker 1: context of nine screenwriters, this is what you caught.

303
00:15:24,360 --> 00:15:29,120
Speaker 2: Yes, exactly. So the credited people on it, the WGA

304
00:15:29,240 --> 00:15:32,800
Speaker 2: people on it are Jonathan Hensley, who did work on

305
00:15:32,920 --> 00:15:38,200
Speaker 2: conn Air in nineteen ninety seven, JJ Abrams, Enemy of

306
00:15:38,240 --> 00:15:39,840
Speaker 2: the Pod, jj Abrams.

307
00:15:41,280 --> 00:15:48,040
Speaker 1: Little Nepo Baby Stoppers opening for Taylor Swift. Do you

308
00:15:48,120 --> 00:15:52,320
Speaker 1: know that JJ Abrams also worked on Casper. I forget

309
00:15:52,360 --> 00:15:53,800
Speaker 1: if it was like as a script doctor. If he

310
00:15:53,880 --> 00:15:56,200
Speaker 1: was credited but yeah, he has some kind of Spielberg connection.

311
00:15:56,320 --> 00:15:58,160
Speaker 1: I think Spielberg is supposed to be his mentor, right,

312
00:16:00,000 --> 00:16:02,560
Speaker 1: I gotta find out exactly how he is. Yeah.

313
00:16:02,640 --> 00:16:06,880
Speaker 2: His mom was a Pea Boy Peabody winning TV producer.

314
00:16:07,040 --> 00:16:10,440
Speaker 2: His dad worked at CBS, and they moved out to

315
00:16:10,560 --> 00:16:14,760
Speaker 2: LA after being in New York. His sister is a screenwriter.

316
00:16:15,560 --> 00:16:20,720
Speaker 2: Yeah anyway. Tony Gilroy, who is one of the credited writers,

317
00:16:20,720 --> 00:16:22,960
Speaker 2: told Rotten Tomatoes in two thousand and seven, there were

318
00:16:23,000 --> 00:16:26,080
Speaker 2: so many people working on that Armageddon. I don't know

319
00:16:26,120 --> 00:16:28,240
Speaker 2: what number writer I was. I worked on it for

320
00:16:28,280 --> 00:16:30,800
Speaker 2: a couple months. I did exactly what I wanted to do.

321
00:16:31,000 --> 00:16:32,640
Speaker 2: I got in, I did what I had to do,

322
00:16:32,800 --> 00:16:33,760
Speaker 2: made some people happy.

323
00:16:33,840 --> 00:16:38,160
Speaker 1: I got out. Shane Selerno is another credited writer. Yeah, right,

324
00:16:38,240 --> 00:16:40,560
Speaker 1: I was in the show. Shane Selerno.

325
00:16:40,680 --> 00:16:43,520
Speaker 2: Another credited writer is the guy who he wrote that

326
00:16:44,160 --> 00:16:48,040
Speaker 2: he like, self funded and self produced that Salinger documentary

327
00:16:48,040 --> 00:16:50,680
Speaker 2: from a couple of years back. Oh and a guy

328
00:16:50,840 --> 00:16:53,360
Speaker 2: one of the guys who wrote Outbreak, Robert Roy Coole,

329
00:16:53,520 --> 00:16:56,800
Speaker 2: is also credited with a story by But that's just

330
00:16:56,880 --> 00:17:03,200
Speaker 2: the tip of the Armageddon. Iceberg steroid incredible visuals you're

331
00:17:03,200 --> 00:17:05,680
Speaker 2: coming up with here for your Analogis I really really

332
00:17:05,720 --> 00:17:06,359
Speaker 2: admire that?

333
00:17:07,000 --> 00:17:09,000
Speaker 1: But yes, you are correct. There is a New York

334
00:17:09,040 --> 00:17:12,280
Speaker 1: Times magazine feature in August nineteen ninety eight the detailed

335
00:17:12,280 --> 00:17:16,800
Speaker 1: the Armageddon scripts, reported eight writers' strong development process. So

336
00:17:16,880 --> 00:17:19,879
Speaker 1: let me read from that. After Jonathan Hensley conceived a

337
00:17:19,960 --> 00:17:22,919
Speaker 1: story he described as Dirty Does and Goes to Outer Space,

338
00:17:23,240 --> 00:17:25,920
Speaker 1: sold the pitch the Disney, and delivered to producer Jerry

339
00:17:25,960 --> 00:17:28,960
Speaker 1: Bruckheimer a script that mapped out the film's essential structure.

340
00:17:29,280 --> 00:17:31,879
Speaker 1: He eventually left to work on another project, which was

341
00:17:31,880 --> 00:17:35,320
Speaker 1: to be his directorial debut. And I'd also be remiss

342
00:17:35,400 --> 00:17:38,000
Speaker 1: not to mention the involvement of all time action producer

343
00:17:38,080 --> 00:17:41,440
Speaker 1: Gail Anne Hurd, who produced a number of immortal action

344
00:17:41,560 --> 00:17:45,720
Speaker 1: bangers like Terminator, Aliens, The Abyss, Tremors, and The Walking Dead.

345
00:17:46,520 --> 00:17:50,080
Speaker 1: James Cammeron's ex wife, Oh, I forgot about that. I

346
00:17:50,119 --> 00:17:55,439
Speaker 1: knew they were codvolved. Yes, okay. At that point in

347
00:17:55,480 --> 00:17:57,960
Speaker 1: the spring of nineteen ninety seven, the film Armageddon was

348
00:17:58,000 --> 00:18:00,679
Speaker 1: already set for production and slatted for a Lie nineteen

349
00:18:00,760 --> 00:18:03,480
Speaker 1: ninety eight release. The director and star war in place.

350
00:18:03,600 --> 00:18:06,399
Speaker 1: Additional casting had already begun and then a parade of

351
00:18:06,440 --> 00:18:10,200
Speaker 1: additional writers had at the script. Tony Gilroy did extensive

352
00:18:10,200 --> 00:18:13,919
Speaker 1: work on the opening fifteen pages, with contributions from Paulitanzio

353
00:18:14,359 --> 00:18:17,120
Speaker 1: and Jeffrey Abrams, who I think is j J. Abrams

354
00:18:17,359 --> 00:18:21,360
Speaker 1: then concentrated on the backstories of the individual driller spacemen

355
00:18:21,680 --> 00:18:25,000
Speaker 1: reflected in a montage summoning them to the NASA headquarters,

356
00:18:25,359 --> 00:18:28,840
Speaker 1: and continued to do scene work throughout. Anne Bitterman focused

357
00:18:28,880 --> 00:18:31,200
Speaker 1: on Ben Affleck and Live Tyler's romance, as well as

358
00:18:31,200 --> 00:18:34,200
Speaker 1: the father daughter conflict between Liv Tyler and Bruce Willis,

359
00:18:34,720 --> 00:18:38,800
Speaker 1: and Shane Salerno fleshed out several action sequences, while Scott

360
00:18:38,880 --> 00:18:45,159
Speaker 1: Rosenberg contributed Steve Buscemi's sarcasm and Ben Affleck's horny animal

361
00:18:45,200 --> 00:18:47,280
Speaker 1: crackers bit. I love that we know the name of

362
00:18:47,320 --> 00:18:50,560
Speaker 1: the person who came up with the animal crackers walking

363
00:18:50,600 --> 00:18:54,320
Speaker 1: along Lived Tyler's Torso that is tremendous. I'm so glad.

364
00:18:54,320 --> 00:18:56,800
Speaker 1: I want to send him a fan letter or a

365
00:18:56,800 --> 00:18:59,600
Speaker 1: box of dogs, one or the other. Oh, and he

366
00:18:59,640 --> 00:19:03,200
Speaker 1: also the rendition of the crew singing John Denver's leaving

367
00:19:03,200 --> 00:19:05,600
Speaker 1: on a jet plane right before they left. That is okay,

368
00:19:05,640 --> 00:19:08,760
Speaker 1: so my favorite and least favorite bit of this movie

369
00:19:08,800 --> 00:19:12,600
Speaker 1: that came from the same mind that Scance. Robert Town,

370
00:19:12,840 --> 00:19:17,720
Speaker 1: who is an incredibly legendary screenwriter, wrote Chinatown Shampoo. The

371
00:19:17,800 --> 00:19:19,199
Speaker 1: last detail this is.

372
00:19:19,200 --> 00:19:21,040
Speaker 2: The craziest one to me. They got the guy who

373
00:19:21,040 --> 00:19:23,560
Speaker 2: wrote Chinatown to come and punch up the Big Rock

374
00:19:23,640 --> 00:19:24,320
Speaker 2: Hit Earth.

375
00:19:24,160 --> 00:19:32,160
Speaker 1: Movie from the same spirits that brought you Large Plane,

376
00:19:32,280 --> 00:19:36,760
Speaker 1: Large Boat, Large Rock Hit Earth. It's either Large Rock

377
00:19:36,840 --> 00:19:39,400
Speaker 1: Hit Earth or US blow up Large Rock.

378
00:19:39,480 --> 00:19:42,199
Speaker 2: Those are the two working titles.

379
00:19:42,240 --> 00:19:47,560
Speaker 1: I'm pitching. Yes. Robert Town also one of Hollywood's most

380
00:19:47,560 --> 00:19:51,000
Speaker 1: famous script doctors. He wrote some of the more serious

381
00:19:51,040 --> 00:19:53,560
Speaker 1: scenes in this movie, the ones that really underpinned the

382
00:19:53,600 --> 00:19:57,359
Speaker 1: world's imminent doom, and during production, Jonathan hens Lay, the

383
00:19:57,400 --> 00:20:01,359
Speaker 1: guy who basically conceived of the story, continue to function

384
00:20:01,400 --> 00:20:05,120
Speaker 1: in kind of an editorial capacity, patching together various pages

385
00:20:05,160 --> 00:20:08,520
Speaker 1: contributed by all the other writers. But this turned out

386
00:20:08,560 --> 00:20:11,920
Speaker 1: to be too many writers again, eight writers, some would

387
00:20:11,920 --> 00:20:14,960
Speaker 1: say nine. In June nineteen ninety eight, a Writer's Guild

388
00:20:14,960 --> 00:20:18,040
Speaker 1: of America arbitration committee decided the only five of these,

389
00:20:18,119 --> 00:20:21,159
Speaker 1: including JJ Abrams, could actually attach their name to the

390
00:20:21,200 --> 00:20:22,120
Speaker 1: movie and the credits.

391
00:20:23,480 --> 00:20:25,600
Speaker 2: That's insane, and that's how you note really is getting

392
00:20:25,680 --> 00:20:30,360
Speaker 2: nuts when the WGA gets involved anyway, So yeah, draw

393
00:20:30,400 --> 00:20:33,000
Speaker 2: your own conclusions about how that story evolved.

394
00:20:33,240 --> 00:20:35,280
Speaker 1: From all of that, the blame is spread.

395
00:20:36,000 --> 00:20:39,560
Speaker 2: Yeah, there's also this hilarious I mean, the DVD commentary

396
00:20:39,600 --> 00:20:42,280
Speaker 2: for this has become like a totem for people online

397
00:20:42,280 --> 00:20:45,439
Speaker 2: because of how hilarious it is. It is between Michael

398
00:20:45,440 --> 00:20:47,320
Speaker 2: Bay and Ben Affleck. So we're going to draw a

399
00:20:47,320 --> 00:20:50,080
Speaker 2: lot from that. Just when we keep saying from the

400
00:20:50,119 --> 00:20:53,760
Speaker 2: DVD commentary, it's well worth your time. And this hilarious

401
00:20:53,840 --> 00:20:56,400
Speaker 2: quote about the rewrite process comes from Michael Bay himself.

402
00:20:56,880 --> 00:20:59,920
Speaker 2: This writer begged me to rewrite the script. He rewrote

403
00:21:00,200 --> 00:21:02,720
Speaker 2: fifty three pages in two days. And when I read

404
00:21:02,720 --> 00:21:08,960
Speaker 2: the script, it was pure sh that's like Karawakian figures.

405
00:21:09,000 --> 00:21:10,440
Speaker 1: I was gonna say that.

406
00:21:10,400 --> 00:21:13,320
Speaker 2: Quote reminds me of like a Drill tweet, Like this

407
00:21:13,359 --> 00:21:16,560
Speaker 2: whole thing smacks of gender. I say, as I flipped

408
00:21:16,560 --> 00:21:18,560
Speaker 2: the picnic table over and turned the fourth of July

409
00:21:18,640 --> 00:21:19,400
Speaker 2: into the fourth of.

410
00:21:21,400 --> 00:21:22,000
Speaker 1: Michael Bay.

411
00:21:22,040 --> 00:21:25,359
Speaker 2: As Drill tweets, he does not name the writer. I

412
00:21:25,400 --> 00:21:28,840
Speaker 2: assume I pray it's JJ. It kind of has to be, like,

413
00:21:28,920 --> 00:21:31,520
Speaker 2: I don't think there's anyone who's like, who's like that young,

414
00:21:31,680 --> 00:21:35,440
Speaker 2: that Michael Bay would be like your script sucks, bro,

415
00:21:36,560 --> 00:21:40,160
Speaker 2: and adding more fuel to the Armageddon versus Deep Impact fire.

416
00:21:40,920 --> 00:21:47,040
Speaker 2: Apparently this is from moviefone, and a source told moviefhone

417
00:21:47,400 --> 00:21:52,800
Speaker 2: in twenty eighteen that Bay and this guy snuck into

418
00:21:52,840 --> 00:21:56,080
Speaker 2: the Paramount Studios while the Deep Impact was being edited

419
00:21:56,400 --> 00:22:00,480
Speaker 2: and stole dailies from the editing bay to compare it

420
00:22:00,520 --> 00:22:04,480
Speaker 2: to Armageddon. And then after Deep Impact came out first,

421
00:22:04,800 --> 00:22:08,639
Speaker 2: Disney Studio's chairman Joe Roth came and through the Armageddon

422
00:22:08,680 --> 00:22:11,960
Speaker 2: production an additional three million to punch up the visual effects.

423
00:22:12,080 --> 00:22:13,040
Speaker 1: So all of.

424
00:22:13,000 --> 00:22:16,280
Speaker 2: Which is to say, in the feud between the two movies,

425
00:22:17,280 --> 00:22:23,399
Speaker 2: Armageddon knew what it was doing. Yeah, but ethically it

426
00:22:23,480 --> 00:22:27,200
Speaker 2: took the lower road. Yes, that's true. They were Deep

427
00:22:27,200 --> 00:22:30,719
Speaker 2: Impact went high, Mageddon went low in so many ways.

428
00:22:30,880 --> 00:22:35,280
Speaker 1: Yes, there's a tremendous GQ oral history of Michael Bay's

429
00:22:35,320 --> 00:22:37,880
Speaker 1: career that opens with the line. In nineteen ninety eight,

430
00:22:38,080 --> 00:22:41,000
Speaker 1: a National magazine asked in an article, is Michael Bay

431
00:22:41,080 --> 00:22:45,119
Speaker 1: the devil friend of the pod? Ben Affleck is quoted

432
00:22:45,119 --> 00:22:47,840
Speaker 1: in this oral history of saying quote, I think Michael

433
00:22:47,960 --> 00:22:50,480
Speaker 1: is actually an auteur in the true sense of the word.

434
00:22:50,960 --> 00:22:54,119
Speaker 1: Every movie he makes reflects his personal creative vision. You

435
00:22:54,200 --> 00:22:56,320
Speaker 1: may like it, you may not, but those movies are

436
00:22:56,400 --> 00:23:01,760
Speaker 1: him without compromise. It's a very generos read. Yeah, Michael

437
00:23:01,800 --> 00:23:04,320
Speaker 1: Bay himself said, for the same oral history, I took

438
00:23:04,320 --> 00:23:08,120
Speaker 1: a geology course with this teutonic expert at Wesleyan. He said,

439
00:23:08,480 --> 00:23:12,720
Speaker 1: way tectonic. Teutonic would be German. I took a geology

440
00:23:12,800 --> 00:23:18,360
Speaker 1: course with this tectonic expert at Wesleyan. Just Michael Bay

441
00:23:18,400 --> 00:23:23,080
Speaker 1: at Wesleyan. Yeah, that's confusing, he said. Calamities happen. It's

442
00:23:23,119 --> 00:23:27,280
Speaker 1: the plumbers who will fix the world. So armageddon, that's

443
00:23:27,320 --> 00:23:30,199
Speaker 1: what it is. It's everyday Joe's saving the world. Now,

444
00:23:30,280 --> 00:23:32,680
Speaker 1: let's take a little look at Michael Benjamin Bay at

445
00:23:32,680 --> 00:23:35,399
Speaker 1: a glance. Born in nineteen sixty five, He got a

446
00:23:35,440 --> 00:23:38,360
Speaker 1: start in the film industry interning with George Lucas when

447
00:23:38,400 --> 00:23:40,760
Speaker 1: he was just fifteen years old, and then he moved

448
00:23:40,760 --> 00:23:43,600
Speaker 1: on to work at Propaganda Films doing not that's the

449
00:23:43,640 --> 00:23:45,280
Speaker 1: name of a company. It so he wasn't making like,

450
00:23:45,359 --> 00:23:49,600
Speaker 1: you know, Triumph of the Will uh commercial later Yeah, yeah,

451
00:23:49,640 --> 00:23:53,040
Speaker 1: oh yeah. He would do commercials and music videos for

452
00:23:53,040 --> 00:23:56,160
Speaker 1: stuff like Coca Cola and add for the Red Cross

453
00:23:56,359 --> 00:24:00,040
Speaker 1: and the Gott Milk campaign, which won a Cleio. He

454
00:24:00,080 --> 00:24:04,560
Speaker 1: also did music videos for meatloafs I'd do anything for love,

455
00:24:05,080 --> 00:24:08,280
Speaker 1: and also I touched myself by the Vinyls and a

456
00:24:08,359 --> 00:24:09,200
Speaker 1: Vanilla Ice song.

457
00:24:09,280 --> 00:24:11,800
Speaker 2: Did you know that I didn't know about the Divinyls.

458
00:24:11,840 --> 00:24:15,480
Speaker 2: I knew about Meatloaf because that's the most Michael Bayan

459
00:24:16,240 --> 00:24:19,600
Speaker 2: vision of like a music video. But Divinyls is hilarious.

460
00:24:19,720 --> 00:24:23,480
Speaker 1: Yes, yes, But his music video work drew the eyes

461
00:24:23,480 --> 00:24:26,640
Speaker 1: of producers Jerry Bruckheimer and Don Simpson, who selected him

462
00:24:26,640 --> 00:24:29,480
Speaker 1: to direct his first feature length film, Bad Boys, which

463
00:24:29,480 --> 00:24:32,080
Speaker 1: grows to one hundred and forty one million on nineteen

464
00:24:32,160 --> 00:24:36,240
Speaker 1: million dollar budget and began the Bruckheimer Bay Imperial phase

465
00:24:36,359 --> 00:24:39,879
Speaker 1: of the nineties. They follow that up with The Rock, which,

466
00:24:39,960 --> 00:24:43,080
Speaker 1: as we mentioned earlier, is he gloriously absurd Sean Connery

467
00:24:43,119 --> 00:24:46,240
Speaker 1: Nicholas Cage film where they have to break into Alcatraz

468
00:24:46,280 --> 00:24:48,800
Speaker 1: to stop a terrorist general played by Ed Harris from

469
00:24:48,880 --> 00:24:52,240
Speaker 1: launching chemical weapons at San Francisco. I forget why, but

470
00:24:52,280 --> 00:24:55,760
Speaker 1: I'm sure he had an okay reason, because he's he's

471
00:24:55,800 --> 00:24:58,080
Speaker 1: at Harris. Yeah, I feel like it's very rare that

472
00:24:58,160 --> 00:24:59,200
Speaker 1: he's like a bad guy.

473
00:25:00,040 --> 00:25:02,760
Speaker 2: Well, it's because, if I remember correctly, it has some

474
00:25:02,800 --> 00:25:06,280
Speaker 2: convoluted thing about like the treatment of veterans after serving,

475
00:25:06,560 --> 00:25:10,520
Speaker 2: because he and his crew were like like black ops

476
00:25:10,600 --> 00:25:13,400
Speaker 2: guys or something, and they were like disavowed by the government.

477
00:25:13,480 --> 00:25:15,480
Speaker 2: And so Ed Harris is going to poison all of

478
00:25:15,480 --> 00:25:16,640
Speaker 2: San Francisco to prove a.

479
00:25:16,600 --> 00:25:22,840
Speaker 1: Point bad point good movie. And then came Armageddon. One

480
00:25:22,880 --> 00:25:25,879
Speaker 1: of Michael Bay's opening lines in the DVD commentary that

481
00:25:26,200 --> 00:25:28,680
Speaker 1: I think his actual opening line in the DVD commentary

482
00:25:28,840 --> 00:25:32,600
Speaker 1: is why is Armageddon in the Criterion collection. I think

483
00:25:32,640 --> 00:25:35,040
Speaker 1: that's the first thing he says. But one of the

484
00:25:35,040 --> 00:25:37,879
Speaker 1: things he says after that is making films is like

485
00:25:37,920 --> 00:25:42,600
Speaker 1: a war, which props not coincidentally, James Cameron has an

486
00:25:42,640 --> 00:25:47,640
Speaker 1: identical quote, and there's certainly an interesting dynamic at play

487
00:25:47,680 --> 00:25:50,720
Speaker 1: with the cast. Michael basseble for the film For Starters,

488
00:25:50,800 --> 00:25:54,840
Speaker 1: Bruce Willis was essentially forced into making this movie as

489
00:25:54,920 --> 00:25:58,360
Speaker 1: part of a deal with then Disney chairman Joe roth All,

490
00:25:58,440 --> 00:26:00,600
Speaker 1: as part of a bit of industry dram that went

491
00:26:00,640 --> 00:26:03,679
Speaker 1: back to a movie called Broadway Brawler. Did you know

492
00:26:03,680 --> 00:26:05,439
Speaker 1: about any of this? I knew about none of this.

493
00:26:05,680 --> 00:26:08,880
Speaker 1: No Ice so crazy? Broadway Brawler. It was a twenty

494
00:26:08,920 --> 00:26:12,360
Speaker 1: eight million dollar rom com billed as similar to Jerry Maguire,

495
00:26:12,440 --> 00:26:15,639
Speaker 1: but against the backdrop of hockey. Bruce Willis was to

496
00:26:15,640 --> 00:26:18,320
Speaker 1: play the title character, Broadway Brawler, who was a washed

497
00:26:18,400 --> 00:26:21,960
Speaker 1: up hockey player, and of February nineteen ninety seven, Bruce Willis,

498
00:26:21,960 --> 00:26:24,560
Speaker 1: who was also producing this movie, shut down the production

499
00:26:24,720 --> 00:26:28,040
Speaker 1: in Delaware, firing the director Lee Grant, who had won

500
00:26:28,080 --> 00:26:32,840
Speaker 1: an Oscar for acting in Shampoo, her producer husband Joe Fury,

501
00:26:33,800 --> 00:26:36,240
Speaker 1: who reportedly is the guy who brought Bruce Willis aboard

502
00:26:36,240 --> 00:26:39,840
Speaker 1: in the first place, fired cinematographer William Fraker, and wardrobe

503
00:26:39,880 --> 00:26:44,159
Speaker 1: engineer Kara Otits twenty days into production, basically fired the

504
00:26:44,280 --> 00:26:47,800
Speaker 1: entire production team. Willis then called his old Moonlighting director

505
00:26:47,920 --> 00:26:51,320
Speaker 1: Jennis Dugan to take over as director. An La Times

506
00:26:51,400 --> 00:26:54,000
Speaker 1: article from June nineteen ninety seven contained all of that

507
00:26:54,200 --> 00:26:57,800
Speaker 1: juicy gossip, which Bruce Willis denied through his publicist. William Fraker.

508
00:26:57,840 --> 00:27:00,760
Speaker 1: The cinematographer later said director Lee Grant was doing a

509
00:27:00,760 --> 00:27:03,840
Speaker 1: great job, but Bruce was telling other actors how to act.

510
00:27:04,040 --> 00:27:05,919
Speaker 1: It was a great script and Lee's vision was a

511
00:27:05,920 --> 00:27:08,520
Speaker 1: love story about two people with the background of hockey,

512
00:27:08,840 --> 00:27:12,879
Speaker 1: but Bruce just took over. Several other sources confirmed to

513
00:27:12,920 --> 00:27:16,199
Speaker 1: the La Times that you know, Bruce was basically being

514
00:27:16,240 --> 00:27:18,120
Speaker 1: a diva and demanding more screen time.

515
00:27:19,400 --> 00:27:22,040
Speaker 2: Yeah, talking about Brusk is complicated because of the whole

516
00:27:22,080 --> 00:27:24,760
Speaker 2: recent news that he is retiring because of aphasia, But

517
00:27:25,160 --> 00:27:30,640
Speaker 2: there is an incredible amount of ink spilled, not least

518
00:27:30,640 --> 00:27:34,480
Speaker 2: of which from Kevin Smith very famously about his some

519
00:27:34,560 --> 00:27:37,479
Speaker 2: of his habits on film sets that do not make

520
00:27:37,520 --> 00:27:39,560
Speaker 2: him seem like the biggest team player when he was

521
00:27:39,600 --> 00:27:42,520
Speaker 2: at the height of his fame. Anyway, the end result

522
00:27:42,520 --> 00:27:44,840
Speaker 2: of all this drama is that there was the company

523
00:27:45,000 --> 00:27:49,120
Speaker 2: Synergy that was bankrolling this film. Canned the whole thing

524
00:27:51,040 --> 00:27:53,760
Speaker 2: with the help of Joe Roth, who was then chairman

525
00:27:53,920 --> 00:27:58,040
Speaker 2: of Disney, which owned Synergy, but at this point production

526
00:27:58,160 --> 00:28:02,479
Speaker 2: had already cost Synergy seventeen million dollars, which didn't even

527
00:28:02,520 --> 00:28:05,359
Speaker 2: include Willis's fee, which is around seven and a half

528
00:28:05,440 --> 00:28:09,760
Speaker 2: million plus perks. So the solution that they decided was

529
00:28:10,240 --> 00:28:13,240
Speaker 2: Disney was going to pay off the seventeen million dollars

530
00:28:13,240 --> 00:28:17,360
Speaker 2: that Synergy had already spent, and then they forced asked

531
00:28:17,880 --> 00:28:23,000
Speaker 2: whatever asked with a heavy implication. They asked Bruce Willis

532
00:28:23,040 --> 00:28:26,439
Speaker 2: to star in three Disney movies for a heavily discounted

533
00:28:26,520 --> 00:28:30,520
Speaker 2: rate instead of potentially opening him up for a lawsuit

534
00:28:30,520 --> 00:28:34,520
Speaker 2: for breach of contract. And he wisely took this option,

535
00:28:35,160 --> 00:28:38,120
Speaker 2: and it ended up working out great for him because

536
00:28:38,280 --> 00:28:41,320
Speaker 2: the films that he made were Armageddon and then The

537
00:28:41,480 --> 00:28:44,760
Speaker 2: Sixth CeNSE and then The Kid, which I didn't know

538
00:28:44,800 --> 00:28:47,360
Speaker 2: anything about but was apparently a big hit for Disney.

539
00:28:47,360 --> 00:28:49,240
Speaker 2: But yeah, two of the highest grossing movies of the

540
00:28:49,280 --> 00:28:51,400
Speaker 2: era were made as a result of him being a

541
00:28:51,440 --> 00:28:56,640
Speaker 2: tremendous jerk on a movie that never got made. Those

542
00:28:56,640 --> 00:29:00,920
Speaker 2: three movies grossed one point three billion dollars worldwide, and

543
00:29:00,960 --> 00:29:04,720
Speaker 2: poor Lee Grant went to TV directing and made for

544
00:29:04,800 --> 00:29:07,240
Speaker 2: TV movies and back to acting, and she has never

545
00:29:07,280 --> 00:29:10,840
Speaker 2: gotten to make this project. She gave a heartbreaking quote

546
00:29:10,840 --> 00:29:13,320
Speaker 2: to Variety in nineteen ninety seven talking about it. She said,

547
00:29:13,320 --> 00:29:16,040
Speaker 2: this was our project. We worked on this two years

548
00:29:16,080 --> 00:29:19,480
Speaker 2: and got Bruce interested. I've had joy every day making

549
00:29:19,520 --> 00:29:22,280
Speaker 2: this movie. It was so strange. One day, you're doing

550
00:29:22,320 --> 00:29:24,520
Speaker 2: great in the next minute when some kind of whim

551
00:29:24,600 --> 00:29:27,280
Speaker 2: can destroy it. It was like a tornado. But on

552
00:29:27,280 --> 00:29:29,680
Speaker 2: the other hand, that's life and you go on and

553
00:29:29,720 --> 00:29:32,360
Speaker 2: do other stuff. I tried to do my best, my

554
00:29:32,440 --> 00:29:36,080
Speaker 2: best shot, and I loss. If you lose, you lose.

555
00:29:37,800 --> 00:29:42,080
Speaker 1: Hoo fah. And she was also blacklisted for twelve years

556
00:29:42,080 --> 00:29:43,920
Speaker 1: in the fifties as part of the Red Scare.

557
00:29:44,880 --> 00:29:48,959
Speaker 2: Yeah, so that's super super depressing. Really kind of tainted

558
00:29:49,000 --> 00:29:52,280
Speaker 2: a lot of this for me anyway. So Willis this

559
00:29:52,320 --> 00:29:54,080
Speaker 2: is the first movie he's making as a result of

560
00:29:54,080 --> 00:29:56,200
Speaker 2: this deal, and perhaps as a result of that, he

561
00:29:56,280 --> 00:29:58,680
Speaker 2: did not come on to set super willing to play ball.

562
00:29:59,000 --> 00:30:02,400
Speaker 2: He came in about thirty day the shoot. And also

563
00:30:02,480 --> 00:30:06,280
Speaker 2: Michael Bay was supposedly eyeing Sean Connery as more to star,

564
00:30:06,440 --> 00:30:09,120
Speaker 2: but then he talked to some actual oil guys and

565
00:30:09,440 --> 00:30:11,520
Speaker 2: I think it was decided that Connery was a little

566
00:30:11,520 --> 00:30:13,160
Speaker 2: too old to convincingly.

567
00:30:12,680 --> 00:30:13,520
Speaker 1: Play the part.

568
00:30:13,680 --> 00:30:16,240
Speaker 2: And then Disney naturally came in and was like, uh no,

569
00:30:16,280 --> 00:30:20,160
Speaker 2: we got Bruce Willis for you. And then this got

570
00:30:20,200 --> 00:30:25,640
Speaker 2: even messier somehow. This is a hilariously dated sentiment. While

571
00:30:25,640 --> 00:30:27,920
Speaker 2: doing a Q and A on the Ain't It Cool?

572
00:30:28,000 --> 00:30:31,480
Speaker 2: News Forum in two thousand and seven, promoting Diehard four,

573
00:30:32,200 --> 00:30:36,960
Speaker 2: Willis said of Armageddon, a screaming director does not make

574
00:30:37,040 --> 00:30:41,360
Speaker 2: for a pleasant set experience, adding of Bay, few people

575
00:30:41,360 --> 00:30:43,560
Speaker 2: will work with him now, and I know I will

576
00:30:43,560 --> 00:30:46,680
Speaker 2: never work with him again. In twenty twenty two, at

577
00:30:46,680 --> 00:30:50,000
Speaker 2: a screening of his most recent film, Ambulance, Michael Bay

578
00:30:50,080 --> 00:30:52,600
Speaker 2: said of Willis, Bruce came in a month after we

579
00:30:52,600 --> 00:30:56,040
Speaker 2: were shooting, and he was tough. What I realized psychology wise,

580
00:30:56,120 --> 00:30:59,080
Speaker 2: with actors, it's always psychology. He wanted to feel like

581
00:30:59,120 --> 00:31:02,000
Speaker 2: top dog because everyone was there for a month, everyone

582
00:31:02,040 --> 00:31:04,400
Speaker 2: was sort of friends. Then Bruce comes in and he

583
00:31:04,440 --> 00:31:07,160
Speaker 2: wanted to kind of assert himself. The same year, he

584
00:31:07,160 --> 00:31:10,120
Speaker 2: said an Entertainment Weekly interview, Bruce was tough at the

585
00:31:10,120 --> 00:31:12,520
Speaker 2: beginning of Armageddon, and there was a point when producer

586
00:31:12,560 --> 00:31:14,920
Speaker 2: Jerry Bruckheimer said to me, you've got to show him

587
00:31:14,960 --> 00:31:17,920
Speaker 2: some scenes. So I did, and Bruce goes, Wow, you

588
00:31:17,920 --> 00:31:20,360
Speaker 2: should have shown me that earlier. And ever since then

589
00:31:20,520 --> 00:31:22,720
Speaker 2: we got along. Wow you don't suck.

590
00:31:23,520 --> 00:31:26,960
Speaker 1: Yeah, right, God, I don't think I realized that Bruce

591
00:31:26,960 --> 00:31:30,800
Speaker 1: Willis was that prickly difficult, he said, Yeah, I didn't realize.

592
00:31:30,920 --> 00:31:32,760
Speaker 2: Yeah, Kevin Smith has a whole thing. I'm working on

593
00:31:33,000 --> 00:31:35,920
Speaker 2: the cop cop Out, cop something some movie with him

594
00:31:35,920 --> 00:31:38,840
Speaker 2: where he just like shut down production and went back

595
00:31:38,840 --> 00:31:40,800
Speaker 2: to his trailer to like grilled chicken.

596
00:31:42,600 --> 00:31:45,800
Speaker 1: Yeah, and it makes me think of Bruce Willis's uh

597
00:31:46,840 --> 00:31:49,200
Speaker 1: I say, misbegotten, but I guess he did quite well

598
00:31:49,280 --> 00:31:53,280
Speaker 1: musical career Bruno his musical alter ego Bruno in the

599
00:31:53,360 --> 00:31:56,360
Speaker 1: late eighties. And there's this incredible music video where he's

600
00:31:56,440 --> 00:32:00,400
Speaker 1: like being backed by the Temptations, and I just I

601
00:32:00,400 --> 00:32:02,800
Speaker 1: forget what the song is, but like respect, oh is

602
00:32:02,800 --> 00:32:05,560
Speaker 1: there respect? And just like all the Temptations are like

603
00:32:05,640 --> 00:32:08,160
Speaker 1: backing him and doing the Temptations moves, but they're all

604
00:32:08,200 --> 00:32:10,520
Speaker 1: like you can kind of tell the rolling their eyes

605
00:32:10,560 --> 00:32:13,280
Speaker 1: in the music video, Like I'm surprised that they didn't

606
00:32:13,320 --> 00:32:16,360
Speaker 1: reshoot that because it's very obvious how much they just

607
00:32:16,720 --> 00:32:18,160
Speaker 1: are not feeling back.

608
00:32:17,960 --> 00:32:21,080
Speaker 2: In Bruce Willis, Well, you know those moonlighting checks paid

609
00:32:21,120 --> 00:32:27,120
Speaker 2: for a lot of stuff. Yes, as you meditate on that,

610
00:32:27,480 --> 00:32:30,200
Speaker 2: we'll be right back with more too much information after

611
00:32:30,240 --> 00:32:41,400
Speaker 2: these messages.

612
00:32:43,680 --> 00:32:46,040
Speaker 1: Well, on the upside, Bruce Willis brought a lot to

613
00:32:46,080 --> 00:32:48,840
Speaker 1: the movie, including this line that he improvised, which is

614
00:32:49,120 --> 00:32:52,880
Speaker 1: I think kind of you know, it's the trailer line

615
00:32:53,000 --> 00:32:55,840
Speaker 1: the United States government just asked us to save the world.

616
00:32:56,000 --> 00:32:59,080
Speaker 1: Anybody want to say no, come on that rules. That's

617
00:32:59,080 --> 00:33:02,360
Speaker 1: a good line. It's good I know. Also, I didn't

618
00:33:02,400 --> 00:33:05,400
Speaker 1: realize this all. Speaking of improv all the actors made

619
00:33:05,440 --> 00:33:07,960
Speaker 1: their own choices for what their characters wanted from the

620
00:33:07,960 --> 00:33:10,440
Speaker 1: government when they were negotiating with them about going up

621
00:33:10,480 --> 00:33:15,120
Speaker 1: to actually do this basically suicide mission. One guy wants

622
00:33:15,120 --> 00:33:17,800
Speaker 1: his fifty six parking tickets in seven states wiped off

623
00:33:17,800 --> 00:33:21,480
Speaker 1: his record. Another guy has two what he refers to

624
00:33:21,520 --> 00:33:24,640
Speaker 1: as women friends that he'd like to see made American citizens.

625
00:33:24,680 --> 00:33:29,600
Speaker 1: No questions asked, My favorite, Bruce Willis says, yeah, Max

626
00:33:29,800 --> 00:33:32,400
Speaker 1: would like you to bring back eight track tapes. I'm

627
00:33:32,400 --> 00:33:35,680
Speaker 1: not sure how that's gonna work. But someone else wants

628
00:33:35,680 --> 00:33:39,720
Speaker 1: a full week Emperor's package at Caesar's Palace. And Harry Stamper,

629
00:33:39,720 --> 00:33:42,160
Speaker 1: which is Bruce Willis's character, makes what definitely would have

630
00:33:42,160 --> 00:33:44,560
Speaker 1: been my request. Who killed JFK.

631
00:33:45,760 --> 00:33:47,920
Speaker 2: Huko JK? And and none of the guys want to

632
00:33:47,960 --> 00:33:52,040
Speaker 2: pay taxes again? Yeah, ever, that's that would be me,

633
00:33:53,120 --> 00:33:53,560
Speaker 2: doesn't that.

634
00:33:53,680 --> 00:33:55,800
Speaker 1: Nicholas Cage make a similar joke at the end of

635
00:33:55,800 --> 00:33:57,600
Speaker 1: the Rock when he's going through some kind of like

636
00:33:57,680 --> 00:33:59,800
Speaker 1: microfilm and he's like, honey, do you want to know

637
00:33:59,840 --> 00:34:03,640
Speaker 1: who who killed JFK? I mean probably maybe it must

638
00:34:03,640 --> 00:34:06,880
Speaker 1: be like one of Michael Bay's practizations, which is a

639
00:34:06,960 --> 00:34:10,280
Speaker 1: kinship I feel with him. Oh yeah, Michael Clark Duncan's

640
00:34:10,320 --> 00:34:12,120
Speaker 1: character wants to stay in the Lincoln Bedroom at the

641
00:34:12,120 --> 00:34:16,120
Speaker 1: White House for a summer. So yeah, good stuff. What

642
00:34:16,160 --> 00:34:18,160
Speaker 1: would you ask for if the government was going to

643
00:34:18,200 --> 00:34:21,080
Speaker 1: send you on a suicide mission that you more than

644
00:34:21,280 --> 00:34:23,160
Speaker 1: likely wouldn't come back from, but they would offer you

645
00:34:23,200 --> 00:34:30,239
Speaker 1: anything aside from no Texas Walt Disney's Frozen Head, I'd

646
00:34:30,239 --> 00:34:32,040
Speaker 1: put it in like in some kind of plastic thing

647
00:34:32,080 --> 00:34:33,319
Speaker 1: and make it into a bowling ball.

648
00:34:33,560 --> 00:34:36,759
Speaker 2: Yeah, that'd be a good use for it. Yeah, I

649
00:34:36,840 --> 00:34:40,080
Speaker 2: just want to kick it around, play a game of

650
00:34:40,160 --> 00:34:40,839
Speaker 2: kickball with it.

651
00:34:44,360 --> 00:34:47,320
Speaker 1: I also love, speaking of just Bruce Willis behaving badly.

652
00:34:48,080 --> 00:34:51,240
Speaker 1: At one point during the production, then Disney chairman Michael Eisner,

653
00:34:51,280 --> 00:34:54,040
Speaker 1: I guess, made a surprise appearance on the Space Shuttle

654
00:34:54,120 --> 00:34:56,960
Speaker 1: set the jokingly tell Bruce Willis that he'd been fired

655
00:34:57,000 --> 00:35:01,120
Speaker 1: and replaced with Kevin Cooster, which I love. Yeah, that's great.

656
00:35:02,080 --> 00:35:06,120
Speaker 2: Having Willis's character die spoiler alert, I guess was considered

657
00:35:06,120 --> 00:35:08,160
Speaker 2: something of a risk because he was the biggest star

658
00:35:08,280 --> 00:35:10,640
Speaker 2: that the movie had. But apparently while he was still

659
00:35:10,640 --> 00:35:14,080
Speaker 2: in negotiations, that was something he told Bruckheimer he would

660
00:35:14,080 --> 00:35:17,040
Speaker 2: only do the movie if his character would die. And

661
00:35:17,080 --> 00:35:18,719
Speaker 2: for the scene in which he says goodbye to live

662
00:35:18,760 --> 00:35:21,279
Speaker 2: Tyler over the monitors, he was looking at pictures of

663
00:35:21,320 --> 00:35:24,680
Speaker 2: his own daughters to muster up the emotions for the scene.

664
00:35:24,920 --> 00:35:27,359
Speaker 1: That's nice. Do you think he insisted on dying because

665
00:35:27,360 --> 00:35:28,759
Speaker 1: he was like, oh, I didn't want to do this

666
00:35:28,800 --> 00:35:30,439
Speaker 1: movie in the first place. I'll be damned if there's

667
00:35:30,440 --> 00:35:36,120
Speaker 1: a sequel. Yeah, maybe maybe. When the thunderbirds fly over

668
00:35:36,360 --> 00:35:40,120
Speaker 1: the flight, you know, like blue Angels type group of

669
00:35:40,239 --> 00:35:44,399
Speaker 1: formation flyers in the final scenes during Harry's funeral, they're

670
00:35:44,440 --> 00:35:47,200
Speaker 1: flying in the what's known as the Missing Man formation,

671
00:35:47,600 --> 00:35:50,320
Speaker 1: and it's basically the aerial equivalent of the riderless horse

672
00:35:50,400 --> 00:35:52,959
Speaker 1: for state funerals, you know, the processions that you see

673
00:35:52,960 --> 00:35:55,640
Speaker 1: in DC, like with Kennedy and Martin, Luther King and

674
00:35:55,760 --> 00:35:58,319
Speaker 1: RFK and so forth. The formation has flown with four

675
00:35:58,440 --> 00:36:01,239
Speaker 1: jets and then one of the jets pulls straight up

676
00:36:01,320 --> 00:36:03,960
Speaker 1: while the rest of the formation flies in their original positions.

677
00:36:04,000 --> 00:36:06,680
Speaker 1: And to have this done at your funeral is an

678
00:36:06,719 --> 00:36:10,319
Speaker 1: extraordinary honor. And the Thunderbirds later flew this maneuver in

679
00:36:10,360 --> 00:36:13,760
Speaker 1: air shows out of respect for US military personnel lost

680
00:36:13,840 --> 00:36:17,040
Speaker 1: in the Iraq War and that war in Afghanistan. My

681
00:36:17,120 --> 00:36:19,719
Speaker 1: stepbrother is in the Air Force, so I feel like

682
00:36:19,719 --> 00:36:21,680
Speaker 1: I gotta shout out the airman.

683
00:36:23,000 --> 00:36:25,480
Speaker 2: Another guy who Michael Bay was not super chill to

684
00:36:25,960 --> 00:36:29,840
Speaker 2: Ben Affleck making his move up from the relatively smaller

685
00:36:29,840 --> 00:36:33,319
Speaker 2: world of Days and Confused and Chasing Amy and yes,

686
00:36:33,520 --> 00:36:39,080
Speaker 2: Goodwill Hunting to his first big boy pants action blockbuster.

687
00:36:40,120 --> 00:36:44,719
Speaker 2: Funnily enough, Skeet Ulrich said in twenty nineteen at a

688
00:36:44,719 --> 00:36:49,239
Speaker 2: comic con that he turned down Armageddon for as good

689
00:36:49,280 --> 00:36:50,200
Speaker 2: as it gets.

690
00:36:50,760 --> 00:36:53,600
Speaker 1: That's insane. The partner as good as it gets is

691
00:36:53,719 --> 00:36:56,520
Speaker 1: like it's not even like a supporting roles. This tiny

692
00:36:56,600 --> 00:36:58,680
Speaker 1: role he's probably got like ten minutes of screen time.

693
00:36:59,040 --> 00:37:00,600
Speaker 1: I call b on that.

694
00:37:03,280 --> 00:37:06,640
Speaker 2: Affleck told GQ, I imagined Michael would be emblematic of

695
00:37:06,719 --> 00:37:09,839
Speaker 2: everything big and Hollywood. I had come off Chasing Amy

696
00:37:09,880 --> 00:37:12,000
Speaker 2: and Goodwill Hunting, so I really had no idea what

697
00:37:12,000 --> 00:37:16,400
Speaker 2: big Hollywood movies were like, he was right. The producer

698
00:37:16,440 --> 00:37:19,680
Speaker 2: and former VP of Bay Films, Jennifer Klein told the

699
00:37:19,719 --> 00:37:22,359
Speaker 2: magazine Ben Affleck was new on the scene. We put

700
00:37:22,400 --> 00:37:25,399
Speaker 2: him through the Bruckheimer Bay machine, like you're no longer

701
00:37:25,480 --> 00:37:27,399
Speaker 2: chasing Amy. You're going to have to go to the gym,

702
00:37:27,520 --> 00:37:30,640
Speaker 2: get a tan, get a haircut. And Affleck told Entertainment

703
00:37:30,640 --> 00:37:33,319
Speaker 2: Weekly in twenty twenty two that May had quote a

704
00:37:33,440 --> 00:37:36,680
Speaker 2: vision of a glistening male torso in the oil and

705
00:37:36,719 --> 00:37:38,840
Speaker 2: he was like, that's going to go in the trailer

706
00:37:38,960 --> 00:37:44,239
Speaker 2: and sell tickets, and he was right. We've talked about

707
00:37:44,239 --> 00:37:46,480
Speaker 2: this enough. Let's get to the real meat of this episode.

708
00:37:46,520 --> 00:37:50,160
Speaker 2: Ben Affleck's tiny baby teeth. The most famous bit of

709
00:37:50,200 --> 00:37:54,400
Speaker 2: behind the scenes trivia around Armageddon centers around Michael Bay's

710
00:37:54,440 --> 00:37:57,680
Speaker 2: hatred of Ben Affleck's teeth. Pretty early on in the

711
00:37:57,719 --> 00:38:01,680
Speaker 2: DVD commentary, Bay just goes, yeah, we paid twenty thousand

712
00:38:01,680 --> 00:38:06,200
Speaker 2: dollars for pearly white teeth. He says, I always liked

713
00:38:06,280 --> 00:38:08,279
Speaker 2: low shots that kind of come up right under your

714
00:38:08,400 --> 00:38:10,680
Speaker 2: chin and make you a little bit heroic, and Ben

715
00:38:10,760 --> 00:38:13,160
Speaker 2: had kind of had these baby teeth. So I told

716
00:38:13,239 --> 00:38:16,520
Speaker 2: Jerry Bruckheimer God, he's got these baby teeth. Jerry, I

717
00:38:16,520 --> 00:38:20,480
Speaker 2: don't know what to do, which sounds like a Seinfeld line.

718
00:38:21,840 --> 00:38:24,880
Speaker 2: He continued, Jerry used a very famous star in a

719
00:38:24,880 --> 00:38:28,760
Speaker 2: plane movie that he replaced teeth with. So he said,

720
00:38:29,080 --> 00:38:31,160
Speaker 2: we did it to him, why not do it to Ben?

721
00:38:31,560 --> 00:38:34,040
Speaker 2: So my dentist had Ben sitting a dentist's chair for

722
00:38:34,080 --> 00:38:35,680
Speaker 2: a week, eight hours a day.

723
00:38:36,040 --> 00:38:38,520
Speaker 1: Jesus, I didn't know that was what it took. Dude,

724
00:38:38,520 --> 00:38:39,800
Speaker 1: Porcelain veneers Man.

725
00:38:40,200 --> 00:38:42,600
Speaker 2: Now, the fine folks at the Ringer on their feature

726
00:38:43,000 --> 00:38:46,680
Speaker 2: on just this commentary track did a little creative extrapolation

727
00:38:47,239 --> 00:38:50,440
Speaker 2: and concluded that before nineteen ninety eight, Jerry Bruckheimer had

728
00:38:50,440 --> 00:38:53,080
Speaker 2: produced two films that Bay could be referring to as

729
00:38:53,320 --> 00:38:57,920
Speaker 2: plane movies, Top Gun and con Air. In those films,

730
00:38:57,960 --> 00:39:00,560
Speaker 2: the very famous star Bay could have been referring to

731
00:39:00,800 --> 00:39:04,760
Speaker 2: are Tom Cruise and Nicholas Cage, respectively. They then compare

732
00:39:04,760 --> 00:39:07,440
Speaker 2: a pick of Cruise in The Outsiders and Cruise in

733
00:39:07,520 --> 00:39:11,000
Speaker 2: Top Gun to conclude that, yes, Michael Bay was following

734
00:39:11,000 --> 00:39:13,959
Speaker 2: in Jerry Bruckheimer's footsteps in forcing one of his leading

735
00:39:14,000 --> 00:39:16,920
Speaker 2: men to undergo cosmetic dental surgery for a film. It's

736
00:39:16,920 --> 00:39:19,879
Speaker 2: actually kind of shocking. You look at Cruises Outsider's teeth

737
00:39:19,920 --> 00:39:22,279
Speaker 2: and Cruise his top gun teeth now from.

738
00:39:22,200 --> 00:39:24,440
Speaker 1: Outside or was it Outsiders? I think it was Outsiders

739
00:39:24,440 --> 00:39:26,600
Speaker 1: where he he had had a tooth capped, and I

740
00:39:26,640 --> 00:39:28,680
Speaker 1: think he took the cap off for that role, the

741
00:39:29,320 --> 00:39:31,600
Speaker 1: one the picture that's always online that you see, like

742
00:39:31,680 --> 00:39:33,360
Speaker 1: the before and after of him when he's got a

743
00:39:33,360 --> 00:39:35,560
Speaker 1: real snaggle too. I think that was the deal, like

744
00:39:35,640 --> 00:39:39,080
Speaker 1: he'd had something capped. Didn't Nicholas Cage do something crazy

745
00:39:39,120 --> 00:39:44,239
Speaker 1: to his teeth for a role like a vampire movie? Possibly?

746
00:39:44,520 --> 00:39:46,239
Speaker 2: I mean he's done too at this point. He did

747
00:39:46,320 --> 00:39:49,120
Speaker 2: Vampire's Kiss and Renfield just came out this week or

748
00:39:49,200 --> 00:39:53,920
Speaker 2: this month. Renfield, I ken't confuse pronouncing Renfield and Seinfeld,

749
00:39:53,960 --> 00:39:57,160
Speaker 2: so I've been calling I've been calling it Seinfield and Renfeld.

750
00:39:57,560 --> 00:40:00,360
Speaker 1: Oh we shave his teeth, yeah, to transform into Rakla

751
00:40:00,480 --> 00:40:02,120
Speaker 1: for Reinfeld. Yeah, what a weirdo.

752
00:40:04,800 --> 00:40:08,960
Speaker 2: The teeth thing is something that haunted Affleck. Kate Beckonsale

753
00:40:09,000 --> 00:40:12,279
Speaker 2: recalled on the set of Pearl Harbor. She mentioned to

754
00:40:12,440 --> 00:40:15,480
Speaker 2: him that Michael Bay had crudely told her that she

755
00:40:15,560 --> 00:40:18,920
Speaker 2: needed to lose weight, and Affleck commiserated by telling her

756
00:40:19,040 --> 00:40:23,839
Speaker 2: the teeth story, and Kate Becketzale told Women's Health I

757
00:40:23,920 --> 00:40:26,040
Speaker 2: was like, well, at least I get to hang on

758
00:40:26,080 --> 00:40:30,280
Speaker 2: to my actual teeth and then adding insult to injury.

759
00:40:30,440 --> 00:40:33,760
Speaker 2: On the commentary track, May said that while shooting Steve

760
00:40:33,840 --> 00:40:35,719
Speaker 2: Bussemi told him that he was going to get some

761
00:40:35,800 --> 00:40:38,880
Speaker 2: work done on his teeth, and by responded, you have

762
00:40:38,920 --> 00:40:42,160
Speaker 2: a million dollar smile and you shouldn't change a thing.

763
00:40:45,400 --> 00:40:50,680
Speaker 2: Go on, but Affleck those teeth, Ben Choppers, that wasn't.

764
00:40:50,520 --> 00:40:53,040
Speaker 1: All he hated about that, Affleck. There's a great story

765
00:40:53,040 --> 00:40:55,360
Speaker 1: from the pre production of Armageddon. We touched on this

766
00:40:55,400 --> 00:40:58,440
Speaker 1: in our recent Goodwill Hunting episode. After Ben left the

767
00:40:58,480 --> 00:41:01,200
Speaker 1: first meeting with Michael Bay and Jayry Bruckheimer, Michael Bay

768
00:41:01,239 --> 00:41:04,080
Speaker 1: turned to Jerry Bruckheimer and said, Jerry, he's a geek

769
00:41:04,280 --> 00:41:08,239
Speaker 1: like which against sounds like a Seinfeld thing. Michael Bay

770
00:41:08,239 --> 00:41:11,439
Speaker 1: remembered thinking, Okay, he's this kind of pale Boston guy.

771
00:41:11,719 --> 00:41:13,279
Speaker 1: We can work him out, give him a tan, do

772
00:41:13,360 --> 00:41:16,239
Speaker 1: everything to make him a star. But this wasn't enough

773
00:41:16,280 --> 00:41:19,360
Speaker 1: to fool his co star, slash movie love interest liv Tyler,

774
00:41:19,680 --> 00:41:23,319
Speaker 1: who described him as quote this nerdy, smart guy. He's

775
00:41:23,320 --> 00:41:25,920
Speaker 1: obsessed with the New York Times crossword puzzle. He reads

776
00:41:25,920 --> 00:41:28,520
Speaker 1: a lot. He's really interested in knowing more about the world.

777
00:41:28,800 --> 00:41:31,160
Speaker 1: So all this to say, everyone on the set of

778
00:41:31,320 --> 00:41:35,680
Speaker 1: Armageddon thought that pen Affleck was a nerd, a pasty.

779
00:41:35,320 --> 00:41:40,760
Speaker 2: Nerd with baby teeth from Boston. Poor guy aflex DVD

780
00:41:41,160 --> 00:41:46,000
Speaker 2: track is a joy. He has so much I wouldn't

781
00:41:46,000 --> 00:41:49,160
Speaker 2: even call it thinly veiled contempt for this movie. He

782
00:41:49,200 --> 00:41:51,760
Speaker 2: treats his commentary track like an episode of Mystery Science

783
00:41:51,800 --> 00:41:55,600
Speaker 2: Theater three thousand. He occasionally just makes fun of things

784
00:41:55,600 --> 00:41:57,920
Speaker 2: that happen on screen. Every time Billy Bob Thornton is

785
00:41:57,960 --> 00:42:03,640
Speaker 2: on screen, Ben starts doing a sling blade accents, like

786
00:42:04,080 --> 00:42:07,400
Speaker 2: he literally starts going like wandering around NASA, and he's like,

787
00:42:07,440 --> 00:42:09,719
Speaker 2: I'm gonna get me some of them French trad potatoes.

788
00:42:11,920 --> 00:42:14,359
Speaker 2: For the scene in which the oil oil drillers are

789
00:42:14,400 --> 00:42:18,880
Speaker 2: like sliding around in the oil, Ben Affleck starts making

790
00:42:18,880 --> 00:42:22,840
Speaker 2: like cartoon noises like whoop, and then you hear Bruce

791
00:42:22,840 --> 00:42:24,920
Speaker 2: Willis go, yeah, one of the guys almost died shooting

792
00:42:24,960 --> 00:42:28,279
Speaker 2: this because they filmed he, Bay and Willis all filmed

793
00:42:28,320 --> 00:42:30,080
Speaker 2: there separately, and then they cut them together.

794
00:42:30,160 --> 00:42:34,719
Speaker 1: So they weren't doing it, and then greatest performance.

795
00:42:35,040 --> 00:42:39,520
Speaker 2: And then Affleck tells this perfect anecdote about the film.

796
00:42:39,800 --> 00:42:42,000
Speaker 2: I asked Michael why it was easier to train oil

797
00:42:42,080 --> 00:42:44,920
Speaker 2: drillers to become astronauts than it was to train astronauts

798
00:42:44,960 --> 00:42:47,000
Speaker 2: to become oil drillers, and he told me to shut

799
00:42:47,040 --> 00:42:50,040
Speaker 2: the fuck up. So that was the end of that talk.

800
00:42:52,840 --> 00:42:55,880
Speaker 2: And also, per Affleck, the entire love story dimension to

801
00:42:55,920 --> 00:42:58,920
Speaker 2: the script was added during the whole rewrite development process

802
00:42:59,040 --> 00:43:02,520
Speaker 2: because of your loved large boat movie. Yes, Titanic had

803
00:43:02,560 --> 00:43:04,319
Speaker 2: just been a huge hit, and so the Army Geddon

804
00:43:04,360 --> 00:43:06,680
Speaker 2: team figured they needed a romance plot line to kind

805
00:43:06,680 --> 00:43:11,680
Speaker 2: of surf off that rose Jack energy sweep in the nation. Originally,

806
00:43:11,719 --> 00:43:13,640
Speaker 2: the film was supposed to focus more on the relationship

807
00:43:13,640 --> 00:43:17,600
Speaker 2: between Willis and Billy Bob Thornton's characters, and Willis makes

808
00:43:17,640 --> 00:43:21,640
Speaker 2: a maybe joke on the commentary that they continually reminded

809
00:43:21,680 --> 00:43:24,239
Speaker 2: Affleck of this fact that his part could be cut

810
00:43:24,280 --> 00:43:28,239
Speaker 2: out completely if they needed to do so. Speaking of

811
00:43:28,320 --> 00:43:30,239
Speaker 2: that of the love scene that they had earlier that

812
00:43:30,280 --> 00:43:33,000
Speaker 2: we were talking about, Affleck and lived Tyler were friends

813
00:43:33,040 --> 00:43:35,440
Speaker 2: before filming Maybe from Boston.

814
00:43:35,480 --> 00:43:36,560
Speaker 1: Because of the Aerosmith thing.

815
00:43:36,719 --> 00:43:40,320
Speaker 2: I don't know, maybe so their love scenes were extra awkward.

816
00:43:40,960 --> 00:43:42,480
Speaker 1: Tyler told cinema dot Com.

817
00:43:42,719 --> 00:43:44,439
Speaker 2: It was really a nice treat to have Ben play

818
00:43:44,480 --> 00:43:46,680
Speaker 2: that part because I did know him before this movie.

819
00:43:46,800 --> 00:43:49,000
Speaker 2: He did treat me like a little sister. He was like,

820
00:43:49,080 --> 00:43:52,320
Speaker 2: cover yourself up, girl. It was really fun. He's my friend.

821
00:43:52,600 --> 00:43:54,640
Speaker 2: It was nice because we'd know each other's families and

822
00:43:54,640 --> 00:43:57,399
Speaker 2: boyfriends and girlfriends, which made it all cool. The bad

823
00:43:57,400 --> 00:43:59,360
Speaker 2: part is we were supposed to do these kissing scenes

824
00:43:59,400 --> 00:44:02,839
Speaker 2: and we would just giggling like crazy. Tyler turned down

825
00:44:02,840 --> 00:44:06,960
Speaker 2: the role multiple times before accepting. Our second Scream reference

826
00:44:07,000 --> 00:44:09,399
Speaker 2: of the day is that nev Campbell revealed in twenty

827
00:44:09,440 --> 00:44:11,680
Speaker 2: eighteen on Watch What Happens Live that she passed on

828
00:44:11,760 --> 00:44:14,920
Speaker 2: liv Tyler's role, which means, in an alternate universe, there

829
00:44:14,960 --> 00:44:16,879
Speaker 2: is a world in which one of the killers from

830
00:44:16,960 --> 00:44:19,880
Speaker 2: Scream plays the love interest of one of his attempted

831
00:44:19,960 --> 00:44:21,760
Speaker 2: victims in the movie Armagedin.

832
00:44:22,120 --> 00:44:26,040
Speaker 1: But who's the killer from Scream? Sket a right right, yeah,

833
00:44:26,040 --> 00:44:29,920
Speaker 1: it says yeah. Also considered for the part of Grace

834
00:44:29,960 --> 00:44:33,520
Speaker 1: Stamper or Robin Wright, Denise Richards, and Miili Jovivic.

835
00:44:34,400 --> 00:44:37,000
Speaker 2: Those are all fine. Robin Wright would be good. Denise

836
00:44:37,080 --> 00:44:41,040
Speaker 2: Richards is a blank slate, so maybe not.

837
00:44:41,360 --> 00:44:42,719
Speaker 1: Was she on a Bond movie?

838
00:44:43,080 --> 00:44:50,319
Speaker 2: Yeah, Christmas Jones right, the nuclear scientist. Christmas only comes

839
00:44:50,360 --> 00:44:54,160
Speaker 2: once a year. Cruel. Yeah, that's also Coruel. It was terrible.

840
00:44:54,160 --> 00:44:57,040
Speaker 2: That's like one of the worst Bond movies. Millie Jovivisch

841
00:44:57,040 --> 00:44:59,080
Speaker 2: would have been good. She would have been coming off

842
00:44:59,080 --> 00:45:02,160
Speaker 2: Fifth Element. The film was supposed to end on the

843
00:45:02,200 --> 00:45:04,879
Speaker 2: tarmac once the survivors get back, but Affleck and Bay

844
00:45:04,960 --> 00:45:07,080
Speaker 2: decided that they needed to end with the character's weddings,

845
00:45:07,080 --> 00:45:09,080
Speaker 2: and it was Ben Affleck's idea to shoot a bunch

846
00:45:09,120 --> 00:45:11,440
Speaker 2: of wedding footage with like a super eight camera and

847
00:45:11,920 --> 00:45:13,560
Speaker 2: have it play over the end credits. And that was

848
00:45:13,600 --> 00:45:16,239
Speaker 2: his super eight camera that they used, which is just adorable.

849
00:45:16,480 --> 00:45:20,000
Speaker 1: He must be a Wonder Years fan too. Ah. I

850
00:45:20,320 --> 00:45:23,080
Speaker 1: see this is the hidden depth of Ben Affleck, the

851
00:45:23,080 --> 00:45:27,560
Speaker 1: profound sadness of Ben Affleck, the melancholy of Ben Affleck.

852
00:45:27,600 --> 00:45:30,560
Speaker 1: That's really interesting that we love Ben att TMI, I

853
00:45:30,640 --> 00:45:32,560
Speaker 1: did we do? I also love the bit where he

854
00:45:32,560 --> 00:45:35,160
Speaker 1: starts singing leaving on a jet plane to live Tyler's

855
00:45:35,239 --> 00:45:37,600
Speaker 1: character before he boards the spaceship and then the rest

856
00:45:37,640 --> 00:45:41,719
Speaker 1: of the crew joins in, which apparently was a big risk.

857
00:45:42,200 --> 00:45:44,520
Speaker 1: Michael Bay shot the scene two ways with the song

858
00:45:44,600 --> 00:45:46,520
Speaker 1: and without the song because they weren't sure how it

859
00:45:46,520 --> 00:45:49,680
Speaker 1: would play on camera. Bruce Willis said he was sure

860
00:45:49,719 --> 00:45:52,120
Speaker 1: it was gonna get cut because apparently no one could

861
00:45:52,160 --> 00:45:54,319
Speaker 1: sing on the set and they were all singing in

862
00:45:54,360 --> 00:45:57,120
Speaker 1: a different keys. But it's like so bad that it

863
00:45:57,239 --> 00:45:59,640
Speaker 1: almost like it almost works. It almost sounds like they're

864
00:45:59,640 --> 00:46:02,200
Speaker 1: doing some like complex harmony. It kind of has to

865
00:46:02,200 --> 00:46:02,600
Speaker 1: be like.

866
00:46:02,480 --> 00:46:05,839
Speaker 2: A rip of the Righteous Brothers thing from top gun right,

867
00:46:06,000 --> 00:46:09,840
Speaker 2: Like there's no way that's just a coincidence that's true.

868
00:46:10,360 --> 00:46:12,879
Speaker 1: But yeah, Bruce Willis said the DVD commentary, it took

869
00:46:12,960 --> 00:46:15,040
Speaker 1: quite a bit of work to fix that scene with

870
00:46:15,120 --> 00:46:19,879
Speaker 1: everyone's singing amusingly in con air. Steve Buscemi referred to

871
00:46:20,000 --> 00:46:22,680
Speaker 1: the irony about quote a bunch of idiots singing a

872
00:46:22,719 --> 00:46:25,000
Speaker 1: song made popular by a band that died in a

873
00:46:25,000 --> 00:46:28,400
Speaker 1: plane crack define irony. He's referring to them singing Sweet

874
00:46:28,400 --> 00:46:31,640
Speaker 1: Home Alabama, which is recorded by Leonard Skinner. He is

875
00:46:31,680 --> 00:46:34,239
Speaker 1: seen in Armageddon singing Leaving on a jet Plane, which

876
00:46:34,320 --> 00:46:36,840
Speaker 1: was sung by John Denver, who also died in a

877
00:46:36,880 --> 00:46:39,560
Speaker 1: plane crash, probably during the production of the movie. I

878
00:46:39,600 --> 00:46:40,759
Speaker 1: think it was in nineteen ninety seven.

879
00:46:40,880 --> 00:46:43,080
Speaker 2: They make so many jokes and or not jokes, but

880
00:46:43,160 --> 00:46:46,520
Speaker 2: references in conair to Steve Bussemi's being like a cannibal

881
00:46:46,760 --> 00:46:49,239
Speaker 2: and like a serial murderer, and then he's just like

882
00:46:49,280 --> 00:46:52,960
Speaker 2: becomes the most likable person in that movie, such as

883
00:46:52,960 --> 00:46:53,960
Speaker 2: the power of Steve.

884
00:46:55,080 --> 00:46:57,720
Speaker 1: I think at Armageddon too, speaking of like meta movie

885
00:46:57,719 --> 00:47:01,400
Speaker 1: moments they talk about, they make a pulp fiction reference,

886
00:47:01,480 --> 00:47:06,239
Speaker 1: which is funny because Bruce Willis and by right, we're

887
00:47:06,280 --> 00:47:07,320
Speaker 1: both in pulp fiction.

888
00:47:08,080 --> 00:47:09,960
Speaker 2: Yeah, yeah, yeah, yeah.

889
00:47:09,840 --> 00:47:14,040
Speaker 1: Unified theory of Bouscemi. But back to the impossible, impossibly

890
00:47:14,160 --> 00:47:18,000
Speaker 1: deep sadness of Ben Affleck. He ran into some problems

891
00:47:18,040 --> 00:47:20,400
Speaker 1: to the very first night of shooting when they were

892
00:47:20,400 --> 00:47:23,120
Speaker 1: in South Dakota's bad Lands, which was standing in for

893
00:47:23,160 --> 00:47:26,920
Speaker 1: the Astroid. Michael Bay told Collider at A Q and A,

894
00:47:27,160 --> 00:47:29,440
Speaker 1: they're walking out of a plane crash and wind machines

895
00:47:29,480 --> 00:47:31,360
Speaker 1: are giving one hundred mile an hour wins, and all

896
00:47:31,400 --> 00:47:33,400
Speaker 1: of a sudden, I see Ben Affleck trying to hit

897
00:47:33,440 --> 00:47:36,720
Speaker 1: his face shield. They had real mass hallocks on their helmets.

898
00:47:37,000 --> 00:47:39,600
Speaker 1: I'm like, cut, cut, what's going on, Ben? What are

899
00:47:39,640 --> 00:47:41,640
Speaker 1: you doing? So we had the run literally like a

900
00:47:41,680 --> 00:47:44,279
Speaker 1: football field towards him, and he was trying to find

901
00:47:44,280 --> 00:47:46,840
Speaker 1: a rock to bust his mask because you could breathe

902
00:47:46,880 --> 00:47:50,279
Speaker 1: because the air thing was shut off, so they tried

903
00:47:50,280 --> 00:47:52,319
Speaker 1: to suffocate Ben Affleck the first day out of this.

904
00:47:52,360 --> 00:47:54,840
Speaker 2: Said just smashed.

905
00:47:56,200 --> 00:47:59,960
Speaker 1: Rock. I can't breathe or he just wanted to feel something.

906
00:48:00,520 --> 00:48:02,279
Speaker 2: Yeah, incredible.

907
00:48:02,960 --> 00:48:06,560
Speaker 1: Hilariously, Ben Affleck told Entertainment Weekly, it's funny because amer

908
00:48:06,600 --> 00:48:08,439
Speaker 1: Gunn is the one movie of mine that my kids

909
00:48:08,440 --> 00:48:11,200
Speaker 1: have watched and will kind of admit to liking, even

910
00:48:11,239 --> 00:48:14,239
Speaker 1: though they relentlessly mock it and me, what are you

911
00:48:14,320 --> 00:48:17,560
Speaker 1: driving a tank on the moon? But they had fun,

912
00:48:17,600 --> 00:48:19,840
Speaker 1: you know what I mean. They won't even watch The Town,

913
00:48:20,280 --> 00:48:22,960
Speaker 1: So there you have it. Can't even got respect from

914
00:48:23,000 --> 00:48:24,759
Speaker 1: his own kids. It's so funny to me.

915
00:48:24,840 --> 00:48:27,880
Speaker 2: He picks out The Town as one of his movies

916
00:48:27,920 --> 00:48:31,240
Speaker 2: that he's most proud of, the Jeremy Renner bank robbing movie.

917
00:48:31,600 --> 00:48:34,200
Speaker 2: It does have funny one of my favorite line readings

918
00:48:34,200 --> 00:48:36,440
Speaker 2: of all time in all cinema in that movie, which

919
00:48:36,520 --> 00:48:38,680
Speaker 2: is where Jeremy Renner is making his last stand and

920
00:48:38,719 --> 00:48:42,120
Speaker 2: they're like, you're cornered. The police are like, come out

921
00:48:42,120 --> 00:48:46,040
Speaker 2: with your hands up, and he just goes yo, perfect

922
00:48:46,080 --> 00:48:50,400
Speaker 2: Boston honk. Anyway, as with any ensemble cast, there are

923
00:48:50,440 --> 00:48:52,360
Speaker 2: some fun bits in here about the rest of the folks.

924
00:48:53,040 --> 00:48:55,759
Speaker 2: The leg brace that Billy Bob Thornton's character wears.

925
00:48:55,520 --> 00:48:57,320
Speaker 1: Was his own idea. For some reason.

926
00:48:58,120 --> 00:49:00,920
Speaker 2: His manager got him the role, and explained in an

927
00:49:00,960 --> 00:49:04,080
Speaker 2: interview to People TV that his manager just happened to

928
00:49:04,080 --> 00:49:06,319
Speaker 2: be in a plane ride with Jerry Bruckheimer and told

929
00:49:06,400 --> 00:49:10,759
Speaker 2: him he should cast quote some really good like actors actors.

930
00:49:11,120 --> 00:49:13,719
Speaker 2: I'm just imagining leaning over and squeezing his shoulder like

931
00:49:13,880 --> 00:49:17,920
Speaker 2: really tightly. Thornton later told Indy Wier that while I

932
00:49:17,960 --> 00:49:20,520
Speaker 2: don't really do blockbusters, I thought on the level that

933
00:49:20,640 --> 00:49:22,919
Speaker 2: Armaged was supposed to work. I always thought it did,

934
00:49:23,120 --> 00:49:25,480
Speaker 2: and I enjoyed my time on that movie. And he's

935
00:49:25,480 --> 00:49:28,760
Speaker 2: not immune to the film's charms, he added, every time

936
00:49:28,920 --> 00:49:31,080
Speaker 2: when Bruce Willis is buying the farm on the Rock,

937
00:49:31,400 --> 00:49:37,239
Speaker 2: I tear up relatable Owen Wilson. The first day Owen

938
00:49:37,280 --> 00:49:39,440
Speaker 2: Wilson came to the set an hour hour and.

939
00:49:39,360 --> 00:49:39,919
Speaker 1: A half late.

940
00:49:40,000 --> 00:49:43,040
Speaker 2: Bey told GQ. We put PA's out on the Warner

941
00:49:43,040 --> 00:49:45,080
Speaker 2: Brothers lot. I said, call me when you find him.

942
00:49:45,480 --> 00:49:47,680
Speaker 2: I put my arm around Owen, who's a great guy.

943
00:49:48,040 --> 00:49:50,359
Speaker 2: I said, Owen, you know what, I worked with Sean

944
00:49:50,440 --> 00:49:52,800
Speaker 2: Connery and I gotta tell you he was never late,

945
00:49:53,080 --> 00:49:57,560
Speaker 2: and Owen was never late again. Per the commentary track,

946
00:49:57,640 --> 00:49:59,960
Speaker 2: it was Steve Buscemi's idea to make his character Rock

947
00:50:00,440 --> 00:50:02,200
Speaker 2: a genius who knew there was no way the mission

948
00:50:02,200 --> 00:50:04,560
Speaker 2: would be a success. So he played the part as

949
00:50:04,560 --> 00:50:06,520
Speaker 2: a person who knew he was on a suicide mission,

950
00:50:06,680 --> 00:50:09,160
Speaker 2: who knew the entire race was about to become extinct,

951
00:50:09,400 --> 00:50:11,440
Speaker 2: and who quote wasn't going to get his panties in

952
00:50:11,480 --> 00:50:14,720
Speaker 2: a bunch about it. Much of his dialogue was apparently

953
00:50:14,760 --> 00:50:19,200
Speaker 2: deemed too funny and cut sadly, and his character's line,

954
00:50:19,440 --> 00:50:21,880
Speaker 2: you know, we're sitting on four million pounds of fuel,

955
00:50:22,160 --> 00:50:24,399
Speaker 2: one nuclear weapon, and a thing that has two hundred

956
00:50:24,440 --> 00:50:27,000
Speaker 2: and seventy thousand moving parts built by the lowest bidder,

957
00:50:27,719 --> 00:50:31,160
Speaker 2: was a variation on something said by astronaut Alan Shephard.

958
00:50:31,239 --> 00:50:35,640
Speaker 2: According to the Oxford Reference Dictionary in nineteen sixty one,

959
00:50:36,320 --> 00:50:38,600
Speaker 2: his quote was it's a very sobering feeling to be

960
00:50:38,680 --> 00:50:41,120
Speaker 2: up in space and realize that one safety factor was

961
00:50:41,160 --> 00:50:43,960
Speaker 2: determined by the lowest bidder on a government contract.

962
00:50:44,280 --> 00:50:47,040
Speaker 1: Yeah, he's the first American in space, so he had

963
00:50:47,200 --> 00:50:51,400
Speaker 1: lots of sweat. I feel bad for Steve Buscemi and Armageddon.

964
00:50:51,440 --> 00:50:54,680
Speaker 1: He reportedly was getting really tired of playing sleazy characters

965
00:50:54,880 --> 00:50:56,759
Speaker 1: and was hoping that this role would break him out

966
00:50:56,760 --> 00:51:00,000
Speaker 1: of that because as written, the character was kind of heroic,

967
00:51:00,640 --> 00:51:03,279
Speaker 1: but as soon as they cast him, they started to

968
00:51:03,280 --> 00:51:05,560
Speaker 1: rewrite the character to make him a bit more of

969
00:51:05,560 --> 00:51:08,120
Speaker 1: a sleeze because they got Steve Buchemi for it.

970
00:51:09,480 --> 00:51:12,240
Speaker 2: Michael Bay told Collider that his casting director found Michael

971
00:51:12,239 --> 00:51:15,359
Speaker 2: Clark Duncan at a gym, and then proceeds to get

972
00:51:15,440 --> 00:51:18,319
Speaker 2: sentimental about how much Clark improved as an actor while

973
00:51:18,360 --> 00:51:20,759
Speaker 2: working on the film. He said, what I loved about

974
00:51:20,800 --> 00:51:23,360
Speaker 2: Michael Clark Duncan was the charm and just being real.

975
00:51:23,520 --> 00:51:25,839
Speaker 2: He was a lovable guy. I like working with real

976
00:51:25,880 --> 00:51:28,520
Speaker 2: people and turning them into actors. But he had this

977
00:51:28,680 --> 00:51:31,200
Speaker 2: voice and was like a bad B or C actor.

978
00:51:31,840 --> 00:51:34,959
Speaker 2: He's talking about filming Armageddon. It was first take, second take,

979
00:51:35,000 --> 00:51:37,520
Speaker 2: and I'm like, oh my god, we're in trouble. I'm like, Mike,

980
00:51:37,640 --> 00:51:39,840
Speaker 2: I want you to just be you, pretend it's just

981
00:51:39,920 --> 00:51:43,840
Speaker 2: you talking. He became the most studied actor in terms

982
00:51:43,840 --> 00:51:46,760
Speaker 2: of he came literally the furthest because he watched Bruce,

983
00:51:46,840 --> 00:51:49,560
Speaker 2: he watched everyone. Everyone sort of took him under his wing.

984
00:51:49,960 --> 00:51:52,120
Speaker 2: Then the next movie he did Green Mile, he was

985
00:51:52,200 --> 00:51:54,640
Speaker 2: up for an Oscar and then, in a great bit

986
00:51:54,680 --> 00:51:58,080
Speaker 2: of oral history editing a few graphs later, Michael Clarke

987
00:51:58,160 --> 00:52:01,399
Speaker 2: Duncan says to GQ about my Bay, he's like one

988
00:52:01,400 --> 00:52:03,200
Speaker 2: of those chihuahuas that's always barking.

989
00:52:05,400 --> 00:52:07,840
Speaker 1: I think Michael Bay's memories of this have been colored

990
00:52:07,840 --> 00:52:10,440
Speaker 1: by the fact that Michael Clark Duncan died in twenty twelve.

991
00:52:10,520 --> 00:52:13,320
Speaker 1: And he's got a little rose colored glass. It's a

992
00:52:13,360 --> 00:52:16,800
Speaker 1: gimlet eye. Is that the expression? Yes? Because the story

993
00:52:16,840 --> 00:52:19,680
Speaker 1: I heard was that Michael Bay was threatening to replace

994
00:52:19,760 --> 00:52:22,520
Speaker 1: Michael Clark Duncan because you hear really having a lot

995
00:52:22,520 --> 00:52:25,239
Speaker 1: of problems with his performance early on, and they pulled

996
00:52:25,320 --> 00:52:26,719
Speaker 1: him aside and said, you know, we're gonna have to

997
00:52:26,800 --> 00:52:29,120
Speaker 1: replace you if you can't match that energy that you

998
00:52:29,160 --> 00:52:31,680
Speaker 1: had in the audition. And so they basically just scared

999
00:52:31,760 --> 00:52:33,600
Speaker 1: him into into getting it right.

1000
00:52:34,239 --> 00:52:36,520
Speaker 2: And then one of my last favorite quotes from at

1001
00:52:36,560 --> 00:52:40,040
Speaker 2: GQ thing Billy Bob Thornton. I was sitting at the

1002
00:52:40,040 --> 00:52:42,360
Speaker 2: table read through with Owen Wilson and Bussemi, and we

1003
00:52:42,400 --> 00:52:45,000
Speaker 2: were all sitting there kind of nervously, and Steve looks

1004
00:52:45,000 --> 00:52:47,279
Speaker 2: at me and goes, what the are we doing here?

1005
00:52:50,080 --> 00:52:52,200
Speaker 1: Yeah. Later, when asked why he did this film, Steve

1006
00:52:52,200 --> 00:52:59,600
Speaker 1: Buscemi replied, I wanted a bigger house. Well, speaking of money,

1007
00:52:59,840 --> 00:53:05,040
Speaker 1: and lots of it, Armageddon not cheap to make. Michael

1008
00:53:05,080 --> 00:53:08,200
Speaker 1: Bay told GQ on Armageddon each day was a big

1009
00:53:08,239 --> 00:53:11,840
Speaker 1: expensive day. We're talking two hundred and fifty thousand dollars

1010
00:53:11,880 --> 00:53:14,040
Speaker 1: a day and it was one hundred and twenty seven

1011
00:53:14,120 --> 00:53:14,720
Speaker 1: day shoot.

1012
00:53:15,160 --> 00:53:17,240
Speaker 2: I was just say, between that and all the stuff

1013
00:53:17,239 --> 00:53:20,839
Speaker 2: that they were working around like at NASA, and I guess,

1014
00:53:20,920 --> 00:53:22,880
Speaker 2: if you want to do it on a technicality in

1015
00:53:22,960 --> 00:53:25,160
Speaker 2: terms of like the equipment that they were shooting around,

1016
00:53:25,239 --> 00:53:27,279
Speaker 2: this might be the most expensive movie ever made.

1017
00:53:28,280 --> 00:53:30,640
Speaker 1: There was I was able to track down, and I

1018
00:53:30,680 --> 00:53:33,480
Speaker 1: think I put it in here. Yes, the cas and

1019
00:53:33,520 --> 00:53:37,920
Speaker 1: crew worked around nineteen billion dollars worth of equipment, so yeah, yeah.

1020
00:53:37,640 --> 00:53:41,279
Speaker 2: Yeah, easily like far and away the most expensive movie,

1021
00:53:41,320 --> 00:53:42,919
Speaker 2: if we're counting that as a technicality.

1022
00:53:43,640 --> 00:53:47,640
Speaker 1: Wild the film's director of photography, John Schwartzmann, told Live

1023
00:53:47,760 --> 00:53:50,759
Speaker 1: Design Online in nineteen ninety eight that quote we used

1024
00:53:50,760 --> 00:53:54,160
Speaker 1: to say, the only easy day on Armageddon was yesterday.

1025
00:53:56,360 --> 00:53:58,759
Speaker 1: Ben I Fleck told Entertainment Weekly around the same time,

1026
00:53:58,800 --> 00:54:01,000
Speaker 1: we could have made like I think four hundred chasing

1027
00:54:01,040 --> 00:54:04,279
Speaker 1: Amy's for what we made arm Again for. And this

1028
00:54:04,400 --> 00:54:06,719
Speaker 1: just something that he mocks. On the film's commentary track,

1029
00:54:06,760 --> 00:54:09,080
Speaker 1: he points out a shot and says, this is where

1030
00:54:09,080 --> 00:54:11,120
Speaker 1: you just have a random helicopter in the background for

1031
00:54:11,200 --> 00:54:13,200
Speaker 1: no real reason, just because you're a big movie and

1032
00:54:13,239 --> 00:54:15,719
Speaker 1: you're expensive and you can you have no idea how

1033
00:54:15,800 --> 00:54:17,960
Speaker 1: much of a headache having a helicopter in the background

1034
00:54:18,040 --> 00:54:21,040
Speaker 1: causes us safety This and money that only so many

1035
00:54:21,040 --> 00:54:24,520
Speaker 1: hours they can fly. They're on walkies, wins blasting everywhere.

1036
00:54:25,160 --> 00:54:27,800
Speaker 1: Ben Affleck hated this. I love how much Ben Affleck

1037
00:54:27,840 --> 00:54:28,279
Speaker 1: hated this.

1038
00:54:28,680 --> 00:54:34,440
Speaker 2: Yeah, it's kind of adorable, honestly, but my god, did

1039
00:54:34,480 --> 00:54:37,840
Speaker 2: they spend money on this movie. They shot over a

1040
00:54:37,920 --> 00:54:41,320
Speaker 2: million feet of film, and Kodak sent them a gift

1041
00:54:41,360 --> 00:54:45,960
Speaker 2: basket with six bottles of Corbell's champagne.

1042
00:54:46,160 --> 00:54:50,359
Speaker 1: Bottles, not six cases, various.

1043
00:54:50,000 --> 00:54:52,120
Speaker 2: Other line items on the budget in addition to ben

1044
00:54:52,160 --> 00:54:55,680
Speaker 2: Afflex twenty thousand dollars teeth another twenty thousand for Frankie,

1045
00:54:55,680 --> 00:54:59,399
Speaker 2: the dog that attacks Godzilla toys. He belonged to Brendan Kelly,

1046
00:54:59,440 --> 00:55:02,160
Speaker 2: an actor who in the Rock no idea if it

1047
00:55:02,200 --> 00:55:04,680
Speaker 2: was his particular set of skills that cost so much,

1048
00:55:04,760 --> 00:55:06,120
Speaker 2: but he was so good at it they had to

1049
00:55:06,200 --> 00:55:08,359
Speaker 2: hide all the toys from him on set before they

1050
00:55:08,400 --> 00:55:10,200
Speaker 2: started filming, otherwise he would just.

1051
00:55:10,200 --> 00:55:11,000
Speaker 1: Go to town on them.

1052
00:55:11,520 --> 00:55:15,120
Speaker 2: The space suits, which on the DVD commentary Bay calls

1053
00:55:15,200 --> 00:55:18,800
Speaker 2: the biggest nightmare of the entire shoots, costs a collective

1054
00:55:18,840 --> 00:55:22,640
Speaker 2: one point five million. They were designed in France by

1055
00:55:22,640 --> 00:55:25,880
Speaker 2: someone who just worked with Luke Bisson on Fifth Element,

1056
00:55:26,160 --> 00:55:29,319
Speaker 2: and Bay did not enjoy the experience. He's still apoplectic

1057
00:55:29,360 --> 00:55:31,920
Speaker 2: about it on the commentary track. But the guy who

1058
00:55:31,960 --> 00:55:35,480
Speaker 2: designed them, Chris Hillman, came out of it great. He

1059
00:55:35,520 --> 00:55:37,920
Speaker 2: made props and costumes for not only this, but stuff

1060
00:55:37,920 --> 00:55:42,160
Speaker 2: like Stargate and ad Astra, among many others, and NASA

1061
00:55:42,239 --> 00:55:45,839
Speaker 2: later actually hired him to help redesign a space suit

1062
00:55:45,880 --> 00:55:50,920
Speaker 2: for smaller torsos as well as a helmet adapter. So yeah,

1063
00:55:50,960 --> 00:55:52,320
Speaker 2: that's great. Good for Chris.

1064
00:55:52,560 --> 00:55:54,759
Speaker 1: But Michael Bay didn't give him an easy time. He

1065
00:55:54,880 --> 00:55:56,719
Speaker 1: was mad because he went to check in on the

1066
00:55:56,760 --> 00:56:00,000
Speaker 1: costumes just three weeks before shooting began, and he said

1067
00:56:00,080 --> 00:56:02,880
Speaker 1: the suits looked like quote an Adida's jogging suit on

1068
00:56:02,920 --> 00:56:06,279
Speaker 1: a rack. His breaking point came when he found someone

1069
00:56:06,400 --> 00:56:09,920
Speaker 1: spray painting a generic club from a garden store and

1070
00:56:10,040 --> 00:56:12,120
Speaker 1: sewing rubber onto the knuckles to make it look a

1071
00:56:12,160 --> 00:56:16,080
Speaker 1: little more space. Yeah. But I did watch one of

1072
00:56:16,120 --> 00:56:18,719
Speaker 1: the making of featurettes and Ben Affleck says something about

1073
00:56:18,719 --> 00:56:21,359
Speaker 1: how like they were supposedly one of the first, if

1074
00:56:21,400 --> 00:56:26,120
Speaker 1: not the first production to actually get proper NASA space

1075
00:56:26,160 --> 00:56:28,520
Speaker 1: suits in addition to like because there are some scenes

1076
00:56:28,520 --> 00:56:30,160
Speaker 1: when they're wearing ones that look like the ones that

1077
00:56:30,200 --> 00:56:32,479
Speaker 1: you see like normal as I think he's talking about

1078
00:56:32,480 --> 00:56:34,680
Speaker 1: the landing suits that are designed.

1079
00:56:34,719 --> 00:56:37,480
Speaker 2: Yeah, because they have the they have the orange ones. Yeah,

1080
00:56:37,520 --> 00:56:40,000
Speaker 2: we'll talk in a second about this. The access that

1081
00:56:40,040 --> 00:56:43,040
Speaker 2: they had for this film, which is just bananas. The

1082
00:56:43,200 --> 00:56:47,799
Speaker 2: Armadillo vehicle was built specifically for the film, As perhaps predictably,

1083
00:56:48,040 --> 00:56:50,600
Speaker 2: NASA does not actually have a giant tank with gatling

1084
00:56:50,680 --> 00:56:55,480
Speaker 2: guns on it that cost one million dollars. Good bargain though,

1085
00:56:55,520 --> 00:56:57,479
Speaker 2: Base as in the commentary that it never once broke

1086
00:56:57,520 --> 00:56:58,440
Speaker 2: down and they took.

1087
00:56:58,320 --> 00:57:00,720
Speaker 1: It past three thousand miles without Katie. The oil changed

1088
00:57:01,040 --> 00:57:02,920
Speaker 1: three thousand miles.

1089
00:57:03,480 --> 00:57:06,160
Speaker 2: Has what it has a Chevy three fifty I guess

1090
00:57:06,239 --> 00:57:09,719
Speaker 2: driving it around the bad Lands had a Chevy three

1091
00:57:09,800 --> 00:57:13,040
Speaker 2: fifty seven engine inside apparently, and the only person they

1092
00:57:13,080 --> 00:57:13,640
Speaker 2: let drive.

1093
00:57:13,520 --> 00:57:15,279
Speaker 1: It was Affleck, which is hilarious to me.

1094
00:57:17,360 --> 00:57:20,320
Speaker 2: The miniature for it alone that Bay keeps in his

1095
00:57:20,400 --> 00:57:23,560
Speaker 2: office costs one hundred and fifty thousand dollars. And while

1096
00:57:23,560 --> 00:57:26,680
Speaker 2: we're on the topic of the Armadillo, Mattel had a

1097
00:57:26,720 --> 00:57:28,960
Speaker 2: toy line that they had already planned attached to Armaged

1098
00:57:29,160 --> 00:57:32,080
Speaker 2: and they told Bay during production that toy trucks with

1099
00:57:32,200 --> 00:57:35,440
Speaker 2: guns on them sell more because of America, and that

1100
00:57:35,600 --> 00:57:38,600
Speaker 2: is why there is a giant Gatling gun on a

1101
00:57:38,680 --> 00:57:43,480
Speaker 2: space rover. That Gatling gun, incidentally, or the Gatling guns.

1102
00:57:43,480 --> 00:57:44,280
Speaker 1: I don't know if they got.

1103
00:57:44,240 --> 00:57:46,240
Speaker 2: Multiple ones, or if they just moved it from truck

1104
00:57:46,280 --> 00:57:49,080
Speaker 2: to truck, but that was an actual gun from World

1105
00:57:49,120 --> 00:57:52,040
Speaker 2: War Two and it was accompanied by its own full

1106
00:57:52,080 --> 00:57:55,560
Speaker 2: time police officer to guard it. Wherever it went, So

1107
00:57:55,600 --> 00:57:59,360
Speaker 2: these are just all items on the guns handler was

1108
00:57:59,400 --> 00:58:04,000
Speaker 2: an ite him on the line budget the gun's pa, Yeah,

1109
00:58:04,560 --> 00:58:07,120
Speaker 2: can we get someone out to the guns trailer? The

1110
00:58:07,200 --> 00:58:11,240
Speaker 2: gun won't leave its trailer. An oil driller contacted by

1111
00:58:11,240 --> 00:58:15,360
Speaker 2: Mel magazine to fact check the film did say that

1112
00:58:15,480 --> 00:58:18,120
Speaker 2: the gun was absurd, but he added there is a

1113
00:58:18,160 --> 00:58:20,720
Speaker 2: time when you might need a gun during drilling. That's

1114
00:58:20,760 --> 00:58:23,760
Speaker 2: when you're working in northern Canada when there are bears.

1115
00:58:24,920 --> 00:58:26,840
Speaker 2: Those guys, that's a great feature that Mel did. They

1116
00:58:26,880 --> 00:58:29,320
Speaker 2: fact checked armagin with a gang of oil drig drillers,

1117
00:58:30,200 --> 00:58:33,320
Speaker 2: and then they said much of the movie, unsurprisingly is horse,

1118
00:58:33,560 --> 00:58:37,160
Speaker 2: particularly willis chasing Affleck around with a shotgun on an

1119
00:58:37,200 --> 00:58:39,720
Speaker 2: oil rig. But they do agree with the aspect that

1120
00:58:39,720 --> 00:58:42,560
Speaker 2: oil rig workers are a little rough around the edges generally.

1121
00:58:43,160 --> 00:58:45,200
Speaker 2: One of the guys is quoted is saying, nowadays, with

1122
00:58:45,280 --> 00:58:48,160
Speaker 2: drug testing and laws, it's a little bit harder, but

1123
00:58:48,200 --> 00:58:50,720
Speaker 2: back in the day you wouldn't go to work unless

1124
00:58:50,760 --> 00:58:53,400
Speaker 2: you were high.

1125
00:58:53,560 --> 00:58:55,520
Speaker 1: Did they also fact check the space stuff too, or

1126
00:58:55,560 --> 00:58:57,960
Speaker 1: has that already been done by Like? No, No, the

1127
00:58:57,960 --> 00:59:00,440
Speaker 1: Mel thing was just for the oil rig drillers.

1128
00:59:00,480 --> 00:59:03,960
Speaker 2: The space stuff, we'll get to the bomb that they

1129
00:59:04,040 --> 00:59:06,560
Speaker 2: take on. The mission cost seventy five thousand dollars to

1130
00:59:06,600 --> 00:59:07,680
Speaker 2: design and construct.

1131
00:59:08,200 --> 00:59:11,520
Speaker 1: That sounds low considering everything.

1132
00:59:11,080 --> 00:59:14,560
Speaker 2: Else it actually does. Yeah, the film's lighting cost was

1133
00:59:14,680 --> 00:59:18,000
Speaker 2: over a million dollars, and this was partially because they

1134
00:59:18,040 --> 00:59:22,440
Speaker 2: moved the entire lighting rig to not just Kennedy Space Center,

1135
00:59:22,720 --> 00:59:25,920
Speaker 2: but also the Johnson Space Center in Houston and the

1136
00:59:25,920 --> 00:59:29,880
Speaker 2: oil rig off the Gulf of Mexico where they shot. Yeah,

1137
00:59:30,720 --> 00:59:33,160
Speaker 2: there's the great The interview with the cinematographer that we

1138
00:59:33,240 --> 00:59:35,360
Speaker 2: quoted earlier is great, but he talks about they just

1139
00:59:35,560 --> 00:59:37,680
Speaker 2: the lighting for this was so essential. It's part of

1140
00:59:37,680 --> 00:59:39,320
Speaker 2: why the film looks the way it does that they

1141
00:59:39,400 --> 00:59:42,600
Speaker 2: just whole hog moved their entire lighting rig around wherever

1142
00:59:42,600 --> 00:59:45,160
Speaker 2: they shot at. Maybe the most expensive part of this

1143
00:59:45,360 --> 00:59:47,720
Speaker 2: was that the main drill site was shot at Stage

1144
00:59:47,760 --> 00:59:50,440
Speaker 2: two in Disney, which is larger than a football field

1145
00:59:50,480 --> 00:59:52,840
Speaker 2: and is one of the largest sound stages in Hollywood.

1146
00:59:53,160 --> 00:59:55,520
Speaker 2: But Michael Bay said it wasn't big enough, so they

1147
00:59:55,600 --> 00:59:59,120
Speaker 2: dug the floor down another forty feet, bringing the entire

1148
00:59:59,400 --> 01:00:02,160
Speaker 2: height of this to ninety feet at a cost of

1149
01:00:02,240 --> 01:00:07,160
Speaker 2: two million dollars. The destruction of Shanghai was originally intended

1150
01:00:07,200 --> 01:00:10,240
Speaker 2: to be shot using miniatures, and actually rather artily for

1151
01:00:10,280 --> 01:00:13,280
Speaker 2: a Michael Bay film, was storyboarded as just being seen

1152
01:00:13,320 --> 01:00:15,080
Speaker 2: through the eyes of a father and a son on

1153
01:00:15,120 --> 01:00:18,400
Speaker 2: a fishing boat. What ended up happening was that they

1154
01:00:18,440 --> 01:00:21,760
Speaker 2: rented the largest sound stage in Hollywood, which belonged to

1155
01:00:21,760 --> 01:00:26,200
Speaker 2: Sony Stage thirty. They built a ninety foot pier and

1156
01:00:26,440 --> 01:00:30,000
Speaker 2: filled the indoor lake for this, and then they blew.

1157
01:00:29,840 --> 01:00:30,320
Speaker 1: It all up.

1158
01:00:31,800 --> 01:00:33,320
Speaker 2: That did not I was not able to find a

1159
01:00:33,360 --> 01:00:36,400
Speaker 2: cost attached to the hat. I assumed it was prohibitive.

1160
01:00:37,760 --> 01:00:43,160
Speaker 1: Oh lord, we're gonna take a quick break, but we'll

1161
01:00:43,160 --> 01:00:45,720
Speaker 1: be right back with more. Too much information in just

1162
01:00:45,760 --> 01:00:59,920
Speaker 1: a moment. Funny enough.

1163
01:01:00,160 --> 01:01:03,280
Speaker 2: One through item in Michael Bay's career is that, despite

1164
01:01:03,360 --> 01:01:08,160
Speaker 2: being seemingly very unpleasant, he has this ability to just

1165
01:01:08,440 --> 01:01:12,200
Speaker 2: charm the pants off people. The oil rig scenes were

1166
01:01:12,200 --> 01:01:15,840
Speaker 2: filmed on an actual working four hundred million dollars drilling rig,

1167
01:01:16,160 --> 01:01:18,400
Speaker 2: and Michael Bay claims on the commentary that the reason

1168
01:01:18,440 --> 01:01:20,040
Speaker 2: that they were allowed to film there was because he

1169
01:01:20,120 --> 01:01:22,880
Speaker 2: told them the movie was about oil drillers saving the world,

1170
01:01:22,920 --> 01:01:27,360
Speaker 2: which makes sense. Lighting technician Andy Ryan told in that

1171
01:01:27,400 --> 01:01:30,240
Speaker 2: Live Design Online article that They trucked all of their

1172
01:01:30,320 --> 01:01:34,040
Speaker 2: gear from LA to Galveston, Texas, put it on a barge,

1173
01:01:34,120 --> 01:01:36,480
Speaker 2: and then boted it one hundred and eighty miles to

1174
01:01:36,520 --> 01:01:39,240
Speaker 2: the oil rig. Our guys used the crane on the

1175
01:01:39,240 --> 01:01:41,520
Speaker 2: oil rig to lift the containers off and line them up.

1176
01:01:41,880 --> 01:01:44,040
Speaker 2: The riggers rigged the rig for us, so to speak.

1177
01:01:44,560 --> 01:01:46,760
Speaker 2: We took a two hour helicopter ride to get out there,

1178
01:01:46,800 --> 01:01:49,240
Speaker 2: and within two hours we were shooting piece of Cake.

1179
01:01:51,600 --> 01:01:54,480
Speaker 2: Another amazing Michael Bay quote from the collider Q and

1180
01:01:54,520 --> 01:01:57,760
Speaker 2: A is about securing a B two stealth bomber for Armageddon.

1181
01:01:58,400 --> 01:01:58,960
Speaker 1: On that day.

1182
01:01:58,960 --> 01:02:01,040
Speaker 2: On the shoot, they had this line of death where

1183
01:02:01,080 --> 01:02:03,960
Speaker 2: they had two military people with M sixteen's bruce and

1184
01:02:04,000 --> 01:02:05,919
Speaker 2: the actors are there. They have a sign that says,

1185
01:02:06,000 --> 01:02:09,480
Speaker 2: you cross this line, lethal force will be used. By lunchtime,

1186
01:02:09,560 --> 01:02:12,240
Speaker 2: I was sitting in that mother fire. You just gotta

1187
01:02:12,280 --> 01:02:14,520
Speaker 2: be good with the gift of gab.

1188
01:02:16,440 --> 01:02:18,560
Speaker 1: And yeah, as I said earlier, as a result of this,

1189
01:02:18,760 --> 01:02:22,160
Speaker 1: the cast and crew worked around nineteen billion dollars worth

1190
01:02:22,160 --> 01:02:22,760
Speaker 1: of equipment.

1191
01:02:24,080 --> 01:02:28,200
Speaker 2: It's funny for somebody who's so linked with this American jingoism,

1192
01:02:28,400 --> 01:02:32,080
Speaker 2: Brah Brah military science, junk stuff and all of his movies.

1193
01:02:32,400 --> 01:02:35,720
Speaker 2: Michael Bay is a weird dick about the actual aesthetics

1194
01:02:35,760 --> 01:02:39,800
Speaker 2: of space exploration. A great quote from the commentary, I

1195
01:02:39,880 --> 01:02:46,120
Speaker 2: was very unimpressed when I went to NASA. He also

1196
01:02:46,160 --> 01:02:48,320
Speaker 2: described meeting with people who had stayed in the Mirror

1197
01:02:48,360 --> 01:02:51,160
Speaker 2: space station, although they were not allowed to call that

1198
01:02:51,200 --> 01:02:53,840
Speaker 2: space station in the film Mirror, but he said that

1199
01:02:53,960 --> 01:02:56,920
Speaker 2: it is filled with junk, mold is growing on the walls,

1200
01:02:56,960 --> 01:02:58,640
Speaker 2: and it smells like leaky sewage.

1201
01:02:59,440 --> 01:03:00,920
Speaker 1: I think it was that they weren't allowed to call

1202
01:03:00,960 --> 01:03:02,400
Speaker 1: it that. I think it was that they didn't want

1203
01:03:02,440 --> 01:03:05,000
Speaker 1: to because, oh, in case something and yeah, you know,

1204
01:03:05,040 --> 01:03:07,000
Speaker 1: it was kind of a space jalope that they're worried

1205
01:03:07,000 --> 01:03:10,959
Speaker 1: it was gonna like crash or dicinegrate before the film

1206
01:03:11,040 --> 01:03:13,360
Speaker 1: was released, and then they would have this awful joke

1207
01:03:13,440 --> 01:03:15,840
Speaker 1: in the movie.

1208
01:03:16,640 --> 01:03:20,960
Speaker 2: So the mission control that is in NASA is it's

1209
01:03:21,000 --> 01:03:24,120
Speaker 2: just a company that sells herbal products and supplements in Houston.

1210
01:03:25,920 --> 01:03:29,160
Speaker 2: He says, the old mission control is the most unsexy

1211
01:03:29,160 --> 01:03:31,720
Speaker 2: thing you've ever seen. If you saw the real NASA,

1212
01:03:31,960 --> 01:03:34,160
Speaker 2: you wouldn't trust it as far as you could throw it.

1213
01:03:36,560 --> 01:03:39,960
Speaker 1: Right away with words. Michael Bay has a cameo as

1214
01:03:40,000 --> 01:03:43,600
Speaker 1: a scientist at NASA HQ, or at least his NASA HQ,

1215
01:03:44,160 --> 01:03:47,320
Speaker 1: And this goes back to his earliest entertainment ambitions. He

1216
01:03:47,360 --> 01:03:49,760
Speaker 1: wanted to be an actor. Years before he perfected the

1217
01:03:49,840 --> 01:03:52,480
Speaker 1: art of blowing stuff up on screen, he had started

1218
01:03:52,520 --> 01:03:56,160
Speaker 1: an amateur production of Pirates of Penzance and has told

1219
01:03:56,160 --> 01:04:00,320
Speaker 1: the GQ his own mother remembered the performance by saying,

1220
01:04:00,640 --> 01:04:02,920
Speaker 1: I never laughed so hard in my life.

1221
01:04:03,200 --> 01:04:07,640
Speaker 2: He also wanted to be a magician. I found so much. Yeah,

1222
01:04:07,680 --> 01:04:10,680
Speaker 2: he talks about doing a close quarters magic like sleight

1223
01:04:10,720 --> 01:04:17,240
Speaker 2: of hand stuff. Despite this, his contempt, his seething contempt,

1224
01:04:17,680 --> 01:04:20,760
Speaker 2: perhaps just under his hatred of ben Affleck's teeth, was

1225
01:04:20,800 --> 01:04:26,000
Speaker 2: his distaste for NASA, the aesthetics of NASA. But my god,

1226
01:04:26,160 --> 01:04:29,720
Speaker 2: they they got so much access to stuff for this

1227
01:04:29,920 --> 01:04:33,720
Speaker 2: and the director of photography, John Schwartzman, told American Cinematographer

1228
01:04:33,960 --> 01:04:36,480
Speaker 2: that he chocked all of this up to Jerry Bruckheimer's

1229
01:04:36,840 --> 01:04:39,640
Speaker 2: cozy relationship with the Air Force thanks to Top Gun.

1230
01:04:40,280 --> 01:04:43,240
Speaker 2: You may remember from our Top Gun episode that you

1231
01:04:43,280 --> 01:04:46,160
Speaker 2: got a fast plane. You may remember from our Top

1232
01:04:46,160 --> 01:04:49,440
Speaker 2: Gun episode that that movie drove air.

1233
01:04:49,280 --> 01:04:50,959
Speaker 1: Force applications that year.

1234
01:04:51,480 --> 01:04:56,080
Speaker 2: So the Air Force had a cozy relationship with Jerry Brockheimer,

1235
01:04:56,120 --> 01:04:59,360
Speaker 2: and that apparently extended to NASA. Schwartzman said, when we

1236
01:04:59,360 --> 01:05:03,240
Speaker 2: were making Army Gedin, Mimi later was making Deep Impact.

1237
01:05:03,640 --> 01:05:05,800
Speaker 2: We were literally making it at the same time, two

1238
01:05:05,880 --> 01:05:08,680
Speaker 2: movies about asteroids, but they did not have the access

1239
01:05:08,720 --> 01:05:10,960
Speaker 2: that we had. I have to believe that was Jerry's

1240
01:05:11,000 --> 01:05:13,680
Speaker 2: relationship with the government and the military. We had nothing

1241
01:05:13,680 --> 01:05:16,720
Speaker 2: but green lights everywhere we went. It was incredible. I

1242
01:05:16,760 --> 01:05:19,040
Speaker 2: spent a week living on an offshore oil rig for

1243
01:05:19,080 --> 01:05:21,280
Speaker 2: that opening sequence in the movie, the whole crew was

1244
01:05:21,320 --> 01:05:22,439
Speaker 2: flown out to an oil rig.

1245
01:05:22,720 --> 01:05:23,320
Speaker 1: There's not an.

1246
01:05:23,200 --> 01:05:25,680
Speaker 2: Insurance company or lawyer in the world that would let

1247
01:05:25,720 --> 01:05:28,520
Speaker 2: that happen nowadays. He also tells another thing that would

1248
01:05:28,520 --> 01:05:31,480
Speaker 2: absolutely not happen nowadays, particularly after nine to eleven, and

1249
01:05:31,480 --> 01:05:34,920
Speaker 2: then also particularly after January sixth, We did things like

1250
01:05:34,960 --> 01:05:36,920
Speaker 2: go to Washington, d C. On a Sunday with a

1251
01:05:36,960 --> 01:05:39,240
Speaker 2: crew of five people and Dolly tracks and cameras in

1252
01:05:39,240 --> 01:05:42,880
Speaker 2: a van. We literally bribed the Capitol police with hats

1253
01:05:42,880 --> 01:05:45,760
Speaker 2: from the rock that Michael signed to let us lay

1254
01:05:45,800 --> 01:05:48,160
Speaker 2: track inside the Capitol grounds to get shot of the

1255
01:05:48,160 --> 01:05:48,960
Speaker 2: Capitol building.

1256
01:05:49,840 --> 01:05:53,160
Speaker 1: That's a pretty chintzy bribe. Yeah. Half the hats signed

1257
01:05:53,160 --> 01:05:55,560
Speaker 1: by like Sean Connery or Nick Cage or something. But

1258
01:05:55,920 --> 01:05:57,880
Speaker 1: I'm not a halftime by Nike Michael Bay.

1259
01:05:58,640 --> 01:06:03,960
Speaker 2: I would send me a rock hat signed by It'd

1260
01:06:04,000 --> 01:06:06,280
Speaker 2: be better if it was a hat of the rock

1261
01:06:06,440 --> 01:06:09,800
Speaker 2: from his WWF days signed by Michael Bay.

1262
01:06:10,720 --> 01:06:13,040
Speaker 1: That's been a high concept merch I can get behind.

1263
01:06:15,480 --> 01:06:18,520
Speaker 1: Director of photography John Schwartzman continued. We shot at what's

1264
01:06:18,560 --> 01:06:22,160
Speaker 1: called the Neutral Buoyancy Laboratory, where the astronauts trained for

1265
01:06:22,240 --> 01:06:25,440
Speaker 1: missions in the world's largest swimming pool. They actually allowed

1266
01:06:25,440 --> 01:06:27,840
Speaker 1: Ben Affleck and Bruce Willis to put on real space

1267
01:06:27,840 --> 01:06:31,000
Speaker 1: suits with real astronauts and go into the tank. Willison

1268
01:06:31,000 --> 01:06:34,120
Speaker 1: Affleck were the first two non astronauts to don spacesuits

1269
01:06:34,120 --> 01:06:38,920
Speaker 1: and perform tasks underwater, accompanied by five trained spacemen and

1270
01:06:39,000 --> 01:06:41,640
Speaker 1: other than the pool. The craziest bit of access that

1271
01:06:41,640 --> 01:06:44,040
Speaker 1: the production had was not only that they were allowed

1272
01:06:44,040 --> 01:06:46,040
Speaker 1: to shoot on a space shuttle and shoot on the

1273
01:06:46,080 --> 01:06:50,000
Speaker 1: gantry where the space shuttles take off, but NASA also

1274
01:06:50,040 --> 01:06:52,680
Speaker 1: let them film a space shuttle launch at Cape Canaveral

1275
01:06:53,400 --> 01:06:55,600
Speaker 1: and Ben Affleck and Bruce Willis when they were filming

1276
01:06:55,680 --> 01:06:58,760
Speaker 1: on the gantry, both tried to press their luck with

1277
01:06:58,840 --> 01:07:02,760
Speaker 1: NASA security and step into the Space Shuttle before NASA

1278
01:07:02,840 --> 01:07:07,439
Speaker 1: text immediately warned them off. Director of Photography John Schwartzman said,

1279
01:07:07,440 --> 01:07:10,000
Speaker 1: it was very complicated. We had to place the cameras

1280
01:07:10,000 --> 01:07:12,760
Speaker 1: before they start to fuel the main rocket. That's usually

1281
01:07:12,760 --> 01:07:15,160
Speaker 1: forty eight hours before. We had to deal with getting

1282
01:07:15,200 --> 01:07:17,600
Speaker 1: the NASA computers to turn our cameras on and off.

1283
01:07:17,880 --> 01:07:20,800
Speaker 1: There's a two mile fenced off area. Once they start

1284
01:07:20,800 --> 01:07:23,320
Speaker 1: to fuel the rocket. You can't go in, I imagine for

1285
01:07:23,480 --> 01:07:26,480
Speaker 1: security purposes, like that scene in Contact.

1286
01:07:27,240 --> 01:07:30,280
Speaker 2: Yeah, they talk about Babe. Babe predictably does have a

1287
01:07:30,280 --> 01:07:32,000
Speaker 2: bit of a heart on for the level of control

1288
01:07:32,040 --> 01:07:34,720
Speaker 2: that NASA UH has over this. He says, like if

1289
01:07:34,720 --> 01:07:38,600
Speaker 2: someone drops a pen under the Space Shuttle before it launches,

1290
01:07:38,640 --> 01:07:40,640
Speaker 2: they have to scrap the entire thing and start all

1291
01:07:40,640 --> 01:07:43,680
Speaker 2: over again, which is something that he surely envies.

1292
01:07:45,280 --> 01:07:48,720
Speaker 1: So they had to get everything right long before the launch.

1293
01:07:48,800 --> 01:07:51,080
Speaker 1: The director photography said, once they start to fuel the rocket,

1294
01:07:51,080 --> 01:07:53,480
Speaker 1: you can't go in, you can't change the camera exposure.

1295
01:07:53,520 --> 01:07:55,800
Speaker 1: You're done. You just crossed your fingers and hope you

1296
01:07:55,840 --> 01:07:59,000
Speaker 1: did it right. But he added that NASA was very

1297
01:07:59,000 --> 01:08:02,160
Speaker 1: impressed with one apt aspect of their production. At the time,

1298
01:08:02,280 --> 01:08:05,600
Speaker 1: NASA had been shooting launches with sixteen millimeter film, and

1299
01:08:05,640 --> 01:08:08,720
Speaker 1: so when they saw the thirty five millimeter panamision cameras,

1300
01:08:08,760 --> 01:08:11,800
Speaker 1: they just completely lost their minds. And that's also like

1301
01:08:11,880 --> 01:08:14,920
Speaker 1: working with rigging gaffer Jeff Soderberg so much that they

1302
01:08:15,000 --> 01:08:17,120
Speaker 1: kept them on as a consultant at the agency to

1303
01:08:17,240 --> 01:08:19,320
Speaker 1: work with other film productions who wanted to shoot at

1304
01:08:19,400 --> 01:08:24,280
Speaker 1: NASA facilities. Yeah, it's really crazy how much NASA big

1305
01:08:24,400 --> 01:08:27,360
Speaker 1: up to Michael Bay. The Kennedy Space Center built a

1306
01:08:27,400 --> 01:08:30,240
Speaker 1: movie theater from the ground up to house the premiere

1307
01:08:30,240 --> 01:08:34,640
Speaker 1: of the film in nineteen ninety eight. But despite a

1308
01:08:34,720 --> 01:08:40,000
Speaker 1: close contact with NASA, Armageddon is woefully unrealistic. It's long

1309
01:08:40,000 --> 01:08:42,439
Speaker 1: been an urban legend that NASA actually shows this movie

1310
01:08:42,479 --> 01:08:45,200
Speaker 1: of its trainees and makes them spot all one hundred

1311
01:08:45,240 --> 01:08:48,960
Speaker 1: and sixty eight inaccuracies just to test them, But this

1312
01:08:49,080 --> 01:08:52,360
Speaker 1: apparently is just a rumor that likely started in the

1313
01:08:52,400 --> 01:08:55,479
Speaker 1: feedback section of a two thousand and seven edition of

1314
01:08:55,560 --> 01:08:58,960
Speaker 1: The New Scientist magazine, which reads, why does NASA show

1315
01:08:59,000 --> 01:09:02,759
Speaker 1: the movie? Armageddon's part of its management training programs. In reality,

1316
01:09:02,800 --> 01:09:05,439
Speaker 1: the screenings are just a game for NASA space geeks

1317
01:09:05,520 --> 01:09:07,920
Speaker 1: who can find the highest number of impossible things. In

1318
01:09:07,960 --> 01:09:11,040
Speaker 1: the movie, the record feedback is told stands at one

1319
01:09:11,080 --> 01:09:14,280
Speaker 1: hundred and sixty eight. So that bit of truth has

1320
01:09:14,320 --> 01:09:17,560
Speaker 1: been repeated and distorted in a classic case of internet telephone.

1321
01:09:18,120 --> 01:09:20,680
Speaker 1: But the reality is we have no idea that this

1322
01:09:20,720 --> 01:09:24,679
Speaker 1: has actually become a hollow tradition in NASA training. It'd

1323
01:09:24,720 --> 01:09:26,920
Speaker 1: be funny if it was. Yeah, I like that.

1324
01:09:28,240 --> 01:09:31,240
Speaker 2: Meanwhile, in two thousand and eight, a PhD student from

1325
01:09:31,280 --> 01:09:35,200
Speaker 2: Australia won an international prize for paper she wrote outlining

1326
01:09:35,240 --> 01:09:37,880
Speaker 2: her plan to prevent an asteroid from colliding with the Earth.

1327
01:09:38,840 --> 01:09:41,600
Speaker 2: This was reported in a couple of different UK papers. The

1328
01:09:41,920 --> 01:09:46,720
Speaker 2: Space Generation Advisory Councils Move an Asteroid two thousand and

1329
01:09:46,760 --> 01:09:52,000
Speaker 2: eight competition. Good Lord was based on a Pofice, which

1330
01:09:52,040 --> 01:09:55,000
Speaker 2: is a minor planet expected to pass close to Earth.

1331
01:09:55,040 --> 01:09:58,320
Speaker 2: In twenty twenty nine, Mary Desauza, from the University of

1332
01:09:58,360 --> 01:10:02,559
Speaker 2: Queensland's School of Engineering proposed covering the minor planet in

1333
01:10:02,600 --> 01:10:06,120
Speaker 2: a milar sheet and using solar radiation to push it

1334
01:10:06,160 --> 01:10:08,800
Speaker 2: off its path. This is as a few outlets have

1335
01:10:08,880 --> 01:10:12,480
Speaker 2: pointed out alarmingly close to the plan of action proposed

1336
01:10:12,479 --> 01:10:15,439
Speaker 2: by scientists in arm Again, we want to land a craft,

1337
01:10:15,600 --> 01:10:18,599
Speaker 2: deploy solar sales. You'll have a great big canopy. Solar

1338
01:10:18,600 --> 01:10:21,000
Speaker 2: winds will be caught by these milar sales, and Billy

1339
01:10:21,000 --> 01:10:23,560
Speaker 2: Bob Thornton's character replies, come on, guys, we've got to

1340
01:10:23,560 --> 01:10:27,360
Speaker 2: come up with something realistic here. It would take an

1341
01:10:27,479 --> 01:10:30,520
Speaker 2: entire podcast to point out what's wrong with the film specifically,

1342
01:10:30,760 --> 01:10:33,919
Speaker 2: but we could just start with broadly the entire premise.

1343
01:10:36,240 --> 01:10:39,800
Speaker 2: The rock is just too damn big. Scottish astrophysicist doctor

1344
01:10:39,800 --> 01:10:42,920
Speaker 2: Alistair Bruce told I News in twenty seventeen, that's why

1345
01:10:42,920 --> 01:10:45,280
Speaker 2: it's fun to talk about, because it's such a Hollywood thing.

1346
01:10:45,520 --> 01:10:47,719
Speaker 2: They went big and then they went way too big

1347
01:10:48,840 --> 01:10:54,400
Speaker 2: the Chile Cheliabinsk. The Cheliabinsk asteroid was about sixty feet across.

1348
01:10:54,560 --> 01:10:56,600
Speaker 2: That's the one that exploded above Russia a couple of

1349
01:10:56,640 --> 01:10:59,200
Speaker 2: years ago. He continued. I think they say it's once

1350
01:10:59,240 --> 01:11:01,400
Speaker 2: every few decades that the Earth will be hit by

1351
01:11:01,400 --> 01:11:04,080
Speaker 2: something that big. By way of it, for instance, he

1352
01:11:04,080 --> 01:11:06,280
Speaker 2: says the largest rock that ever hit the Earth was

1353
01:11:06,320 --> 01:11:09,160
Speaker 2: the one that killed the dinosaurs. At six miles wide.

1354
01:11:09,439 --> 01:11:11,599
Speaker 2: The one in the film is described as the size

1355
01:11:11,600 --> 01:11:15,440
Speaker 2: of Texas, considerably larger than six miles.

1356
01:11:16,760 --> 01:11:20,160
Speaker 1: According to a Making of feature hosted by Leonard Nimoy,

1357
01:11:20,240 --> 01:11:22,960
Speaker 1: So I trust it asteroids that would cause a crater

1358
01:11:23,080 --> 01:11:27,240
Speaker 1: that would say, wipeout Manhattan come every fifty thousand years,

1359
01:11:27,439 --> 01:11:31,080
Speaker 1: which that's pretty frequent.

1360
01:11:32,920 --> 01:11:35,360
Speaker 2: So at that size, it is insane to think that

1361
01:11:35,400 --> 01:11:38,200
Speaker 2: the bomb they used would have done anything. And in fact,

1362
01:11:38,240 --> 01:11:40,719
Speaker 2: four physics students came at this from a mathematical angle

1363
01:11:40,760 --> 01:11:44,839
Speaker 2: in twenty eleven, and they determined that the film's bomb

1364
01:11:45,200 --> 01:11:48,759
Speaker 2: would have had needed to be roughly a billion times

1365
01:11:49,040 --> 01:11:53,439
Speaker 2: stronger than the largest nuke ever detonated on Earth, the

1366
01:11:53,479 --> 01:11:59,880
Speaker 2: Soviet Union's Big Ivan. It was a big borous.

1367
01:12:03,280 --> 01:12:06,160
Speaker 1: But Michael Bay was not bothered by this. He's quoted

1368
01:12:06,160 --> 01:12:08,599
Speaker 1: as saying, now, I know there's no fire in space,

1369
01:12:08,720 --> 01:12:10,640
Speaker 1: but it's a movie, and most people don't know that

1370
01:12:12,040 --> 01:12:15,400
Speaker 1: no sound either in space. His contempt for everyone and

1371
01:12:15,479 --> 01:12:19,080
Speaker 1: everything except for himself and his movies is incredible. Fire.

1372
01:12:19,200 --> 01:12:26,800
Speaker 2: And there is one bit of NASA related procedure that

1373
01:12:26,840 --> 01:12:30,320
Speaker 2: the film did get right. Steve Beseemi's character Rockhound goes

1374
01:12:30,320 --> 01:12:31,840
Speaker 2: a little Baddie on the way up and his crew

1375
01:12:31,880 --> 01:12:35,639
Speaker 2: mates ti him up with duct tape. Incredibly, it came

1376
01:12:35,640 --> 01:12:39,280
Speaker 2: out ten years later that this is an actual nassive procedure.

1377
01:12:39,880 --> 01:12:42,320
Speaker 2: The issue came up in the press in twenty eleven

1378
01:12:42,400 --> 01:12:44,960
Speaker 2: when an astronaut, lamed Lisa Noak, who's part of the

1379
01:12:45,000 --> 01:12:47,879
Speaker 2: Discovery's crew in two thousand and six, drove from Houston

1380
01:12:47,920 --> 01:12:51,439
Speaker 2: to Orlando to kidnap a woman who, along with Noak,

1381
01:12:51,600 --> 01:12:53,840
Speaker 2: was part of I am not making this up an

1382
01:12:53,920 --> 01:12:55,400
Speaker 2: astronaut love triangle.

1383
01:12:55,920 --> 01:13:01,040
Speaker 1: Yeah, she drove all night wearing diapers. Ben Affleck Benff

1384
01:13:01,479 --> 01:13:04,679
Speaker 1: ben Folds referenced it in a song Didn't which song

1385
01:13:05,600 --> 01:13:08,160
Speaker 1: called Cologne Off of Way to Normal. In two thousand and.

1386
01:13:08,120 --> 01:13:12,320
Speaker 2: Eight, Well Noak was arrested and charged with attempted kidnapping

1387
01:13:12,439 --> 01:13:15,240
Speaker 2: Burger with assault and battery, and as part of the

1388
01:13:15,240 --> 01:13:18,280
Speaker 2: press coverage, the Associated Press asked NASA what would happen

1389
01:13:18,560 --> 01:13:22,280
Speaker 2: if an astronaut similarly lost it in space, and NASA

1390
01:13:22,320 --> 01:13:25,040
Speaker 2: sent them a copy of their policy, which the AP

1391
01:13:25,320 --> 01:13:29,000
Speaker 2: paraphrased as the astronauts crewmates should bind his wrists and

1392
01:13:29,040 --> 01:13:31,599
Speaker 2: ankles with duct tape, tie him down with a bungee

1393
01:13:31,680 --> 01:13:36,320
Speaker 2: core log tie and inject him with tranquilizers if necessary.

1394
01:13:36,479 --> 01:13:38,799
Speaker 1: I can't believe they let that out. I can't believe

1395
01:13:38,840 --> 01:13:39,639
Speaker 1: they let that out.

1396
01:13:39,840 --> 01:13:43,480
Speaker 2: Well. Popular Science took a slightly deeper dive into the details,

1397
01:13:43,560 --> 01:13:45,759
Speaker 2: noting that the flight surgeon, who is part of mission

1398
01:13:45,760 --> 01:13:50,519
Speaker 2: control on Earth, should be notified before the tranquilizers valium

1399
01:13:50,600 --> 01:13:54,559
Speaker 2: are given, but still after the duct tape in bungee

1400
01:13:54,560 --> 01:13:55,679
Speaker 2: cords have been applied.

1401
01:13:57,600 --> 01:14:02,320
Speaker 1: The order of operations is a bunch of cord alert flight.

1402
01:14:02,120 --> 01:14:06,760
Speaker 2: Doctor and then shoot him up with valume and Bay

1403
01:14:06,840 --> 01:14:09,760
Speaker 2: and company might have been vindicated last September when it

1404
01:14:09,840 --> 01:14:13,800
Speaker 2: was reported that NASA was embarking on a mission suspiciously

1405
01:14:13,840 --> 01:14:17,040
Speaker 2: similar to the plot of the film. The agency dubbed

1406
01:14:17,040 --> 01:14:22,240
Speaker 2: the experiment the Double Asteroid Redirection Test or DART for short.

1407
01:14:22,880 --> 01:14:26,000
Speaker 2: Robert Brown, head of the Johns Hopkins University Applied Physics

1408
01:14:26,080 --> 01:14:30,519
Speaker 2: Laboratories Space Exploration Center, told CNN, for the first time ever,

1409
01:14:30,680 --> 01:14:33,799
Speaker 2: we will measurably change the orbit of a celestial body

1410
01:14:34,000 --> 01:14:37,160
Speaker 2: in the universe. They did this by sending a small,

1411
01:14:37,280 --> 01:14:41,000
Speaker 2: unmanned spacecraft and ramming it into the rock, which was

1412
01:14:41,040 --> 01:14:43,280
Speaker 2: a five hundred and twenty five foot wide asteroid named

1413
01:14:43,280 --> 01:14:47,840
Speaker 2: Dimorphos at thirteen, four hundred and twenty one miles per hour.

1414
01:14:48,840 --> 01:14:51,519
Speaker 2: The craft was one hundred times smaller than the asteroid,

1415
01:14:51,560 --> 01:14:54,400
Speaker 2: so it wasn't quite as dramatic as the film, but

1416
01:14:54,800 --> 01:14:58,559
Speaker 2: NASA was only seeking to change the asteroid's speed as

1417
01:14:58,560 --> 01:15:01,160
Speaker 2: it orbited a much larger asteroi by around one percent.

1418
01:15:01,760 --> 01:15:05,879
Speaker 2: Nancy Chabbitt, planetary scientist and Dark Coordination lead, told CNN.

1419
01:15:06,200 --> 01:15:08,639
Speaker 2: Sometimes we describe it as running a golf cart into

1420
01:15:08,640 --> 01:15:11,840
Speaker 2: a great pyramid or something like that. It's really about

1421
01:15:11,880 --> 01:15:13,839
Speaker 2: asteroid deflection, not disruption.

1422
01:15:15,720 --> 01:15:18,559
Speaker 1: Yeah. I think overall, deep Impact is credited with having

1423
01:15:18,640 --> 01:15:20,640
Speaker 1: more scientific accuracy.

1424
01:15:20,560 --> 01:15:23,200
Speaker 2: A movie neither of us have seen or know anything about.

1425
01:15:23,400 --> 01:15:25,200
Speaker 2: So jokes on them.

1426
01:15:25,320 --> 01:15:25,880
Speaker 1: Good autumn.

1427
01:15:27,280 --> 01:15:30,000
Speaker 2: According to Bruckheimer and Bay, and they've said this in

1428
01:15:30,040 --> 01:15:30,719
Speaker 2: separate interviews.

1429
01:15:30,720 --> 01:15:32,160
Speaker 1: They've related this anecdote.

1430
01:15:32,560 --> 01:15:35,439
Speaker 2: Michael Bay called up Jerry Bruckheimer one day and said, Jerry, Hey,

1431
01:15:36,520 --> 01:15:39,960
Speaker 2: everything he says to Jerry Brockheimer, Yeah, could sound like

1432
01:15:39,960 --> 01:15:43,160
Speaker 2: a side quote. Jerry Hey, I just read Godzilla was

1433
01:15:43,200 --> 01:15:46,920
Speaker 2: competing with us. I said, Jerry, Godzilla, they have a

1434
01:15:46,920 --> 01:15:49,720
Speaker 2: whole album. We don't have shit. And there was this

1435
01:15:49,840 --> 01:15:53,240
Speaker 2: long pause, like, let me call you back. Three days later,

1436
01:15:53,400 --> 01:15:57,640
Speaker 2: we had Aerosmith sitting in his edit room. Songwriter extraordinaire

1437
01:15:57,720 --> 01:16:01,400
Speaker 2: Diane Warren, who's written nine number ones and his one

1438
01:16:01,520 --> 01:16:05,120
Speaker 2: tony short of an Egot, was known to Bruckheimer because

1439
01:16:05,120 --> 01:16:07,880
Speaker 2: she had written how Do I Live for con Air,

1440
01:16:08,320 --> 01:16:10,240
Speaker 2: an incredible and perfect film.

1441
01:16:09,920 --> 01:16:11,000
Speaker 1: No idea that was filmed.

1442
01:16:11,040 --> 01:16:16,519
Speaker 2: Great song how well, also a staple of slow Dances

1443
01:16:16,560 --> 01:16:20,599
Speaker 2: of My Youth, so that song. Warren actually offered it

1444
01:16:20,640 --> 01:16:22,880
Speaker 2: to Leanne Rhymes, who was a teenager at the time,

1445
01:16:22,920 --> 01:16:25,479
Speaker 2: but Bruckheimer and his team thought Rhymes was too young,

1446
01:16:25,760 --> 01:16:28,759
Speaker 2: and they had Trisha Yearwood record her version for the film.

1447
01:16:29,160 --> 01:16:33,200
Speaker 2: In an incredible bit of passive aggression country passive aggression,

1448
01:16:33,520 --> 01:16:35,840
Speaker 2: Rhymes recorded her own version and both of them came

1449
01:16:35,880 --> 01:16:39,320
Speaker 2: out on the same day. Your Woods peaked at twenty three.

1450
01:16:39,520 --> 01:16:42,720
Speaker 2: Leanne Rhymes went to number two. Yeah, that's the one

1451
01:16:42,800 --> 01:16:43,040
Speaker 2: I know.

1452
01:16:44,439 --> 01:16:46,559
Speaker 1: Diane Warren told ABC that she came up with the

1453
01:16:46,560 --> 01:16:48,639
Speaker 1: title I Don't want to miss a Thing long before

1454
01:16:48,680 --> 01:16:50,880
Speaker 1: she wrote the music. It was actually while watching a

1455
01:16:50,960 --> 01:16:54,160
Speaker 1: nineteen ninety seven Barbara Walters interview with James Rowland and

1456
01:16:54,200 --> 01:16:57,760
Speaker 1: Barbara Streisan. It was an interview he gave about how

1457
01:16:57,800 --> 01:17:00,600
Speaker 1: he misses her when she sleeps, you know, like he

1458
01:17:00,640 --> 01:17:02,639
Speaker 1: can't wait to see her, and I wrote down the title.

1459
01:17:02,800 --> 01:17:04,439
Speaker 1: I didn't write the song, but I just thought I

1460
01:17:04,439 --> 01:17:06,759
Speaker 1: don't want to miss a Thing. That's a pretty cool title,

1461
01:17:06,800 --> 01:17:09,880
Speaker 1: you know. She later told Rolling Stone, I was shown

1462
01:17:09,920 --> 01:17:11,760
Speaker 1: the end of the movie, so I went back and

1463
01:17:11,760 --> 01:17:14,160
Speaker 1: wrote the song. And never in a million years thought

1464
01:17:14,240 --> 01:17:16,439
Speaker 1: Aerosmith would do it. I kind of thought a female

1465
01:17:16,520 --> 01:17:19,479
Speaker 1: vocalist would end up doing it and more. Incredited Disney

1466
01:17:19,560 --> 01:17:22,680
Speaker 1: Music executive Kathy Nelson was for suggesting Aerosmith is the

1467
01:17:22,720 --> 01:17:25,240
Speaker 1: right vehicle for Don't Want to Miss a Thing, supposedly

1468
01:17:25,240 --> 01:17:28,280
Speaker 1: because of the band's string of recent ish nineties hits

1469
01:17:28,320 --> 01:17:31,160
Speaker 1: like Crazy and Janey's Got a Gun, the fact that

1470
01:17:31,240 --> 01:17:34,599
Speaker 1: Stephen Tyler's daughter is the star of the movie, that

1471
01:17:34,600 --> 01:17:36,240
Speaker 1: that had to have been a bigger role than I

1472
01:17:36,240 --> 01:17:37,559
Speaker 1: feel like people are making it out to be.

1473
01:17:37,720 --> 01:17:39,320
Speaker 2: I can't remember where I put this in, but did

1474
01:17:39,360 --> 01:17:42,599
Speaker 2: you I have read that you two was originally floated

1475
01:17:42,640 --> 01:17:45,360
Speaker 2: to do this song, which is probably the only thing

1476
01:17:45,520 --> 01:17:47,760
Speaker 2: worse that I can imagine Aerosmith.

1477
01:17:47,800 --> 01:17:50,439
Speaker 1: I mean, especially because I'm from Boston. I should say this,

1478
01:17:50,600 --> 01:17:54,640
Speaker 1: but I Aerosmith are one of my least favorite classic bands.

1479
01:17:54,720 --> 01:17:59,800
Speaker 1: Awful ban him think yeow, terrible and what Sweet of

1480
01:18:00,000 --> 01:18:01,600
Speaker 1: which's okay though that's song kind of God because it

1481
01:18:01,640 --> 01:18:04,760
Speaker 1: has harmonies. That's why you like it? Yeah? Yeah, and

1482
01:18:04,880 --> 01:18:08,240
Speaker 1: a good bass part. Yeah, dude, the bass.

1483
01:18:08,080 --> 01:18:13,479
Speaker 2: Parts are like shockingly underrated. Back in the saddle, although

1484
01:18:13,560 --> 01:18:15,920
Speaker 2: that's a six, that's a Fender six string of the

1485
01:18:16,040 --> 01:18:16,679
Speaker 2: Fender six.

1486
01:18:17,680 --> 01:18:19,640
Speaker 1: I don't even know the name of the bassis for Aerosmith.

1487
01:18:19,680 --> 01:18:22,439
Speaker 1: Isn't that bad Brad Whitford or is that the rhythm

1488
01:18:22,520 --> 01:18:29,639
Speaker 1: guitarist rhythm guitarist Tom Hamilton, Tom Hamilton's Tom Halson, Uh God,

1489
01:18:29,640 --> 01:18:30,280
Speaker 1: I hate this man.

1490
01:18:30,720 --> 01:18:33,000
Speaker 2: Warren wasn't involved in the song's production at all, she

1491
01:18:33,120 --> 01:18:36,200
Speaker 2: told shortlist dot Com, and so she was bowled over

1492
01:18:36,280 --> 01:18:38,599
Speaker 2: when she heard the finish version. The only thing I'd

1493
01:18:38,640 --> 01:18:40,759
Speaker 2: heard was teaching the song to Stephen at the Sunset

1494
01:18:40,840 --> 01:18:43,200
Speaker 2: Marquee at the villa. There's a piano there where he

1495
01:18:43,320 --> 01:18:45,080
Speaker 2: was staying, and I was just sitting at the piano

1496
01:18:45,160 --> 01:18:47,839
Speaker 2: hearing him sing that. I mean, I still get chills

1497
01:18:47,880 --> 01:18:49,479
Speaker 2: when I think of it, because it was so amazing

1498
01:18:49,560 --> 01:18:51,800
Speaker 2: to hear the song come alive. Like that, and then

1499
01:18:51,800 --> 01:18:53,920
Speaker 2: when I heard the record, it was like, Oh, this

1500
01:18:54,120 --> 01:18:56,439
Speaker 2: is the best thing I've ever heard. That is the

1501
01:18:56,520 --> 01:18:58,479
Speaker 2: best thing I've ever heard of any of my songs

1502
01:18:58,520 --> 01:19:01,920
Speaker 2: in my life. Diane Warren is hilarious. Her interviews are amazing,

1503
01:19:02,040 --> 01:19:05,280
Speaker 2: but she is wrong. The band was in the middle

1504
01:19:05,280 --> 01:19:08,200
Speaker 2: of yet another career resurgence. This band has had more

1505
01:19:08,280 --> 01:19:12,799
Speaker 2: second chances of life than Motley Crue or Robert Downey Junior,

1506
01:19:13,080 --> 01:19:18,960
Speaker 2: roj Simpson who, yeah, the band's drummer, Joey Kramer, who's

1507
01:19:18,960 --> 01:19:20,800
Speaker 2: written a few songs for them and is credited with

1508
01:19:20,880 --> 01:19:23,439
Speaker 2: coming up with their name and his trump guy. I

1509
01:19:23,479 --> 01:19:25,760
Speaker 2: think that's why they fired him at one point, didn't they.

1510
01:19:25,800 --> 01:19:29,519
Speaker 2: There was like a big kerfluffle with them recently. I

1511
01:19:29,560 --> 01:19:31,760
Speaker 2: don't remember that for a band that's considered like this

1512
01:19:32,080 --> 01:19:36,840
Speaker 2: huge classic rock juggernaut, they are messy bitches, like they

1513
01:19:36,920 --> 01:19:39,720
Speaker 2: remember when they split up and there was the Joe

1514
01:19:39,840 --> 01:19:42,840
Speaker 2: Perry Project and then I think they fired joe Joey

1515
01:19:42,880 --> 01:19:44,640
Speaker 2: Kramer recently.

1516
01:19:44,320 --> 01:19:47,880
Speaker 1: Perry still playing like casinos around New England. Good for him,

1517
01:19:48,439 --> 01:19:50,040
Speaker 1: he's a good guitarist. Yeah.

1518
01:19:50,200 --> 01:19:50,400
Speaker 2: Yeah.

1519
01:19:50,840 --> 01:19:53,880
Speaker 1: My girlfriend went to high school with Steven Tyler's daughter

1520
01:19:54,479 --> 01:19:56,519
Speaker 1: and they had like a like a talent show night

1521
01:19:56,680 --> 01:20:00,680
Speaker 1: or whatever, and they did great gig the sky and

1522
01:20:00,800 --> 01:20:05,160
Speaker 1: she came out and did the Claire Oh she did

1523
01:20:05,200 --> 01:20:07,720
Speaker 1: that part. Yeah, yeah, she did. Like the vocal part.

1524
01:20:07,760 --> 01:20:12,840
Speaker 1: It's crazy apparently like whipped. Yeah. So she's she's better

1525
01:20:12,920 --> 01:20:18,439
Speaker 1: than her dad. His the most annoying voice in the world. Sorry.

1526
01:20:19,320 --> 01:20:23,720
Speaker 2: Uh, Joey Kramer told Louder Sound in twenty twenty one.

1527
01:20:24,000 --> 01:20:25,560
Speaker 2: I kind of knew it was a hit, but I

1528
01:20:25,640 --> 01:20:27,840
Speaker 2: didn't really like the song. I didn't think that the

1529
01:20:27,880 --> 01:20:30,040
Speaker 2: song was us when I first heard it. It was

1530
01:20:30,120 --> 01:20:32,400
Speaker 2: just a demo with piano and singing. It was kind

1531
01:20:32,439 --> 01:20:34,960
Speaker 2: of difficult to imagine what kind of touch Aerosmith could

1532
01:20:34,960 --> 01:20:37,920
Speaker 2: put on it and make it our own. Aerosmith guitarist

1533
01:20:38,000 --> 01:20:40,920
Speaker 2: Joe Perry wrote in his twenty fourteen memoir Rocks My

1534
01:20:41,040 --> 01:20:43,360
Speaker 2: Life in and Out of Aerosmith. Maybe it didn't have

1535
01:20:43,520 --> 01:20:47,240
Speaker 2: the masculine edge of our other ballads, but it was

1536
01:20:47,280 --> 01:20:48,040
Speaker 2: a beautiful song.

1537
01:20:48,840 --> 01:20:50,640
Speaker 1: I do love that song. I'm sorry, I don't care

1538
01:20:50,680 --> 01:20:54,160
Speaker 1: what you say. Also their first US number one, baby

1539
01:20:55,200 --> 01:20:57,879
Speaker 1: I Can't I Can't do it like you garbage.

1540
01:20:57,960 --> 01:21:01,640
Speaker 2: You have a terrible song. It's so Leaden. It's so

1541
01:21:01,960 --> 01:21:04,040
Speaker 2: thumping and overwrought and like and.

1542
01:21:04,120 --> 01:21:06,320
Speaker 1: His voice, I can find the beat when I have

1543
01:21:06,400 --> 01:21:09,839
Speaker 1: to dance to it. That man should not be singing ballads.

1544
01:21:10,000 --> 01:21:10,599
Speaker 1: I'm sorry.

1545
01:21:10,720 --> 01:21:12,800
Speaker 2: He does not have what you would describe as a

1546
01:21:12,960 --> 01:21:14,120
Speaker 2: sensitive voice.

1547
01:21:14,680 --> 01:21:17,240
Speaker 1: I like when he starts going into like the high notes,

1548
01:21:17,360 --> 01:21:19,200
Speaker 1: it almost sounds like an electric guitar to me.

1549
01:21:19,960 --> 01:21:21,640
Speaker 2: I mean, you know, the best thing they ever did

1550
01:21:21,760 --> 01:21:23,200
Speaker 2: was dream On, and that's the best thing.

1551
01:21:23,200 --> 01:21:26,639
Speaker 1: He ever hated that song. I hate that song really yeah,

1552
01:21:26,640 --> 01:21:31,640
Speaker 1: I hate it, hate it wow. I hate the stupid

1553
01:21:32,000 --> 01:21:37,679
Speaker 1: harpsichord intro. I hate the fake Robert Plant chorus. I hate,

1554
01:21:37,960 --> 01:21:39,800
Speaker 1: I hate ever. I hate that song so much. And

1555
01:21:39,960 --> 01:21:43,320
Speaker 1: yet you like Oh Boy because I have a bad

1556
01:21:43,439 --> 01:21:44,120
Speaker 1: taste in news.

1557
01:21:46,320 --> 01:21:49,760
Speaker 2: It's because you like Treacle I do. I do both

1558
01:21:49,920 --> 01:21:52,040
Speaker 2: both musical and literal and literally.

1559
01:21:55,479 --> 01:21:58,320
Speaker 1: Wow. Yeah okay uh.

1560
01:21:58,479 --> 01:22:00,439
Speaker 2: As part of the process to convince the band, they

1561
01:22:00,479 --> 01:22:02,519
Speaker 2: brought them down to view rough footage from the film.

1562
01:22:03,000 --> 01:22:06,360
Speaker 2: Stephen Tyler later told MTV News that my daughter at

1563
01:22:06,360 --> 01:22:08,000
Speaker 2: the end, I don't want to give it away, but

1564
01:22:08,160 --> 01:22:11,599
Speaker 2: she starts crying and she yells, Daddy. The tears started

1565
01:22:11,640 --> 01:22:13,840
Speaker 2: running down, and I said I'll do the song. I'll

1566
01:22:13,880 --> 01:22:15,880
Speaker 2: do the song fair.

1567
01:22:15,960 --> 01:22:20,320
Speaker 1: I mean, maybe hearing his daughter referenced dad's, you know,

1568
01:22:20,720 --> 01:22:24,240
Speaker 1: was kind of the deciding factor. Yeah, yeah, because I

1569
01:22:24,280 --> 01:22:26,519
Speaker 1: mean everyone, I'm sure a lot of people know about

1570
01:22:26,720 --> 01:22:30,519
Speaker 1: Live and Steven Tyler's kind of difficult early years. Liv

1571
01:22:30,560 --> 01:22:33,040
Speaker 1: spent most of her early life believing that Todd Rudgren

1572
01:22:33,240 --> 01:22:37,840
Speaker 1: was her dad. Who among us This mother model b B.

1573
01:22:37,960 --> 01:22:40,439
Speaker 1: Buele named her Live Rundren. That's the name on her

1574
01:22:40,439 --> 01:22:43,720
Speaker 1: birth certificate, which was signed by Todd Rudgren. She'd been

1575
01:22:43,760 --> 01:22:45,800
Speaker 1: living with Todd for many years, I think from like

1576
01:22:45,880 --> 01:22:49,160
Speaker 1: nineteen seventy seventy seven or something, most of the seventies,

1577
01:22:49,680 --> 01:22:51,960
Speaker 1: but at some point during the time together she had

1578
01:22:52,000 --> 01:22:55,920
Speaker 1: a brief she got with she got with Stephen Tyler

1579
01:22:56,000 --> 01:22:58,760
Speaker 1: for what's been described as a brief relationship, which I

1580
01:22:58,800 --> 01:23:00,800
Speaker 1: can't tell if that's a euphem asm or not. But

1581
01:23:00,960 --> 01:23:03,200
Speaker 1: the official story was that Stephen was deep in his

1582
01:23:03,320 --> 01:23:07,640
Speaker 1: drug addiction and fuel told young Live that Todd was

1583
01:23:07,720 --> 01:23:09,880
Speaker 1: her dad just to sort of protect her. But I

1584
01:23:09,920 --> 01:23:12,840
Speaker 1: can't tell if this was something that Todd Runggren was

1585
01:23:12,960 --> 01:23:15,360
Speaker 1: in on. I do know he signed the birth certificate.

1586
01:23:16,560 --> 01:23:18,160
Speaker 1: I don't know if she just had an affair and

1587
01:23:18,280 --> 01:23:20,600
Speaker 1: didn't tell him, pretended the baby was his or not,

1588
01:23:20,880 --> 01:23:24,080
Speaker 1: but at any event, I guess. Live reportedly figured out

1589
01:23:24,120 --> 01:23:27,040
Speaker 1: her true paternity around age ten when she met Steven

1590
01:23:27,080 --> 01:23:31,160
Speaker 1: Tyler's daughter Mia and noticed that they looked basically like twins,

1591
01:23:31,240 --> 01:23:33,320
Speaker 1: and if you google him, they do. And she asked

1592
01:23:33,320 --> 01:23:35,439
Speaker 1: her mom about it, and her mom told her the

1593
01:23:35,520 --> 01:23:38,479
Speaker 1: truth about her who her real father was, and Live

1594
01:23:38,560 --> 01:23:40,639
Speaker 1: changed her name in nineteen ninety one at the age

1595
01:23:40,680 --> 01:23:42,720
Speaker 1: of fourteen. And that's so when she kind of, you know,

1596
01:23:42,880 --> 01:23:46,879
Speaker 1: officially came out as Steven Tyler's daughter. She told Wonderland magazine,

1597
01:23:47,080 --> 01:23:50,080
Speaker 1: Todd Rungren was my father. Todd basically decided when I

1598
01:23:50,200 --> 01:23:52,240
Speaker 1: was born that I needed a father, so we signed

1599
01:23:52,240 --> 01:23:54,559
Speaker 1: my birth certificate. He knew that there was a chance

1600
01:23:54,600 --> 01:23:58,120
Speaker 1: I might not be his, but there's a lot of

1601
01:23:58,200 --> 01:24:01,360
Speaker 1: puzzling ellipses in here. He sort of stopped calling him dad.

1602
01:24:01,560 --> 01:24:04,680
Speaker 1: But you know, when he you know, dot dot dot,

1603
01:24:05,400 --> 01:24:07,720
Speaker 1: he's the most. I mean, I'm so grateful to him.

1604
01:24:07,720 --> 01:24:09,800
Speaker 1: I have so much love for him. You know, when

1605
01:24:09,800 --> 01:24:12,479
Speaker 1: he holds me, it feels like daddy. And he's very

1606
01:24:12,560 --> 01:24:16,479
Speaker 1: protective and strong, that's sweet and something I never would

1607
01:24:16,520 --> 01:24:19,479
Speaker 1: imagine about Todd Runggren, the I don't want to work,

1608
01:24:19,520 --> 01:24:21,120
Speaker 1: I just want to bang on my drum all day

1609
01:24:21,160 --> 01:24:25,840
Speaker 1: guy and to People Magazine Live described Todd Runggren as

1610
01:24:25,920 --> 01:24:29,400
Speaker 1: quote her spiritual father. But to me, this whole backstory

1611
01:24:29,479 --> 01:24:32,040
Speaker 1: adds an extra poignancy to this song, which is maybe

1612
01:24:32,080 --> 01:24:33,720
Speaker 1: one of the reasons why I like it, as in,

1613
01:24:33,800 --> 01:24:36,040
Speaker 1: you know, an absentee father who got his life back

1614
01:24:36,120 --> 01:24:38,519
Speaker 1: on track, wanting to be there with his daughter and

1615
01:24:38,680 --> 01:24:41,240
Speaker 1: not want to miss anything. You know, they think that

1616
01:24:41,360 --> 01:24:44,400
Speaker 1: there's something sweet about that there. Plus it works so

1617
01:24:44,600 --> 01:24:47,080
Speaker 1: perfectly in the movie. Leave's character has kind of had

1618
01:24:47,080 --> 01:24:49,320
Speaker 1: a tricky relationship with her dad, and then her real

1619
01:24:49,360 --> 01:24:51,840
Speaker 1: life dad is singing to her in the soundtrack. It's

1620
01:24:51,880 --> 01:24:55,360
Speaker 1: great to get all the drama behind it. Is that

1621
01:24:55,520 --> 01:25:02,880
Speaker 1: anything to you? No? Okay, but it's the.

1622
01:25:04,960 --> 01:25:07,920
Speaker 2: I mean canceled but Kevin Spacey inside the actress studio

1623
01:25:07,920 --> 01:25:10,519
Speaker 2: when he's doing the Pacino impression.

1624
01:25:10,760 --> 01:25:16,360
Speaker 1: Oh funny. No, No, it doesn't do anything for me.

1625
01:25:16,920 --> 01:25:19,360
Speaker 1: That's so weird. I did I send that to because

1626
01:25:19,360 --> 01:25:20,759
Speaker 1: I was just watching.

1627
01:25:20,760 --> 01:25:22,000
Speaker 2: No, it's one of my favorites before.

1628
01:25:22,439 --> 01:25:24,800
Speaker 1: I can't say I've watched it a bun talk.

1629
01:25:26,640 --> 01:25:27,840
Speaker 2: Well, I'd love to tell you that, but I don't

1630
01:25:27,840 --> 01:25:28,639
Speaker 2: work on tuesdays.

1631
01:25:28,800 --> 01:25:31,200
Speaker 1: Yeah, it's really good.

1632
01:25:31,280 --> 01:25:35,320
Speaker 2: Yeah, it's great. I think the yeah, the the John

1633
01:25:35,360 --> 01:25:38,000
Speaker 2: giel Good one. Just run through the whole thing right now.

1634
01:25:38,240 --> 01:25:40,400
Speaker 2: Oh well studied, studied for years.

1635
01:25:40,240 --> 01:25:44,800
Speaker 1: And years, you know, uh so good walking. Yeah, but

1636
01:25:44,920 --> 01:25:45,800
Speaker 1: everyone has a walk in.

1637
01:25:45,840 --> 01:25:47,840
Speaker 2: It's really the it's it's some of the it's the Yeah,

1638
01:25:47,840 --> 01:25:51,680
Speaker 2: it's the it's it's the gold Carson. Yeah, I'm just

1639
01:25:51,720 --> 01:25:53,960
Speaker 2: thinking of yeah, that's that. I don't work on tuesdays one.

1640
01:25:54,200 --> 01:25:57,200
Speaker 1: Oh wait, an, I'm thinking of Jack Lemon. Yeah.

1641
01:25:57,400 --> 01:25:59,479
Speaker 2: Yeah, and he does uh, he does Clint, he does

1642
01:25:59,520 --> 01:26:02,200
Speaker 2: Eastwood too, where he's like, well, le's say get it

1643
01:26:02,240 --> 01:26:05,160
Speaker 2: done by six sake, get out early and hit the links.

1644
01:26:07,040 --> 01:26:11,360
Speaker 2: I love that Aerosmith hands fans are correct in their

1645
01:26:11,400 --> 01:26:14,240
Speaker 2: hatred for this song because apparently all the other treacly

1646
01:26:14,439 --> 01:26:16,960
Speaker 2: crap that they had pop songwriters come in and write

1647
01:26:16,960 --> 01:26:20,040
Speaker 2: with them, like Desmond Child, that's all just fine, but

1648
01:26:20,200 --> 01:26:23,000
Speaker 2: this one is a bridge too far. But Diane Warren

1649
01:26:23,080 --> 01:26:26,640
Speaker 2: is amazing. She's a real eccentric. Someone has in an

1650
01:26:26,640 --> 01:26:30,200
Speaker 2: interview talked about her carrying her like pet bird around

1651
01:26:30,240 --> 01:26:32,439
Speaker 2: with her and talking to it like out on the street.

1652
01:26:34,160 --> 01:26:37,040
Speaker 2: She told Sterrygum in an interview, I wrote, I don't

1653
01:26:37,040 --> 01:26:39,000
Speaker 2: want to miss a thing for Armageddon, And then years

1654
01:26:39,080 --> 01:26:41,240
Speaker 2: later the director of the Sweetest Thing wanted to see

1655
01:26:41,280 --> 01:26:43,160
Speaker 2: me because they'd spend all this money shooting a scene

1656
01:26:43,160 --> 01:26:44,639
Speaker 2: where they used I don't want to miss a thing.

1657
01:26:45,439 --> 01:26:47,320
Speaker 2: He was scared because it was a scene where Soma

1658
01:26:47,360 --> 01:26:49,639
Speaker 2: Blair was giving a blowjob to somebody and the guy

1659
01:26:49,720 --> 01:26:51,880
Speaker 2: had to bring on and it gets caught in her throat.

1660
01:26:52,479 --> 01:26:55,040
Speaker 2: So she dated a song to sing and they used

1661
01:26:55,160 --> 01:26:57,439
Speaker 2: I don't want to miss a thing. It ended up

1662
01:26:57,479 --> 01:26:59,320
Speaker 2: being a big sing along. I guess they thought I

1663
01:26:59,360 --> 01:27:02,160
Speaker 2: wasn't gonna say okay. Of course I think it's okay.

1664
01:27:02,400 --> 01:27:04,240
Speaker 2: I wish I was in the group singing along to it.

1665
01:27:05,439 --> 01:27:07,639
Speaker 2: One last quote from her, she gave a shortlist. It's

1666
01:27:07,680 --> 01:27:09,439
Speaker 2: funny because even though I wrote I don't want to

1667
01:27:09,479 --> 01:27:11,840
Speaker 2: miss a thing, I can't relate to it. It's always

1668
01:27:11,880 --> 01:27:13,679
Speaker 2: funny to me because I wouldn't want someone to listen

1669
01:27:13,720 --> 01:27:15,760
Speaker 2: to me breathe all night. I could stay awake just

1670
01:27:15,800 --> 01:27:17,519
Speaker 2: to hear you breathing. I don't want to do that.

1671
01:27:17,800 --> 01:27:19,560
Speaker 2: If someone listens to me breathe all night, I'm like,

1672
01:27:19,600 --> 01:27:20,519
Speaker 2: get the fuck out of here.

1673
01:27:20,640 --> 01:27:24,000
Speaker 1: What's wrong with you? Oh? What a treasure?

1674
01:27:24,280 --> 01:27:26,559
Speaker 2: Oh? And for some reason, on this song's Wikipedia page,

1675
01:27:26,560 --> 01:27:31,160
Speaker 2: it mentions that heavyweight boxer Tyson Fury has sung it

1676
01:27:31,560 --> 01:27:36,000
Speaker 2: live after beating opponents on two separate occasions in twenty

1677
01:27:36,080 --> 01:27:39,080
Speaker 2: fifteen and twenty nineteen, one of whom was a former

1678
01:27:39,120 --> 01:27:42,360
Speaker 2: world heavyweight champion, Vladimir Klitschko, who is now I believe,

1679
01:27:42,479 --> 01:27:43,519
Speaker 2: fighting in Ukraine.

1680
01:27:43,880 --> 01:27:50,439
Speaker 1: So there's that. Is there any lyrical reference that like

1681
01:27:50,520 --> 01:27:53,679
Speaker 1: would make it make sense for a post fight victory song?

1682
01:27:54,040 --> 01:27:55,640
Speaker 1: You know, I don't think so.

1683
01:27:55,880 --> 01:27:58,560
Speaker 2: Maybe he just really likes the song, Tyson Fury, I

1684
01:27:58,760 --> 01:28:03,640
Speaker 2: don't love to miss a thing. Yeah, there's footage of

1685
01:28:03,680 --> 01:28:04,280
Speaker 2: it online.

1686
01:28:05,960 --> 01:28:06,479
Speaker 1: That's okay.

1687
01:28:10,360 --> 01:28:12,720
Speaker 2: There was a minor kerfuffle around this movie in twenty

1688
01:28:12,800 --> 01:28:14,800
Speaker 2: thirteen when a journalist from the Miami Herald made it

1689
01:28:14,880 --> 01:28:19,720
Speaker 2: seem like Bay was apologizing for Armageddon, saying, I will

1690
01:28:19,800 --> 01:28:25,200
Speaker 2: apologize for Armageddon. It tremendous. I didn't write that to

1691
01:28:25,280 --> 01:28:28,080
Speaker 2: be so funny, but it is. I will apologize for

1692
01:28:28,240 --> 01:28:30,200
Speaker 2: Armageddon because we had to do the whole movie in

1693
01:28:30,240 --> 01:28:32,960
Speaker 2: sixteen weeks. It was a massive undertaking that was not

1694
01:28:33,120 --> 01:28:35,479
Speaker 2: fair to the movie. I would redo the entire third

1695
01:28:35,560 --> 01:28:37,840
Speaker 2: act if I could, but the studio literally took the

1696
01:28:37,920 --> 01:28:38,720
Speaker 2: movie away from us.

1697
01:28:38,960 --> 01:28:39,639
Speaker 1: It was terrible.

1698
01:28:40,000 --> 01:28:42,720
Speaker 2: My visual effects supervisor had a nervous breakdown, so I

1699
01:28:42,800 --> 01:28:44,920
Speaker 2: had to be in charge of that. I called James

1700
01:28:45,000 --> 01:28:46,720
Speaker 2: Cameron and asked, what do you do when you're doing

1701
01:28:46,720 --> 01:28:49,599
Speaker 2: all the effects yourself? But the movie did fine. There's

1702
01:28:49,640 --> 01:28:51,000
Speaker 2: two things about that that I didn't write in here

1703
01:28:51,040 --> 01:28:52,960
Speaker 2: that I want to relate. One is that that journalist

1704
01:28:53,080 --> 01:28:56,400
Speaker 2: actually sent the tape around of the interview because they

1705
01:28:56,439 --> 01:28:57,960
Speaker 2: were so annoyed that they made it seem like they

1706
01:28:58,000 --> 01:29:02,519
Speaker 2: were being misquoted. And two, James Cameron's advice to Michael

1707
01:29:02,560 --> 01:29:05,200
Speaker 2: Bay was have two meetings, one from twelve to one

1708
01:29:05,280 --> 01:29:07,840
Speaker 2: pm and the other from seven to eight pm. I guess,

1709
01:29:07,880 --> 01:29:09,560
Speaker 2: so you could plan the day and then have a

1710
01:29:09,600 --> 01:29:13,360
Speaker 2: debriefing on what went wrong. But Bay was sufficiently incensed

1711
01:29:13,400 --> 01:29:15,519
Speaker 2: by this to take to his own websites blog and

1712
01:29:15,640 --> 01:29:18,400
Speaker 2: call this article out, writing, I'm not the slightest going

1713
01:29:18,439 --> 01:29:20,840
Speaker 2: to apologize for the third movie in my career. What

1714
01:29:20,960 --> 01:29:22,960
Speaker 2: I clearly said to the reporter is I wish I

1715
01:29:23,000 --> 01:29:25,720
Speaker 2: had more time to edit the film, specifically the third act.

1716
01:29:26,120 --> 01:29:28,040
Speaker 2: He asked me, in effect, what you would change if

1717
01:29:28,080 --> 01:29:29,840
Speaker 2: you could in your movies, if you could go back?

1718
01:29:30,000 --> 01:29:30,880
Speaker 1: God, he talks weird.

1719
01:29:31,120 --> 01:29:33,360
Speaker 2: He asked me, in effect, what would you change if

1720
01:29:33,400 --> 01:29:35,280
Speaker 2: you could in your movies, if you could go back?

1721
01:29:35,600 --> 01:29:37,160
Speaker 2: I said, I wish we had a few more weeks

1722
01:29:37,200 --> 01:29:39,599
Speaker 2: in the edit room on arm again. Yes, I'm proud

1723
01:29:39,640 --> 01:29:42,840
Speaker 2: of the movie enough set. Bay would later elaborate in

1724
01:29:42,840 --> 01:29:45,720
Speaker 2: an interview to Moviefone that his visual effects guy had

1725
01:29:45,800 --> 01:29:48,599
Speaker 2: quote something that happened in his family, which I guess

1726
01:29:48,680 --> 01:29:51,919
Speaker 2: is marginally more sensitive to this man than saying nervous breakdown.

1727
01:29:52,840 --> 01:29:54,680
Speaker 2: But the studio moved the release date up, and so

1728
01:29:54,840 --> 01:29:57,800
Speaker 2: Bay continued, I'm a young filmmaker. This is my third movie,

1729
01:29:57,840 --> 01:29:59,759
Speaker 2: and I'm like, oh my god, I've got this massive

1730
01:29:59,760 --> 01:30:02,479
Speaker 2: movie on my hand. I had so little time to

1731
01:30:02,600 --> 01:30:04,960
Speaker 2: actually cut the movie. We were literally in and out

1732
01:30:05,000 --> 01:30:07,840
Speaker 2: with sixteen weeks, which is an extraordinarily short time to

1733
01:30:07,880 --> 01:30:10,040
Speaker 2: cut and finish a movie of that size. So if

1734
01:30:10,080 --> 01:30:11,560
Speaker 2: I could, I would have wanted to go back to

1735
01:30:11,640 --> 01:30:13,920
Speaker 2: that seventy eighty minute mark where I thought the effects

1736
01:30:14,080 --> 01:30:15,599
Speaker 2: just sucked, but that's life.

1737
01:30:16,960 --> 01:30:19,760
Speaker 1: But he needn't have worried, at least from a financial perspective.

1738
01:30:20,240 --> 01:30:23,040
Speaker 1: Armageddon was released on July first, nineteen ninety eight, and

1739
01:30:23,120 --> 01:30:25,519
Speaker 1: took first place at the box office with an opening

1740
01:30:25,560 --> 01:30:29,040
Speaker 1: weekend gross of thirty six million, and it hit fifty

1741
01:30:29,080 --> 01:30:32,160
Speaker 1: four point two million in its first five days, ultimately

1742
01:30:32,240 --> 01:30:35,880
Speaker 1: grossing five hundred and fifty three point seven million worldwide.

1743
01:30:36,280 --> 01:30:38,960
Speaker 1: It was the highest grossing film of nineteen ninety eight worldwide,

1744
01:30:39,040 --> 01:30:41,000
Speaker 1: and the second highest grossing film of that year in

1745
01:30:41,040 --> 01:30:45,360
Speaker 1: the United States, finishing just behind Saving Private Ryan. Interesting

1746
01:30:45,439 --> 01:30:48,000
Speaker 1: quote from Michael Bay courtesy of his grandfather, who once

1747
01:30:48,080 --> 01:30:50,679
Speaker 1: told him, you can make money if you sell stuff

1748
01:30:50,720 --> 01:30:51,559
Speaker 1: to Middle America.

1749
01:30:52,800 --> 01:30:55,439
Speaker 2: I have to wonder if Bay doing Pearl Harbor after

1750
01:30:55,520 --> 01:30:58,200
Speaker 2: this was his attempted a few to Saving Private Ryan

1751
01:30:58,280 --> 01:30:59,240
Speaker 2: for beating Armageddon.

1752
01:31:00,800 --> 01:31:03,439
Speaker 1: Right. Good thought. Yes, so it did well at the

1753
01:31:03,439 --> 01:31:06,800
Speaker 1: box office. But critics, however, that was a whole different story.

1754
01:31:07,280 --> 01:31:11,760
Speaker 1: Roger Ebert famously hated it, writing quote, the movie is

1755
01:31:11,800 --> 01:31:15,040
Speaker 1: an assault on the eyes, the ears, the brain, common sense,

1756
01:31:15,439 --> 01:31:19,760
Speaker 1: and the human desire to be entertained. That's an Alzheimer. Yes.

1757
01:31:20,360 --> 01:31:23,719
Speaker 1: He especially hated the film's fast paced and quick style editing.

1758
01:31:24,080 --> 01:31:26,280
Speaker 1: The average cut apparentty in this movie lasts just one

1759
01:31:26,320 --> 01:31:30,280
Speaker 1: point five seconds. That's yeah, right, that's really nuts, and

1760
01:31:30,400 --> 01:31:33,040
Speaker 1: this led Roger Ebert to call Armageddon quote the first

1761
01:31:33,080 --> 01:31:37,280
Speaker 1: one hundred and fifty minute trailer. He would go on

1762
01:31:37,439 --> 01:31:39,479
Speaker 1: to name it the worst film of nineteen ninety eight,

1763
01:31:39,640 --> 01:31:43,439
Speaker 1: with its biggest competition being Spice World, and included it

1764
01:31:43,560 --> 01:31:47,080
Speaker 1: on his all time Most Hated Films list. Michael Bay

1765
01:31:47,240 --> 01:31:49,840
Speaker 1: also remembers in the commentary that he watched the film

1766
01:31:49,960 --> 01:31:52,760
Speaker 1: at a screening with La Times critic Kenneth Turned in

1767
01:31:52,840 --> 01:31:56,280
Speaker 1: the audience, who famously also hated Titanic. Michael Bay said,

1768
01:31:56,400 --> 01:31:58,320
Speaker 1: he looked like he had a scowl on his face,

1769
01:31:58,439 --> 01:32:02,080
Speaker 1: and I'm telling you, the audience cheered twelve times. I

1770
01:32:02,120 --> 01:32:06,679
Speaker 1: don't think he liked that. He counted, of course, he counted.

1771
01:32:11,479 --> 01:32:14,759
Speaker 2: Ultimately, the film was nominated for Best Original Song, Best Sound,

1772
01:32:14,880 --> 01:32:17,920
Speaker 2: Best Sound Effects Editing, and Best Visual Effects at the Oscars,

1773
01:32:18,040 --> 01:32:19,160
Speaker 2: and it lost.

1774
01:32:20,400 --> 01:32:22,200
Speaker 1: Meanwhile, at the Razzies that year, it.

1775
01:32:22,280 --> 01:32:25,439
Speaker 2: Was nominated for Worst Picture, Worst Director, Worst Actor, Worst

1776
01:32:25,479 --> 01:32:29,200
Speaker 2: Supporting Actress, Worst Screenplay, Worst screen Couple, and Worst Original Song.

1777
01:32:29,840 --> 01:32:32,479
Speaker 2: It won a Worst Actor for Bruce Willis, who had

1778
01:32:32,479 --> 01:32:33,639
Speaker 2: a banner year at the Razzies.

1779
01:32:33,640 --> 01:32:36,479
Speaker 1: He was also nominated for Mercury Rising and The Siege

1780
01:32:37,520 --> 01:32:39,439
Speaker 1: and It's the Touchdown at the top of the episode.

1781
01:32:39,520 --> 01:32:42,200
Speaker 1: Despite only having a thirty eight percent on the Rotten Tomatoes,

1782
01:32:42,640 --> 01:32:46,400
Speaker 1: Armageddon was included in the Criterion Collections list of DVD

1783
01:32:46,640 --> 01:32:50,080
Speaker 1: releases for the essay paired with the release, which is

1784
01:32:50,160 --> 01:32:53,080
Speaker 1: something that Criterion always does. The company chose film scholar

1785
01:32:53,200 --> 01:32:58,120
Speaker 1: Janine Bassinger, who taught Michael Bay in college, presumably to

1786
01:32:58,200 --> 01:33:02,400
Speaker 1: explain herself. The commentary opens with Michael Bay himself saying,

1787
01:33:02,720 --> 01:33:04,840
Speaker 1: why is the Criterion edition of Armageddon?

1788
01:33:05,439 --> 01:33:09,799
Speaker 2: Armageddon, despite this checkered legacy, was a launchpad for basically

1789
01:33:09,880 --> 01:33:13,640
Speaker 2: everyone involved. As we mentioned, Willis's next picture as part

1790
01:33:13,680 --> 01:33:17,000
Speaker 2: of his deal with Disney was The Sixth Sense, easily

1791
01:33:17,720 --> 01:33:21,120
Speaker 2: one of his best roles of all time. Michael Clark

1792
01:33:21,200 --> 01:33:22,760
Speaker 2: Duncan went on to do The Green Mile and pick

1793
01:33:22,840 --> 01:33:24,960
Speaker 2: up an Oscar nomination. Liv Tyler went on to the

1794
01:33:25,000 --> 01:33:28,000
Speaker 2: Lord of the Rings. Ohen Wilson went on to Shanghai, Noon,

1795
01:33:28,040 --> 01:33:31,120
Speaker 2: the World, Tenebaumbs and Zoolander. Billy Bob Thornton went onto

1796
01:33:31,200 --> 01:33:35,439
Speaker 2: Monsters Ball and Bad Santa Bouscemi, then did Monsters, Inc.

1797
01:33:35,520 --> 01:33:37,760
Speaker 2: And Ghost World, So it's just all stuff that these

1798
01:33:37,760 --> 01:33:41,160
Speaker 2: people are forever remembered by. Happened in the couple of

1799
01:33:41,240 --> 01:33:44,640
Speaker 2: years after Armageddon. Affleck did Shakespeare in Love and then

1800
01:33:44,680 --> 01:33:48,360
Speaker 2: stuff like Dogma, Boiler Room, and Reindeer Games. But then

1801
01:33:48,479 --> 01:33:51,000
Speaker 2: pretty much right after that he enters his benefit phase

1802
01:33:51,120 --> 01:33:52,680
Speaker 2: and we get Gee Lee and.

1803
01:33:54,360 --> 01:33:59,160
Speaker 1: The rest Jersey Girl, what's that jersey Oh, Jersey Girl?

1804
01:33:59,240 --> 01:34:02,880
Speaker 2: Yeah, yeah yeah, And then also Pearl Harbor, which is

1805
01:34:02,960 --> 01:34:06,720
Speaker 2: bays next film and a pretty big flop, and then

1806
01:34:06,920 --> 01:34:11,439
Speaker 2: Bay didn't really recover from this for like ten years.

1807
01:34:11,960 --> 01:34:15,120
Speaker 2: He went from the sort of flop of Pearl Harbor

1808
01:34:15,240 --> 01:34:19,760
Speaker 2: to the flop of the Island, and then in Transformers

1809
01:34:19,840 --> 01:34:22,240
Speaker 2: in twenty two thousand and seven, that's when he really,

1810
01:34:22,400 --> 01:34:26,320
Speaker 2: you know, comes back roaring. I got a little high

1811
01:34:26,360 --> 01:34:29,920
Speaker 2: falutin with this with this outro, you know, thinking about

1812
01:34:29,960 --> 01:34:32,439
Speaker 2: this movie in its place in the zeitgeist in the

1813
01:34:32,479 --> 01:34:36,320
Speaker 2: pre nine to eleven American Empire, the waning days of

1814
01:34:36,400 --> 01:34:41,120
Speaker 2: the Clintonian American Empire, I'm reminded of that Hunter S.

1815
01:34:41,160 --> 01:34:43,600
Speaker 2: Thompson line about looking out with the right kind of

1816
01:34:43,880 --> 01:34:46,840
Speaker 2: eyes and seeing where the Last Wave crested and broke.

1817
01:34:48,080 --> 01:34:50,599
Speaker 2: You know, this film and Independence Day are really kind

1818
01:34:50,640 --> 01:34:53,080
Speaker 2: of some of the last movies of that spirit of

1819
01:34:53,280 --> 01:34:59,880
Speaker 2: like big raw, raw American jingoist exceptionalism, us blow and

1820
01:35:00,080 --> 01:35:03,479
Speaker 2: stuff up real good to save the day, and Bee

1821
01:35:03,800 --> 01:35:06,479
Speaker 2: for one, seems to agree. Last year, he was talking

1822
01:35:06,520 --> 01:35:09,000
Speaker 2: to Entertainment Weekly and he said, a lot of European

1823
01:35:09,080 --> 01:35:11,320
Speaker 2: press have started to look at my movies and they say,

1824
01:35:11,760 --> 01:35:14,320
Speaker 2: you're a very patriotic director, and do you feel that

1825
01:35:14,400 --> 01:35:17,280
Speaker 2: the American dream is disappearing? And I'm like, that's a

1826
01:35:17,400 --> 01:35:21,800
Speaker 2: very astute observation, and yes I do. He continued, I

1827
01:35:21,880 --> 01:35:24,320
Speaker 2: think we were all crying on Armageddon when they literally

1828
01:35:24,400 --> 01:35:26,439
Speaker 2: shut down prepping the shuttle for an hour so we

1829
01:35:26,479 --> 01:35:28,720
Speaker 2: could go on to the gantry. And it's like, this

1830
01:35:28,920 --> 01:35:31,360
Speaker 2: is just awesome that we could do this, because it's

1831
01:35:31,400 --> 01:35:34,400
Speaker 2: just the brain power and the total American can do spirit.

1832
01:35:34,840 --> 01:35:38,400
Speaker 2: And I think we've lost that can do spirit. So

1833
01:35:38,520 --> 01:35:41,880
Speaker 2: while Bey's brand of big and loud might be a

1834
01:35:42,560 --> 01:35:45,559
Speaker 2: dizzying and dated reminder of the pre nine to eleven

1835
01:35:45,760 --> 01:35:50,160
Speaker 2: American maximalism, we'll always have that on screen asteroid the

1836
01:35:50,240 --> 01:35:54,400
Speaker 2: size of Texas, folks, this has been too Much Information.

1837
01:35:54,720 --> 01:35:56,960
Speaker 2: I'm Alex Hagel and I'm Jordan Runta.

1838
01:35:57,479 --> 01:36:04,760
Speaker 1: We'll catch you next time. Too Much Information was a

1839
01:36:04,800 --> 01:36:08,639
Speaker 1: production of iHeartRadio. The show's executive producers are Noel Brown

1840
01:36:08,720 --> 01:36:12,639
Speaker 1: and Jordan Runtogg. The show's supervising producer is Michael Alder June.

1841
01:36:12,960 --> 01:36:16,040
Speaker 1: The show was researched, written and hosted by Jordan Runtgg

1842
01:36:16,080 --> 01:36:19,080
Speaker 1: and Alex Heigel, with original music by Seth Applebaum and

1843
01:36:19,160 --> 01:36:21,519
Speaker 1: the Ghost Funk Orchestra. If you like what you heard,

1844
01:36:21,640 --> 01:36:24,320
Speaker 1: please subscribe and leave us a review. For more podcasts

1845
01:36:24,360 --> 01:36:28,320
Speaker 1: on iHeartRadio, visit the iHeartRadio app, Apple Podcasts, or wherever

1846
01:36:28,360 --> 01:36:29,679
Speaker 1: you listen to your favorite shows