Twister (1996) exemplifies the summer blockbuster phenomenon, grossing nearly $500 million and becoming the second highest-grossing film of 1996 behind Independence Day. The film's success stemmed from its authentic Oklahoma setting, innovative 4K restoration, and groundbreaking sound design that made audiences feel immersed in the storm. Director Jan de Bont's approach of shooting in actual tornado alley locations, combined with practical effects and a compelling character-driven narrative, created an emotionally resonant disaster film that introduced the F-scale for tornado intensity to mainstream audiences. The film's combination of spectacle, character development, and authentic regional atmosphere demonstrates how disaster films can achieve both critical and commercial success when they balance technical innovation with human storytelling.
Twister (1996) - Forever Cinematic CommentaryAdded:
Well, greetings everyone. This is me, Nick, and this Stormy Steve Frasier.
>> Oh yeah, that's that's relatively appropriate, I think, >> for our 30th anniversary commentary on Twister.
>> Oh, yeah. This is good. This is fun.
>> Good times here.
>> Yeah, guys. So, uh, this will be a fun one, guys. So, give us, uh, get your own copy of Twister synced up to the time stamp of zero. Switch on your subtitles to follow along with us, and we get synced up with a countdown. So, in three, two, one, play.
>> It's I I always said that it's a sign of getting old >> when when you can reference something and and say that happened 20 years ago.
Like I feel like the 20 year mark is like the wo oh my god moment, right?
Like >> and >> I'm I'm thinking of a good good amount a good amount of stuff that happened 20 years ago. It's like oh boy. And that feels like yesterday.
>> I shared something on Instagram that was almost 20 years ago.
>> And this movie is 30 years ago. Yeah.
>> And I have such a vivid memory of >> Twister as the as the name comes across the screen.
>> Um, >> and now am I correct that you had not watched this?
>> I had not watched this >> in 30 years. You'd never watch until two months ago when I gave you the DVD or what? We're watching 4K. We're watching the 4K Disney Kills.
>> Yeah, >> this is a phenomenal 4K.
>> Um, it really is.
>> And the sound. We'll talk about the sound eventually.
>> Um, this is like Halloween 4esque opening credits here. Like >> ominous.
>> Um, wide. I mean, this sets a mood.
>> Oh, sure.
>> These scenes set a mood. Much Halloween 4 is the greatest opening in the history of cinema, I think. Like, >> at least in the franchise, man.
>> Right. Well, in horror, let's say all of horror.
>> Um, >> and I'm I'm so excited to hear your opinion >> because it's mindblowing to me that somebody had not watched this in 30 years of its existence. And uh Oh, look at this wallpaper.
>> Let's right out of the gate. Let's go.
19 What is this? 60s or 70s >> 69, I think it read.
>> Um, and we're in Oklahoma. Oh yeah, they shot most of it in Oklahoma and in apparently sequential order I think. No, no, that's something else we're talking about. But they shot a lot of things in Oklahoma and stuff. They were going to shoot in California originally, but director Yandot fresh off of Speed >> actually shoot in the Midwest in Oklahoma where it was set so you can get a lot of the geography all the time. So the actual >> you could probably find like the flat lands in in California somewhere but it wouldn't look like this. You wouldn't have the windmills. You wouldn't have all the old the farms and stuff the same way. It wouldn't feel exactly the same way.
>> Nothing feels like Oklahoma >> like Oklahoma.
>> Right. Right.
>> Um I've been to Oklahoma many times.
I've got friends in Oklahoma.
>> Um >> I have a friend who's from Oklahoma >> as we as we sit.
>> Oh, Ames.
>> Yeah.
>> Oh, yeah.
>> She's Tulsa.
>> Yeah.
Recording artist Ames. Yes.
>> From Tulsa. Um, and my boss is in lives in a suburb of Oklahoma City as >> Land of America.
>> Um, Oklahoma is such a uh like the the tornadoes are such a thing.
>> Tornado alley >> and like homes come with these shelters built in the garages >> as we get >> um >> repeatedly in this film.
Now in here in the 60s, >> yeah, >> it was, you know, an outer shelter, like a bomb shelter almost, you know, like as we're seeing >> a Cuban missile crisis and people trying to build up bunkers in the >> back. Don't forget Toto there.
>> Yeah.
>> Um, >> Yandon. Okay. You said right after Speed, talk about a double feature, right? Like a backtoback.
>> We covered that Speed a couple years ago and like Live Hell is not talked about enough in the best.
>> Go back in the archives. Go back in the archives. Listen to the speed commentary. It's That movie is better than you remember if you are.
>> It's a hot piece of business.
>> Um, and speaking of hot pieces of business. So this one.
>> Speaking of hot pieces of business.
>> Oh yeah.
>> Let's talk about Twister for a second.
>> Yeah. Yeah.
>> Okay. So I This movie came out in obviously May of 96.
>> 96.
>> Um I You had already turned 16. I was about to turn 16 weeks later.
>> Yeah. And obviously that means I had not started working at the movie theater yet.
However, >> this is the very first movie of my lifetime, >> okay, >> that I understood the idea of a phenomenon, >> okay, >> I'm telling you that Oh. Oh. Oh, no.
>> Goodbye.
>> Oh, off the oz with you.
>> There he goes.
Um, I went with I I mean I have this memory.
>> Okay.
>> It was myself, it was my cousin Matt, it was my uncle Tim. And the three of us were going to see Twister.
>> And we go to the cinema, the same cinema that I would eventually work at.
>> And they told me us that there were no seats available for the rest of the day.
>> Holy Moses.
>> And we went at like, you know, in the afternoon.
>> Yeah. So, >> this thing made >> I'm talking like >> buckets of money. This thing made almost >> This movie made just shy of half a billion dollars.
>> I didn't understand 96.
>> I'm telling you, this thing is unbelievable.
>> Second highest grossing film of the year behind Independence Day.
>> Ah.
>> So, I mean, >> I thought Independence Day was 94.
>> No, 96.
>> Was it 96?
>> 96.
>> You're right.
>> The movie theater opened in '94. That I got it conflated. Got it.
>> Yeah. Um, so I didn't realize like I had gone to movies that were busy.
>> I had never gone to a cinema and been told >> you have to you have to come tomorrow.
>> Like >> so that's when I understood what a big movie was. Okay.
>> I didn't see Independence Day in the cinema. I didn't go to the cinema all that often.
>> I really haven't seen it much since the cinema. Let's say that. Um, it's fine.
It's not great. It's fine. Um, this movie though I've watched, you know, a dozen times since the cinema. Um, we did end up going like the next day.
>> Okay.
>> I got like the next day we went got there early.
>> We got Yeah. I mean, I don't know if we bought a ticket in advance for the next day or whatever, but >> that's when you get you got back then you got to swing by the theater to get an advance, >> right? There is no internet. That was um I mean it's probably good like I don't know 6 7 years but if you can go online and order a ticket the website probably >> 030405 is about that time I feel >> that is a conversation for another day the transition to online ticket sales all right >> um however okay um I know we haven't really talked about what's happening in the movie but that's okay um >> preamble >> so >> set the stage >> yeah so I And um we got I we were able to see it in Cinema 1 which was the the big house. Okay.
>> Um that was this is before stadium seating and so it >> but 98 that kind of keep creeps in I think.
>> Yeah. Cinema 1 held 403 seats. I I remember like telling you I was kind of a historiad seating it held 403 seats. M >> I bet 401 of them were full when even when I went um and I'm telling you it was look at this guy >> PSH early PSH.
Um >> oddly enough the next film we're covering has his son in it.
>> That is super interesting isn't it? I did not put that together.
>> Yes.
>> Um >> Alen Ruck.
>> Yeah. Cameron >> again, right off of Speed with the Bond.
>> He was on the bus.
>> Oh, yeah. You're right. I forgot about that. Rock. Rock on the bus.
>> Yeah.
>> Um and then seeing this, you know, on the 70ft screen or whatever. I mean, the big the big number one house >> projected on film as well.
>> Yeah. DTS or THX. I forget which one. It would have been like DTS, SDS, something like that.
>> I think that one was THX certified, but I don't know if it was that early.
>> Um, >> but >> Dolby Digital 5.1 launched in '92 with Batman Returns. Okay.
>> DTS launched with Jurassic Park and Sony's dynamic digital sound launched with Lance Action Hero in 93. So, all those are established as theater der formats by this time this film hits.
>> Then it was definitely DTS.
Um >> and we had two cinemas that were certified with T by THX which is a different thing.
>> Yeah.
>> Um >> just in terms of >> objects are basically trying to >> ability to certify that you kind of optimize it from what is like in the engineers booth or whatnot when actually mixing it that it meets an optimal sound quality.
>> Correct.
>> And then there's this guy who's been in 100 million things. I you had a recurring role on Nip Tuck as a very unscrupulous plastic surgeon.
>> I see >> Nip Duck was a Ryan Murphy show. I think I never I never I've never watched that.
It's probably the only Ryan Murphy property I've never watched.
>> Yeah, it's all up on Hulu and stuff like that. If you >> I don't have Hulu.
>> I've got the first four seasons on DV.
That's all I care for.
>> So, it's good. All right. Look at that.
I like Man, all that stuff. Good good melodrama of a show.
So, I got the full big screen like whatever.
>> Rocking the system, >> I'm telling you.
>> And this Oh, god. I mean, this new disc has a Dolby Atmos remix, but I can see why people like this was an audio file film when I was watching >> for sure. I was watching this and that every everything around this room not saying the room was shaky but all the speakers were just >> it felt like yeah >> the speakers were all alive cuz the watch watch number of films like that like a lot of the surround speakers don't do a lot of activity but this thing was oh yeah >> um >> one of those reference quality films across all formats.
>> So we've got Bill Paxton who is hot.
>> Yeah. Um several years before Titanic.
>> Yeah.
>> Um and I mean this might be peak Helen Hunt.
>> Oh yeah, I'm sure. I mad about you was >> Is that over at this point or something?
>> No, no, no. She was about to do like this like season 4 or something like that with Riser.
So it's kind of probably around the peak of the popularity, I'd imagine.
I mean, she went on to be to do other films, too. That that >> Jack Nicholson, >> right? Yeah. As good as it gets. I mean, I believe she won the Oscar, >> I think. So, I like that with the the classroom. They kind of cloak the the old wedding ring.
>> Yeah.
>> Now, this is a fairly basic trope, right? Like, okay, couple is about to be divorced. They're amicable, but they're not friendly.
>> I was trying to place it. I was like, it's the same setup as the abyss.
>> The abyss, right? I was >> Antonio and Harris are the same situation.
>> And then they're forced to work together and then they eventually get back together. Like, it's an age.
>> I was like, trying to remember what film we cover this. Oh, that one.
>> For the record, I I would honestly rewatch this before of this. Yeah.
>> Not saying it's not good, but it's just a long film that's very deliberate and methodical and basic.
>> This is a popcorn film.
>> Hot piece of business.
>> This is a popcorn film that was made for the big screen.
>> Yeah. But turn it out over and over again.
>> I'm the new lady.
>> Jamie, I'm I'm the new you.
>> Yeah.
Decade removed from like less than zero.
Lost Boys is still looking fabulous.
>> You know, I maybe we've said this on the channel before on one of these commentaries. There's been so many.
>> Sure.
>> As many I've tried watching The Lost Boys. I've I've seen it at least twice.
>> Surely, >> probably thrice and it's just not my flavor.
>> Okay.
>> And the same thing happened with Fright Night. And both of both of those movies are like so beloved and I'm like they don't. So >> I don't know if maybe that makes them fodder for commentaries down the road um when we get an entire vampire playlist going.
>> Maybe >> I mean I'd be willing I'd be willing to give it a shot just to discuss and maybe it it's been known to change my mind watching these shows. Um, >> so they they've got this shared technology which >> Yeah. Yeah.
>> There it is, Dorothy.
>> But tell me this 4K doesn't look absolutely incredible. Like they just shot it yesterday.
>> Yeah. I mean, >> holy Christ. I mean, to the detail, the quality that Oh, beautiful.
This is like him seeing his firstborn child, you know?
>> Like what a way to guilt trip the guy into going out, right?
>> Oh, yeah.
How did Hoffman go from being such a goof to being like one of the most respected actors in less than a decade?
>> Yeah.
>> Yeah.
>> And then and then to have such a tragic like ending, right? like >> like here's a guy that I mean yeah he's you know he he's not you know a play girl cover boy right like he >> sure yeah yeah he's a GQ man >> yeah he's just >> he's an everyday schlub >> but he's got talent beyond measure >> and yet like others you know like a Robin Williams or all of these people that are that just radiate something, >> right? And they have they live in this this bubble of like self-loathing.
>> Yeah.
>> And and >> and sometimes you just don't know until it's late, >> right? Well, you know, Williams committed suicide, unfortunately, and >> and PSH was a heroin overdose, but >> like >> like you have the world at your fingertips, but you can't get that high unless you take the physical >> Yeah.
like Chris Cornell, same thing.
>> Right. Right.
>> And like it's so sad because >> you know here here's a guy that I mean he won an Oscar.
>> Yeah.
>> For playing Tur Kabot.
>> I didn't think it was his best movie.
Maybe not even his best acting, but he won.
>> Like Right. You >> once it's on the resume, you can't take it away.
>> Yeah.
>> Unless it's Will Smith and then I pretend it doesn't exist. He hasn't won anything yet. So, >> you know, he did though.
>> He did >> the night that he slapped Chris Rock.
>> He actually won.
>> He won the Oscar an hour later.
>> Oh, I see. No one remembers it now.
>> This was the whole thing is that >> the whole memory stops with >> the slap, >> fingers face. That's it. No one remembers later in the ceremony. The fact the fact that he was not physically removed.
>> What are you [ __ ] one for?
>> He he played the movie where uh in he was the father of the uh the tennis the Williams sisters the tennis movie the biopic on the Venus. I don't remember the name of the father.
>> He was he was the father.
>> Okay just blew past me.
>> And not only did they not kick him out, they gave him an award. Let him make a speech. He's up there crying these crocodile tears. [ __ ] Will Smith. Oh yeah. Just like I >> So I pretend it doesn't exist.
You didn't even You blocked it out of your You blocked it out.
>> I don't think I was watching the full ceremony anyway. So >> I'm probably knew about it at the time, but like it just zaps out of your brain.
>> Uh-oh. She didn't sign the papers.
>> Guess what? We got to go on the We got to follow.
>> Yeah. This I was watching. was like they were cramming the the soundtrack songs in the same hard and [ __ ] fast man.
>> Yeah, there was >> I mean it's a hot soundtrack but it was like they were just jamming song after song. Well, people are just having dialogue conversation. It's not like it sounds like accentuating the moment.
Just got to get it in the film somewhere.
>> It's a bit of a needle drop movie.
>> Yeah.
>> Oh yeah.
>> But listen to this.
>> Oh yeah. Mark Manina score is wonderful.
I was like >> I feel like I brought back from speed like he did a hot >> adventurous, right? Like it's sweeping.
It's it's um there's moments of somber.
>> Oh yeah, that's a beautiful score.
>> It's awesome.
>> Yeah, we got Ellis back.
Know who's know who's on the soundtrack?
Mark Knockler.
>> Oh, okay.
That was Knockler flick.
That's the princess bride, >> right? Just for the audience.
>> Yeah. So, we've got this rival >> Yeah.
>> big time group.
>> Yeah. They got the ones that got all the the big money and everything. They're all high-tech and they're polished. They look like pros, but they're a bunch of [ __ ] I mean it's simple little storytelling >> right it there is nothing groundbreaking no >> about this other not the script no >> other than the atmosphere >> the atmosphere >> the atmosphere in my opinion >> execution >> was groundbreaking in that >> like when you talk about an epic >> epics are usually either >> a lot of breadth or a lot of depth right like you either travel long distances is or it's wide wide scope >> and anytime you have a disaster movie >> I feel like sometimes you kind of get pigeonholed into the minutia of the the the parameters of the disaster >> right like you're in in the room with the flames you're you're closed in on the avalanche you're >> inferno of Poseidon and like right this one is the other way.
>> Oh yeah. Why?
>> Like you see you're inside the tornado at times >> cuz mostly usually those things are they're very small confined type of things. We're we're trapped in space. We got to get out of it because of the situation that's >> crumbling around us. Right.
>> This one's like, "Oh my god, we're charging into the danger."
>> Right. And we're going to show it to you from back here.
>> Mhm.
>> And then we're going to make you feel like you're inside of it. Oh But then we're going to show it to you from way back here again.
>> I found Elas like a lot a lot of times Elvis cuz he's a British actor. He's English.
>> Yeah.
>> Typically when he does like a regular American accent kind of iffy >> here >> this time no he's got this kind of like I don't know southern draw and whatnot.
>> Got no problem. I don't I don't find any English accent slipping through. He's got a good handle.
>> Look at that head of hair, too. Good guy.
>> He's good at playing a nice smarmy bastard, too. He really likes to chew it up a little bit.
>> I think he's better as a heel.
>> Oh, yeah. He's really good.
>> Yeah. Look at that. You want to smack him?
>> Yeah.
>> That guy in the back right there holding the box.
>> Oh, yeah. The one on the right. Yeah, I've seen him around. I don't know who he is. I I forget his name.
>> Oh, [ __ ] ass.
>> Um, isn't it like even as something simple as the wardrobe here, like El's group is not professionally dressed, but they look like professionals in a way, whereas like these two do, but then you've got a bunch of >> press ready.
>> Yeah. And then the rest of them on the other side look like hobbyists, which is kind of what they are.
>> So many names in the cast. I can't figure >> I know it's going to take you a hot minute.
>> Jake Buy is supposed to be in this film somewhere. I did not notice him.
>> Um, so I believe >> Anthony Rap's supposed to be. I didn't notice him either.
>> All right. Well, >> these got to be these got to be like blink and you miss it guys in the film somehow or something.
>> So, what's really fun um and I I also by peak behind the curtain I loaned Nick my copy my 4K copy of Twisters.
>> Yeah.
>> That came out a couple years ago, >> which is kind of a um it's not a remake and it's not really a sequel, but it's like a parallel universe almost like it's the same story.
>> Yeah. just the characters are kind of mixed up and around and doing different things.
>> Premixed edition.
>> Yeah.
>> And it is fun as hell. And in that one, they actually got Paxton's son to do a cameo.
>> That's nice.
>> Um and he has a scene in there. Um and it I don't think it's a relation to the character.
>> Okay. But it's it's very clearly >> it's kind of nice as like we're not just going to do oh is the >> the son or the daughter of the characters before and we're just running it back through the same things. So but >> yeah Bill passed about like eight years ago there about so and there's a lot of love for him.
>> Look at the look at the sky.
>> Yeah.
>> That kind of >> greenish color. Oh, Hot Pit Barbecue. I want that.
>> Yeah. since I haven't seen it on previous forums, but Yandon has new interviews on the disc and everything saying like it felt like finally on this 4K edition they could really get the color grade just about right to show that kind of green sky before the sore.
>> Yeah.
like some great character pieces here.
Like >> the new girl, her >> is like he hasn't really told me about any of this.
>> She's so disconnected from it all.
>> Which means that >> she's almost like learning, oh my god, I don't even know this guy that I'm about to marry.
>> Right.
>> And guess what? This gal who I'm talking to knows everything >> back to front. Yeah. about my man.
>> Oh yeah.
>> And he's way honored too in my opinion.
>> Oh yeah. Yeah.
>> Look at that green sky.
>> I don't remember it being that green in the in the other releases >> and all that stuff. Yeah, probably not.
>> I think I do have a DVD or a Blu-ray of this from way back.
>> I maybe I compare them sometime.
>> Sure. Yeah.
>> I don't think I got rid of them.
I love a good storm. Uh where we are, we do get tornado activity, but it's nothing like this.
>> Oh, no. We We get the warnings every so often, but there might be touchdowns here and there, but we don't hear a whole hell of a lot of We don't tend to get like it get ri everything ripped apart anywhere near us.
>> The warnings, >> it's usually much more west. the warnings come into play in as a plotline in the movie here.
>> Um, >> oh, there's uh what's his name there?
The the big the big guy.
>> Recognize him too.
>> He was on er for many years.
>> Yeah. Kind of soft spoken fella.
>> Yeah. I'm going to go over to IMDb. Get some photos with these people.
>> Who we got here?
>> Richie Black Purple.
I love that he's got his little drink thing built into the and the speakers going out. Like, >> tell me this isn't a good time with these guys, right?
>> Oh, yeah.
there. Okay. So, I've like I said, I've got a couple friends that live in Oklahoma near the suburbs of Oklahoma City, and it is um very they they have very much respect for their tornado guy on the like the weather team is like >> famous.
>> Sure. Yeah.
>> But the tornado guy is like the guy like the highest paid guy, right?
Um, >> super important.
>> And now they're singing the title song from the musical Oklahoma, which is fantastic.
So, she's a therapist, is that right?
>> I think so.
Look at So they obviously this is before CGI.
>> Well, they have CGI in the film and they did a lot of because they couldn't always do thing have the control to shoot things overcast. There was a lot of like digital sky replacement some places.
>> Okay.
I love that he's like in a suit cuz he obviously wasn't expecting to go on this >> jacket and all that stuff.
>> He wasn't expecting to go out into a storm >> field. No, >> your therapist >> maybe.
Oh, it's funny because >> they This is That was the perfect setup because the entire audience much like I did went they made the the jump, right?
And then the dialogue follows.
>> Sure.
>> That is good screenwriting.
>> Oh, yeah. You know what I mean?
>> I mean, this thing's co-written by Michael Kiteon for Christ.
>> Correct. And his wife.
>> That's correct.
>> And not based on anything like a novel, right? No, >> he just wrote this. He made it up.
>> There's a bunch of other people jumped on like rewrites here and there, but it's him and his wife. They got the credit for the screenplay and the whole thing. So, >> who's going to argue argue with Michael Kiteon at this point in time, >> right? I mean, he had my interesting Michael Kiteon also created ER. I don't know if you knew that.
>> I'm not familiar with that.
>> The the movie the the TV show ER.
>> Oh, Eer. I thought you said Y.
>> Oh, no. No. Eer. The TV show.
>> Oh, yeah. Eer.
>> Yeah. E period. R period. Yes.
>> That's a Michael Kon.
>> Okay, there you go. Oh, just >> um >> Yeah. 3 years after Jurassic Park. And he's he's got a bunch of things adapted here and there and everything. Sometimes he directed a number of them, >> right? And you know, um, >> yeah, he had nothing to do like with writing of not based on a novel or >> go look up photos of the guy. The guy was like 6' n. He's a giant.
>> Yeah, he was freaking huge.
>> I don't think I knew that.
>> He's like a [ __ ] tree trunk.
>> It's like NBA.
>> Yeah. Look at like, is this guy standing on a box or something next to like Spielberg and whoever else? Like, no, he's just freaking gigantic.
standing on a box like they had Stallone stand on a box or no Hogan. Hogan stand on a box still look taller than Stallone.
>> Oh yeah. Yeah.
>> In three.
>> Yeah.
>> I mean Hogan was six eight 66.
>> Yeah. Like Milo Aszjacks like Rene Renee Russo is a good like five so inches taller than you and he's standing like almost eye to eye and some closeups like oh you ain't get away with that. Renee Russo is like 510 or 5'11, right? Yeah, she's up there. She's like as tall as me.
>> Sure.
>> In the far shots, you like this this portion. We're in the close shots.
You're about like right now.
>> Look at that's a great looking.
>> Yeah. Look at that work.
>> This is epic.
>> Oh yeah.
And that's that's a little baby compared to what I know. Yeah. Yeah. Yeah. Holy [ __ ] That's great. They got That's such great chemistry. They really write it, but if the actors don't have chemistry, it just fizzles. But they got it >> in spades, these two.
>> Yeah. Yeah.
>> And it was um Debont was really kind of uh lobbying for Helen Hunt for the thing. She wasn't like a movie star or anything. She didn't really have like a bankable thing on that regard, but he felt that she was very much fine for the role. Look at her.
>> Yeah. And apparently like Tom uh not Cruz but Hanks was propositioned for the lead role, the Paxton role.
>> Okay.
>> But he turned it down but he recommended Paxton because they just worked on Apollo 13 together.
>> All right.
>> So he kind of said >> I'm going to pass on this one by I think because one around like later on this point in time it would be end up doing like uh Stephen Pride or whatnot like the next year or something like that. So, >> Private Ryan was 98.
>> Okay. A little longer off.
>> Uh, but it could have very well been the next movie they shot. Like, >> yeah, probably a long pro postprouction to a degree. But >> any which way, just like Hanks didn't feel like it was quite for him or he maybe had an interest in some other project coming up, but recommending Paxton knowing he was a well a well suited fit for that type of role, like perfect.
>> Well, Hanks is coming off of a backtoback Oscar win. He's hot business.
Welld deserved, too.
>> Uh-oh.
>> At least for Philadelphia. Philadelphia just Oh my goodness of a film.
>> I need to rewatch that.
>> I mean, it's a testament to the fact that if I I probably haven't watched the film in 20 years, but I can say that confidently.
>> Yeah. Yeah. Yeah.
>> Like, if it makes that much of an impression, like, yes.
Some films they're they're too emotionally impacted. They're just not can carry that on for ages and ages.
>> I can't imagine what it would be like to be under a underpass or whatever this some sort of bridge >> and the fact that she is so like >> Yeah.
>> I need to I need to >> I need to be in it. Right.
>> Yeah.
because of obviously her experience as a a little girl. That was the opening sequence.
>> Yeah.
>> I I'm thinking it was the sequence they got they get hepatitis shots afterwards >> after one of them. Yeah.
>> One one of these sequences. Yeah.
>> I thought it was the one where they were running and jumping along the top of the cars.
>> Something. I'm not sure. There's one sequence where they're hiding from one of the tornadoes. They end up having to get they got maybe infected or potential infection something like that.
>> Like look at that. There goes the car.
>> Oh yeah. Just sheer power of a tornado.
Like >> interesting.
>> Almost nothing is is outside of its purview of destruction.
>> That's correct. And then look it just gone.
>> Yeah. No, there's no rhyme or reason.
I mean there is science behind it but >> yeah but I just like you can't just like >> it's not predictable right >> look at and make a lot of natural sense of it like it's just going to people people want to project sort of a intellect onto why something happens why it happens here skips this that >> well right >> there is there is a deep science behind it, but it's you're not going to make that kind of >> cognitive.
>> Clearly, it's God and and the right people prayed for it to miss their house.
>> Don't you know how it works?
>> This is probably close to the Bible belt, I'm sure.
>> That's right in it.
>> Yeah.
>> Oklahoma's as red as it gets.
>> Yeah.
>> Right through it. Right in the buckle.
Apparently, like a lot of people report that Dant was a bit of a difficult guy to work with.
>> Oh, really?
>> Like some like of course there's shooting in the time of year when you'd have these storms happening. And so there's a lot of times where they felt like they were kind of unsafe. A lot of times when he was >> coming to location, not knowing exactly what he wants until he actually sees it.
And they're running like three different cameras at the same time. And >> well, yeah, you got to be >> some people got very upset and walked off the film, including this original cinematographer.
>> Oh god.
>> And his crew.
>> You have to be very sp you know, spontaneous in certain moments.
>> Yeah.
But uh cuz I think while I was reading the original sim was Don Burgess who regularly worked with Zmechus at the time, >> but then he ended up going with >> Did he shoot Forest Gump?
>> Probably. I think I think that would have been early in theation. Yeah, that would have been 94.
>> Yeah. So, they brought in another guy called Jack Green, but eventually I think either he left right before the end and uh Devont finished shooting it.
>> That great little joke about the insurance on the car. Oh, yeah. God damn it.
>> But Debont since he was at least an American cinema, he would have history as a cinematographer. So, the last couple weeks he finished shooting the film himself.
So there was there's a lot of upheaval and everything. This thing cost like 70 million to to make too.
>> Well, they made it back pretty quickly.
They made 70 million back probably the first weekend.
>> I can imagine then they might have done a couple cost overruns here and there, >> especially with again like I said with the >> digital effects having to replace a bunch of sky stuff. And I mean today that's nothing that's just a common type of thing, but I think 96 it was probably less common overall to kind of do that much type of thing to replace the sky on top of doing all the tornado effects and everything. So yes, >> um hold on.
>> He's researching.
>> I'm researching. Sorry, I I got some in some bad intel here. out.
>> Yeah, I believe it was ILM who handled all the the bulk of the visual effects on the film. So that's and it was nominated for best sound and best visual effects, but it lost both of them.
>> Okay.
>> Sound went to the English patient.
>> Get the [ __ ] out of here.
>> And visual effects went to Independence Day, of course.
>> That makes sense. Uh look at this. This is an epic shot of just the the caravan.
>> Um so sweeping stuff. I did some research. There's another beautiful tornado. I did a quick research. Uh, this film opening weekend, just the first Friday, Saturday, Sunday, earned $41 million.
>> So that's more than half of your budget.
>> Mhm.
>> Just in the first three days. 41 million is a big number in 96.
>> 20 over 2400 theaters.
>> That's a lot of screens.
>> Yeah. And like two weeks later, Mission Impossible comes out on Memorial Day weekend. Doesn't make as much of this film, but I think it broke her opening weekend record for like volume of screens and how much it made per screen and stuff like that. So, >> I mean, the summer No, Summer 96 doesn't talk about much, but I mean, you got this, you got Mission Possible, you got Penn State, you got The Rock, whole bunch of different things like there's a lot of hot stuff in that that >> was Con Air also 96 >> 97 >> that was okay >> with Face Off. Oh, sure.
>> Yeah. The uh what's his face? The cage double feature.
Conair I saw twice in the theater then.
>> Really?
>> Yeah. I think the second time was a discount theater. So, but still >> there's your pal.
>> I don't >> Here's your prick pal.
>> The the screenwriting on her character >> is so great. sharp >> and the energy that Debond is putting into this thing like you it's just captivating the urgency you constantly have every every sequence you're going forward >> right >> and what the actors are putting forth into that to show you that urgency like oh he's coming to that epiphany like we got to change course do all that type of stuff like this is you got to capitalize now this is one of those movies and I love movies like this where there is a scientific element that the average person does not understand >> but you can be fascinated by how they go about it.
>> Correct. And they have a way of explaining it and showing it to you that makes the audience feel like they are just as knowledgeable as the people on the screen.
>> And the fact that the actors convince you that they know what they're talking about, >> right? Sometimes in some films like that, they're like they they're just >> saying words, >> just spewing out a bunch of random jargon. They don't know what they're talking about, >> right?
>> But you can definitely feel in the performances, they have a sensibility of what every single thing means about what this what means towards a sequence, what it means to the character, >> and what means to the characters around them, too.
the surpris she's got good enough reception on that cell phone 96 amongst this crap >> right in this in this weather >> in this soup yeah >> look AT THAT SHOT WITH the the clouds yeah >> so you this is a great seg segue tie in back to Tom Hanks >> there's a there's an interview out there and I don't remember who he was being interviewed by >> um but he was telling an anecdote of Tom Hanks was >> of a time when he was on a on a film set and he was kind of screwing around or whatever and the director pulled him aside and and gave him some criticism.
>> Yeah.
>> And it stuck with him for I mean his his whole career and now it's the advice that he gives.
>> Oh yeah. M and basically the guy said three things to him um that are the secret to the entire industry.
>> Yeah.
>> He said >> be on time.
>> Mhm.
>> Know the material.
>> Yes.
>> And have an idea >> as in >> have an idea of what the character is doing or feeling.
>> Yeah.
>> Know your character. Like don't just know the words but know the character.
>> Yes. Absolutely. and he said, "That's it." He says, "I can do that. I can I can get there on time. I can know the words."
>> Yeah.
>> And I can have an idea. And and that has made Tom Hanks the Tom Hanks that we know and love. So to your point, there are plenty of people that can get there and know the words.
>> Yeah.
>> But they didn't have an idea.
>> They know the context. They know the vibe. They know the tone of what you're going for. You're just kind of showing up as a blank slate. You're just showing it as a piece of paper basically with text on it.
I mean, I've had problems with that with people doing auditions way back when where they don't they don't really cuz there's a there's >> Oh, we got sisters.
>> Yeah. Twins.
There's a one time when I was trying to cast a short film that had a lot of like crime syndicate type of guys who' be like business suits really kind of dressed up certain look professional and stuff like that. Guy shows up walk in a like like walk off the beach with some sandals and some shorts.
>> Okay. Like you're not you're cow you're tell you're telling me walking into the whole thing even though it's not a high quality production stuff like that but if you're interested in getting the part you should walk in being prepared to show me that you want the part right >> that you're willing to inhabit the part.
If you if in in verse like say you're auditioning to be a clown and you walk in with some Armani suit or something like that like you're not really kind of embodying the vibe of what you want to go for, >> right?
>> Kind of approach it in that way.
>> I don't think you need to be >> not every role is going to kind of require that. But there's certain roles I feel like require certain to walk in the door with a certain attitude certain >> presentation towards yourself. the kind give the >> the casting director or whomever else a sensibility about you kind of grasp the idea of what you're going for.
>> Look at this. The tornadoes going around the truck.
>> Oh yeah.
>> Almost like little water spouts.
>> Yeah.
>> And then gone.
>> Yeah. Yeah.
>> And look, they're like pigs and [ __ ] >> And she's freaking out. Really?
>> She needs to check her shorts.
>> Yeah.
Someone get me out of here now.
>> And look at look at this.
Her looking at them.
>> Yeah.
And I'm almost forgetting about her entirely, >> right?
>> Yeah.
>> Yeah. His brain was not with her. It was with her.
>> Oh, yeah. Yeah.
I think did you see that is the best way to sum up Helen Hunt's character.
>> Helen Hunt's character can be summed up in >> Did you see that?
>> Yeah.
>> And his character can be summed up in Honey, I didn't think.
>> Yeah.
>> I'm swept up in it.
And again, like you said, you've seen it a ton of times.
The setup, the payoff, the the progression of it, you seen it, but it's the fact that you it's the execution that matters.
You can take any idea that's been done a hundred times, right?
>> But if you can find a way to do it well and cast it well, have people deliver something that's emotionally poignant to the audience, >> doesn't matter how how many times been done. If you've done it better than the other ones, that's all that matters, right?
And we're going >> Yeah, >> we're going to the ant's house.
>> Nice production work on it. All the art direction with the veins and all that.
>> And this lady is a delight in this role.
slightly fascinated like how does it mess with an actor's head if you're playing a character with the same first name as you? Are you able to separate a little bit?
>> Oh, you mean like our guy from Nightmare 5? Uh, >> what was his name? Tad or Todd or >> I don't know. I'm just talking about Bill Paxton playing Bill.
>> Yeah.
>> I don't know if it I don't know if it I've never gotten that situation of casting someone who has the same name as the character I created.
>> I feel like Well, that's cuz you make weird character names.
>> Um >> surely sometimes.
>> Um >> helps to be distinctive.
>> I do think it would be more natural, right? Like >> Yeah.
>> If somebody yells, "Hey, Bill," he's going to respond.
>> Yeah, sure.
Or is it more confusing? You're playing opposite someone. Oh, right. The character has you're Bill, he's Bill, and you're like Bill, >> right?
>> Or >> Andrew or something. You know, you're Andrew and he's Bill, but you're actually Bill. Yeah, >> but they're calling him Bill.
>> That gets be confusing.
>> Bill has to say Bill to the other guy who isn't Bill.
>> Yeah, they call him Bill.
I mean, that happened in Kiss. Paul's name isn't Paul, but Ace's name is Paul.
So, when Paul says hi to Ace, >> what? Yeah.
>> What?
So, now we got to go off on a different tangent now.
And Wikipedia here.
>> I love food scenes. Food makes me so happy. Bert Eisen hold Daniel Freley.
I know Jeans is completely different.
>> Yeah, but he legally changed his name though.
>> Yeah, but you Here's the closest one. Uses >> Yeah, he just chopped off He just chopped off the end of his last name >> and just used one of his middle names.
I had no clue. I >> I knew about Jean, but that's about it.
>> And then when Peter left and they brought in Eric Carr, Eric Carr's name was Paul as well. Paul Caravello. So, at one point there were three >> Paul's name. Well, I mean, it makes sense for this band.
>> There were three Pauls in the group and the one called Paul was the only one not named Paul.
>> Anyway, we digress.
>> Bruce Kulic. Just come and save us now.
>> Yeah, he just had he just had heart surgery. He's recovering great. So love me some >> being Vincent. I don't want to know about.
>> No, >> it's too much.
>> Too much.
>> There is something about this. Okay.
>> That is so well done because >> they literally just show up and they're eating a meal, right?
>> But their dialogue, their demeanor >> Yeah.
>> means they've done this a dozen times, right? Like this is familiar. This is home. Yeah.
>> And now they're telling stories.
>> Oh, yeah. That's how you show the camaraderie. And >> uh >> and she's like, "Oh my god, >> boy. I'm in in a different world here."
>> Well, not only is it, how did I not know all like >> and know about any of this this guy?
>> How did you not share this with me?
You're about to share your life with me, >> right? And yet all of the important details that mattered so much to everybody else, you've kept from me.
>> Yeah.
>> Maybe you can kind of understand why with his character like, okay, all that is tied to the woman I'm trying to get the divorce from. So, I'm trying to separate that from this, but one gets right back in it and he can't can't be anywhere else.
>> It's like riding a bicycle, right? He got back on the bike and he immediately knew how to ride it.
No pun intended there.
She couldn't figure out that that's what that meant.
And this is like one of those just photography wise is one of those things like every director like they don't know what the hell to do. You got eight different people around a table. They don't know what to do with coverage because you got to shoot everyone in these different ways.
>> I would say it seems innocuous when you're just watching, but having to plan out this person has this dialogue, this one, they like all have dialogue and I got to cover it with all these different angles and move from this thing to that thing.
>> Look at that. Yeah.
>> Did you see that?
>> So they said the the naive one in the group says >> like here's a Okay, let me let me walk it back one second.
>> So we've got a table full of dialogue >> that is now because you have to explain it to a newbie. You get to explain it to the audience that it doesn't feel like >> character. That's a very important thing in storytelling. So then she throws out, wait, so nobody's seen an F5, which now the audience is going, oh, that's the big one.
>> Oh yeah, we're getting there.
>> And Paxton says only one of us. Now he doesn't say who, but he literally looked upward as in I'm looking up at the person who's in the shower upstairs.
>> Yeah.
>> Like, >> yeah, >> that is having an idea.
>> And that ties in with the audience what we now know from the opening sequence, >> right?
Good storytelling.
>> He doesn't have to say it like he literally looked upward.
>> Yeah. Yeah. Just all >> that is that's having an idea.
>> Yeah.
>> Or directing. I mean, one of the two.
>> Yeah. It's all just part of the entire package of >> visual film making including the seated of Enid right there. Okay. As we sit here right now, >> Enid, Oklahoma was hit by an F4 tornado.
>> Yaoza >> a week ago is >> Enid Enid California. Enid, Oklahoma, devastated just weeks ago, 10 days ago as we sit here.
>> Mhm.
>> It's a northwest suburb of Oklahoma City.
So, I imagine the the people of Enid are like like, "Hey, hey, we had our name mentioned in the in the tornado movie and then they got a real tornado." Like, >> how crazy is that, right?
Um, I would like to recommend, I don't know what streaming service it's on, but I'd like to recommend to folks listening, if you're interested in this kind of thing and you've not seen it yet, >> there is a fantastic documentary out there about the tornado that ripped through Joplain, Missouri, >> which is a very famous like F5.
>> That sounds familiar. Um, and it it documents many of the people in the town, including folks that like like it literally happened on the day of high school graduation.
>> Oh jeez.
>> And there's folks that graduated high school and then perished in this tornado. God >> and um like >> look at the cinematography.
>> Look at this [ __ ] >> This is Oklahoma, man.
>> That's Oklahoma.
>> You couldn't get that in California, man. No, it wouldn't look the same at all.
Not even up in like wine country. It just doesn't it doesn't feel >> really >> it doesn't feel right.
>> Doesn't Yeah.
>> That's part of the reason that all of this >> doesn't look the same now.
>> That's the reason that the tornado alley exists.
>> Well, yeah. I was thinking about like because there's so much flat land.
There's nothing to break up.
>> We had a bunch of mountains like it's Appalachia or something like that >> or buildings or something. Yeah. you know, >> but civilization >> just got a clear again conduit conduit. We got the Van Halen song here.
One of the last ones recorded with Sammy. The last one of this era before they before they jumped over to Chiron and tried that for a hot minute. That didn't go nowhere.
>> No, it didn't. Then they dabbled with Roth again. Then they >> Well, no, they actually >> they bounced around.
>> They they they >> they concluded with Sammy on this song and things fell apart. Then they did a couple of songs with Roth on the the compilation best of album in 96.
>> Was Was this one made for this movie?
>> Yes.
>> Okay. I thought so. I thought this one >> there's actually two different versions.
>> Oddly enough, the 4K does have the music video on it.
>> Really? I didn't watch that. But there are two different versions of the music video. This one on here actually has clips from the movie. Not just like little sparse type of things here and there, but there's another version that's just basically just the performance.
>> Okay.
>> Which is the one I was more familiar with. That's the one up on Van Halen's YouTube channel now.
>> But yeah, so they did this song, Things Fell Apart with Sammy. They recorded a couple of songs for the best of volume one with Roth and then they went off with Chiron for Van Halen 3. There's the other guys.
>> Then it fell apart.
>> Here's the here's the perfect um shot to show you the difference between the two camps, right?
>> Yeah.
>> Like they all have the exact same black SUV.
>> Yeah.
>> All the headsets and everything.
>> And these guys are a bunch of hobos, right?
>> Yeah.
I mean, they got a station wagon, they got a school bus, they >> Yeah. everything they can scrunch together.
>> Yeah. The only other songs they would do with Sammy would be for the uh best of both worlds two disc set about like 0405.
>> I love that disc.
>> And that was the last era with Sammy and then things just fell apart with >> Eddie's.
>> As far as the recording history, >> stuff like that. Yeah. It would they were they were committed with Roth for the rest of the time after that.
>> Well, they did the tour with both of them.
>> They did?
>> Yeah. I'm pretty sure I'm pretty sure they did a tour with the both of them.
>> I heard there was a a test for that cuz I was looking at the Wikipedia for Van Halen. Their last one with Sammy was 03 to05.
>> I could have sworn that they did one with the both of them, but I could be wrong. Maybe I'm just closely remembering all of the whatifs >> cuz Survivor did that with Vickler and Jameson about 2010 around that.
>> I I saw both of them. Yeah.
>> Yeah. There there I I know there was a talk between doing the double headline with Sammy and Roth. I don't I don't think it worked out.
>> I mean, but the last 20 years of band is very tumultuous. A lot of conflicts.
>> Everybody suing each other. Michael Anthony not being welcomed back in certain places and Wolf Gang jumping in and all kinds of things. It's really really messy.
But I remember this one time u me and my friend Eric were off doing like a location scout for a music video shoot and we're kind of going we're a little bit on this further south in Illinois going to a certain place. It looks not far from what this place looks like and there was like a storm rolling in. Sure. like we need some Storm Chasing music. He turned on Humans Being >> cuz he's a big Eddie fan.
He's got the guitar and everything.
>> Yeah, I know. Eric is uh >> Yeah, >> he's really come a long way and is teaching himself how to play guitar and >> when I I don't know if I know a bigger Eddie Vanalen fan than Eric.
>> Yeah, >> shout out to Eric if you're listening. H >> here's some more adventurous music. I don't know if you're I We have the sound up just a smidge.
>> Yeah.
>> Um you're probably on mute with the >> Here. Here we go.
>> Look at the hail.
>> Oh yeah.
>> Like is that Can you recreate that or >> I don't know. You're doing a hell of a job. I don't. Is there a hail machine that you can wield into >> There's got to be something >> on a production.
>> Or is that actual hail? You know what I mean?
Hail is the worst part of any storm.
>> Oh, yeah.
>> Well, I shouldn't say that. I mean, the wind and >> I've never had to deal with hail damage on a car or anything.
>> This is the part that I was thinking of.
>> Oh, >> where there was some sort of injury. I thought >> I don't doubt it. I mean, there's a lot of a lot of things like Helen Hut one time she she banged her head on something like that and might have gotten almost a concussion or something.
>> Yeah, she was like open the hard way, right? Like >> something like that. There was a lot of lot of bumps and bruises and various sort of things.
>> Maybe I'm thinking of like whatever the hail or whatever here that was injuring him. I don't know. I felt like in this >> potential I mean for them to be shooting it out. I mean, that's some kind of rock salt or something like that they're dealing with to create it. It's dangerous. And it's got to be shooting out at a pretty good velocity. So, I mean, it it's seriously dangerous.
>> It doesn't look like it's fabricated post in post.
>> No, no, no. This is all practical.
>> Like that tornado could have been like that looks digitally altered.
>> But when you're when you're on the car with the actors and everything, it's definitely coming down properly.
So this is attempt number two.
>> Jesus Christ.
>> I wouldn't have even gotten out of the car if I was her. Just stay you. Yeah.
the there's so many different like cliche trope character like situations here, >> but >> and they all like you said, they've been done a million times, but if you can do it >> better than or different than much like any remake >> Yeah.
>> or cover or whatever, you can put your own flavor on it.
>> Same concept. Yeah.
>> So, like here we also have a the trope of Wh There goes a boat.
um the trope of like the the one >> in a boat in the middle of Oklahoma.
>> Well, there's a lot of lakes and stuff, so yeah. Yeah, >> there there's boats.
>> Okay.
>> Um >> you've got the character of like I'm the one person that doesn't do the profession and I'm in with all the people that do do the profession.
>> I said do. Um >> so that adds another element of storytelling that you can >> mix in. Yes, >> you people are all crazy.
>> It character contrasts the dynamics. It creates some comedy.
>> Sure. Oh, >> there some danger for you.
>> Oh, yeah. Cuz the storm wasn't dangerous enough.
>> It wasn't dangerous enough. We need some fire.
We got some power lines going off.
I mean, that's people don't live in the Midwest just have no concept really. Aside from like maybe like Florida, Clark Carolinas with the hurricanes, but if you're like I don't [ __ ] know.
>> New York City.
>> New York City maybe or something like that.
>> LA. Yeah.
I mean, even the deep south, I guess.
Like Texas gets tornadoes, but not not if you live in Dallas.
>> They get tornadoes like we do because >> they get brushed by here and there.
>> Yeah. I mean, there's so much buildup >> that it it's acts as a diversion in a way. Not to say that it can't happen.
It's just much more infrequent.
>> This is that that moment where they always say, not some of you probably don't live in the world of tornadoes, but they always say that like the atmosphere holds its breath.
>> Like it there's almost an absence of life. Like it >> a vacuum effect.
>> Yes. a vac like it it's super still.
>> Mhm.
>> And if it goes from being like whatever to being super still like you're holding the atmosphere is holding its breath, shit's about to go down.
>> And that's what I think they're >> calm before the storm.
>> Sort of. Yeah. Yeah.
>> So they spilled them.
>> Yeah.
>> It's not going to work. She's gung-ho.
She's like, "We got to get out or else we're going to be dead.
It's like she lost one of her children, you know?
>> And again, there's the character work, >> right?
>> It's almost like >> the tornado that took her father gave her a death wish.
>> You know what I mean? Like >> she she just doesn't care.
>> Yeah.
>> Like >> it's a trauma.
>> Let Right. Let the storm take me because it already took everything from me before.
>> Sure.
>> You know, and that >> Yeah, >> that's the character.
>> There it is.
>> There it is.
>> Here's the whiny Bill Paxton that I [ __ ] hate. I hate this Bill Paxton.
He does this in every goddamn movie he's ever been in.
Right. This this voice. Oh god, it drives me nuts. He did it in aliens. He did it every He did it in everything. I complained about it then. Go back and listen to our >> commentary. There it is.
>> Look at that.
There it is. Goodbye. That's it. Heart's broken there.
>> It's over.
>> Oh, wedding's off.
>> Right there. Look at her face. Wedding's off.
>> Yeah. Want to check something.
>> All right. He's researching. Phone's out.
Look at that shot with the sun set.
>> I checking the MTV Movie Wars. Uh thought maybe they get best couple or something like that, but just like best female performance nominee for Helen Hut. There's just some action sequence that won for the truck drives through farm equipment. I thought they might got like a best oncreen couple thingamajigger. No.
>> Yeah. Best kiss or something stupid like that.
>> Something. Yeah. I mean that was hot on the the pulse of the time.
>> [ __ ] razies. [ __ ] you. This one Rzzy Awards.
>> It won for worst film. Worst written film grossing over $100 million.
>> Shut up.
>> It won.
>> And here we have our >> nominated Jimmy Gers for worst supporting actress.
>> Well, that could be. Here's Kubrick's The Shining.
>> Yeah.
>> Um I don't know why you're burying your face. It's not that terrifying.
>> No, not yet. There's much much more hefty things in the film than that.
>> I wonder what the licensing fee is to show the Kubric film in this film.
>> I think it was a Warner Brothers film.
>> And you can't watch a Warner Brothers movie without a Warner Brothers ball cap we've already established.
>> Thank you, Daffy Duck.
>> I mean, maybe they went went to Kubri and said, "Hey, is this okay?" He's like, "Yeah, sure. Fine. probably.
>> I can't imagine Kubrick being okay, fine with anything.
>> I don't know. Maybe something.
>> He was about to drop dead.
>> Couple years off. Yeah.
>> Yeah. Late 98, early 99.
>> Yeah, roughly. Yeah.
>> That's a hot jacket she's got on there.
>> Is this still the same day? This is still the same day. Yeah, it's been >> from from the beginning.
>> Yeah.
>> Okay.
>> They've been a whirlwind.
>> They they met in the morning to sign the divorce papers.
>> It's been a roller coaster day. It's only getting started.
>> And they've seen three tornadoes so far.
>> And >> it's not slowing down too much soon. As the lover of cinema and a lover of the exhibition of cinema, >> this sequence here is one of my more favorite ones in the whole film. Oh, yeah. The the drive. The drivein.
>> The drive thing. Drive in. The bunker we go into. Yeah.
>> I just >> you know how like they they took there's so many ways that you can do it, right?
like, "Oh, here she's going to sign."
Yeah.
>> Um, >> okay. Here's a tornado. Here's a tornado. Here's a tornado. Like, it kind of gets old after a while, right?
>> Get old. Yes.
>> So, you have to come up with different ways to do it where it's going to be interesting or different.
>> Well, it's also the the kind of horror movie things like you have to take time to build that empathy with the characters because this keeps happening a bunch of people you don't give a flipping care about. And >> if they're a bunch of nobody characters and then there's nothing happening here, you're just sitting there like, I don't care.
>> But we care so much about these people.
>> And not just them, but a lot of the supporting characters have done a very strong job to connect you to them.
>> Sure. Especially in the scenes where they were telling the story, the anecdotes.
>> Yeah. Yeah. I just like is that's the that's the whole of the collaboration of filmmaker from the script to the director to the actors bringing it all together to create that quality of the film the heart of it >> and in this sequence the screenwriters Kiteon or whoever yeah >> look at that look at that little thing >> that beautiful >> they said oh well we got to come up with another scenario to put a tornado >> so they put it at a drive-in and Like, damn it. What a cool idea.
>> Yeah, >> because there's not much going on in rural Oklahoma. Let me just tell you.
>> Surely. Yeah. Pretty quiet.
>> There are no big towns other than Oklahoma City.
>> Surely. Which >> which is where they're based out of, right?
>> That the bombing happened while they're filming the movie.
>> That is probably true. Yeah.
>> Yeah. Cuz they actually took a a short break for a lot of the castle crew to help out with relief efforts. That would that was let's see April April 19th >> of 1995.
>> Yeah, >> Tim McVey and his friend friend friend whoever this buddy was >> there is a fantastic documentary about that.
>> Um it might just be called Oklahoma City and it connects to the branch devidians in Waco, Texas and that whole thing >> which was 90 93.
I'm telling you the Okay, I've never recommended I recommended the uh the music one to you.
>> Quite a few documentaries. That was >> dude, >> that's a story for another day.
>> The Greatest Night in Pop is a [ __ ] that's a [ __ ] 10.
>> Um I just watched it again not that long ago. Um the documentary about Oklahoma City, I think it's just called Oklahoma City, >> and the documentary about the Joplain tornado are two of the better documentaries that I can recommend to people. Dial them up.
>> Uhhuh.
>> And the idea that like all of these people are watching a movie.
>> Oh yeah.
>> How many times have you been in a movie theater? Now this one's outdoors, so it makes it that much more dramatic.
>> That's the entire idea.
>> And look at that.
>> I mean, you sit in a movie theater. Who knows what's going on outside around you >> here? Like >> you're right in the middle of it.
>> You're in the middle of it. Like it's brilliant. This is such a great novel idea.
>> Yeah.
>> Oh my goodness. Yeah.
>> Have to stand.
>> She can't 100 yards from the dang thing.
Maybe >> she's frozen.
>> Ain't no one ain't no one treating it lightly. They knew.
>> And I love Look at this. They got Jack.
>> Yeah.
the pinnacle, right?
>> This is >> that's the peak.
>> Yeah. Yeah.
>> Peak terror on screen. Peak terror on our screen that we're watching.
>> In fact, these people live this reality.
No one's taking it lightly. No one's has a hesitation. Once they know it's coming, they're hot in their feet to get out of there, >> right? You don't need to convince them.
Like there are >> they know the [ __ ] How many movies, especially disaster movies, where the experts have to convince the other people that the threat is actually as big of a threat as it is?
>> That's part of the niche of this is that to your point, >> they don't need convincing.
>> But >> the disaster, look at that. Jack just tears apart. God damn it. That's brilliant.
>> I love this movie.
I I've loved this movie since I was 15 years old.
>> I got to tell you, just hear that sound system cranking when these moments come in the >> You turn this [ __ ] up loud.
>> Oh, Jesus Christ.
>> You are in it, dude.
You are in it.
I love this. The the roof being torn apart. everyone. Like I don't know how much cover that is. Like this feels like a fairly dangerous >> Oh yeah.
>> They're telling everybody to get underground.
They didn't >> probably aluminum something like that. I mean it's not going to be much.
>> Yeah. This is one of those like build a shed kind of operations.
>> This Sears catalog.
>> Absolutely.
>> I mean I don't know the English page for the back of my hand. I don't know what the sound design of that film is, but how does this dude not win a [ __ ] Oscar for the sound? Jesus Christ.
>> The English Patient, which won best picture.
>> That's a bit of a war drama, but >> it is. It is long. It is boring as [ __ ] >> Is it good? Yes. Did it deserve best picture?
I don't know. Um, when you tell me that a movie like Slingblade wasn't even [ __ ] nominated for best picture, >> what a lauded independent film that was.
Billy Bob wins for best screenplay.
>> He should have won for best actor. The movie should have won best picture.
>> Okay, the Fargo apologist. Oh, I get it.
>> Miss fired for the Oscars in the latter half of the '9s.
>> I mean, if there were if we take today's rules and we apply them to 1996, Twister gets nominated for best picture in my opinion.
>> I think it does. the 10 >> the 10 if we had the 10 rule.
>> Yeah.
>> And I think >> it's the Top Gun Maverick of the time.
>> Yeah. I think Slingblade also would have gotten in if they had if they had five or 10 rather >> the vote more, >> right?
How much fun would it have been to be a production designer on this movie?
>> Oh yeah. But also think about how stressful >> like how stressful would it have been like to think oh my god what kind of scope of destruction >> yeah we have to plot build it then destroy it >> right it's not like they're using a bunch of miniatures or anything like they're building the fulls size structures >> right much like Cameron And then he sunk it.
>> He won a goddamn Oscar for it. He won multiple Oscars, didn't he?
>> Sure did.
>> And the director probably produced it, too.
>> And then, of course, unfortunately, he said at his he said, "I'm the king of the world." Which is the line.
>> Surely, >> he said it on stage as he's accepting his Oscar. It's like, "Okay, dude."
>> Apparently, >> but he he never won. So, like that was his >> surely. But apparently when they were shopping around to different directors, he was one of them considered for the film. I was like, >> he would have been brilliant at this.
>> Spielberg was up for cuz he's obviously producing with Amblin and Tim Burton. I couldn't see Tim Burton doing this.
>> No, it would have been too goofy. Too goofy.
>> It's not his flavor.
>> Oh my god. Drive in. Look at that.
That's uh Yeah, >> that's grandma or Aunt Meg's house or whatever.
Yeah, just pacing wise, man. Just like it just it's as lean as you can get it.
It's going right to Meg's house.
>> Yeah.
>> Look at that face.
>> Oh, yeah.
>> Look at his face. I mean, her face is not again.
>> It Yes. It's Isn't it interesting how when the tornado is not there, it's sorrow and like belief.
>> Mhm.
>> And then when she's staring at it, it's like I said, it's the I don't care anymore. Yeah.
>> Take me, too.
>> Yeah.
There it is.
Mhm.
>> Yep.
>> And I like that it happens here. Like we don't >> you don't have to wait till the end.
>> Don't drag it on to the very end or anything like that.
>> It's a natural point for it to happen.
We've had all we need >> for that turn to happen.
>> Was the part where they were standing in the road and she overheard the conversation. Was that the midpoint of the movie? It might have been.
>> It might have been.
>> It might have been the midpoint of the movie.
>> Just just short of two because >> 2 hours about hour 50 or something like that.
>> Technically Paxton's our main character.
>> Oh yeah. Yeah. Even though we know more about her, it's his story that we're telling.
>> Yeah. He's got the main arc here, where he's going in life, >> what his choices are.
>> I don't think she deserved a Razie for it.
>> No, it's not the best performance possible, but come on. I mean, the Let's just say Raz's are generally full of [ __ ] anyway. or not.
>> I mean, it's all fun and games, right?
>> It's all just a bunch of fun.
>> It's tongue and cheek. Some some years are more more entertaining about than others.
Sometimes it just feels like they're really spiteful, >> right? And really I mean there was like something a couple years ago like uh was it for that Fire Star film where Ryan Kira Armstrong was like nominated by the Razies and like even Drew Barrymore came out and said >> that's crass to nominate this young actress who tried >> do this really strong performance and tell her she was one of the worst actresses of the whole year's life.
>> Look at this.
>> Sometime some years they don't really know what they're doing >> that that I don't even know. I don't think they use the same actors. They may have, but >> similar. Yeah, >> it they put him there and it's like, >> oh yeah, >> that's me. I just saw my family.
>> Yeah.
>> And I I look at this destruction.
Like >> the production, how did they how did they not win a production design Oscar for this this scene right here?
>> Combination something. Yeah.
>> This scene alone.
>> Yeah.
I mean, >> like they get there, they're too late.
There's no town left here.
>> No, I mean, you look back at anything, but Katrina, anything like that. It just Oh, wiped out.
Hurricane Sandy, all that type of stuff.
Just like it just >> I may have to go home and rewatch this debris everywhere.
>> Joplin, Missouri tornado dock. I mean, it's it's heartbreaking because that that town was left with like almost nothing.
>> Here's the second cinematographer left because they were shooting this sequence and he was in the entire set. We had like hydraulics and stuff like that.
Someone set one of them off and accidentally injured him.
It was a bit of a >> one of his own crew.
>> Some someone activated something and he kind of I don't know if he leg or something else like that. He got injured. So he had to leave for like the last two weeks of production. So it it's a bit of a dangerous production on the film.
>> Oh puppy.
>> Oh yeah.
>> But look at this pile. How do you make piles like that look so realistic?
>> Yeah. I mean, you probably have to study photographs and news footage to kind of get the idea of how it happened, what it looks like afterwards, >> but then you have to find debris. Where do you find debris to just build everything out?
>> I know >> you can't just throw anything out there.
So, there's definitely an art to it, >> right? Like if >> you just throw a bunch of drywall out there, make it look like something. If you're doing um like a downtown area, right, >> you can put up fake storefronts. Yeah.
That are two-dimensional.
>> Yeah. Yeah. Yeah. Yeah. Yeah.
>> Nothing behind it.
>> Yeah. Yeah. Yeah. That was all the time.
>> That's a [ __ ] house.
>> Yeah.
>> That we previously saw as a functioning home.
>> Sure.
>> Full structure. All that type of stuff with entire neighborhood around it.
>> Let's go back to the pet cemetery.
>> Oh, yeah. Yeah. Judrannle's house across the road is a little a little one or little ranch house that they built a facade around >> and then burned it >> with the speestos.
>> Right.
Hope you're all wearing masks at the time or something.
>> This feels completely different than all of that.
>> Yeah. Yeah.
Like, let's go get a bunch of 2x4s.
>> How do you How do you even know how to lay them around in the in a pile?
>> Yeah. Yeah.
>> It takes a massive coordinated effort.
Now, they could have teased this a little better, drawn it out a smidge where Axton says, "I'll go back in >> and maybe have a little danger for it."
Yeah.
>> A little edge to it.
>> Or maybe he doesn't come out right away and they're like, "Where is he? Where is he?" And then he comes out with, you know, and then Yeah. Or whatever. Yeah.
Different ways you >> Look at that. There's your hydraulics.
They probably lifted it up and then dropped it.
>> Yeah. And now it's just clicking firewood.
Then I I like the fact that at least you had that rewarding moment. They all came in and they all helped her and they all saved her from >> Yep. Because she had done so much for them over the years.
>> Yeah.
>> And it's the least they could do.
>> There's a real easy temptation to have a point in the film where like one of these blood characters, they die.
>> Yeah.
>> And they have further trauma. You don't need more trauma for the characters.
Helen Hunt's character doesn't need more trauma to what she has. What she has fuels the entire arc of her story. You didn't need more. And they I recognize that they needed heart in the film, >> right? Like can you imagine if they had had Meg, Aunt Meg die, >> right?
>> Like >> or even the dog for Christ. Sure. Yeah.
>> Like you didn't need no more this. She has more to contribute to the story through this just this one scene.
And it's so weird to sit here in today's technological >> juggernaut world.
>> Yeah.
where if there's a tornado, you know, 25 miles away like it is now here in the story, >> the phone in your hand dings >> and says there's a tornado coming.
>> Yeah.
>> You know, and the 24-hour news has also already covered it two days before and told you >> there's probably one there's a big storm coming. It could be dangerous, >> right? And now your phone is going off.
>> And I mean, none of that existed in 1995 >> and '96 and this era.
>> Yeah.
>> If you want to watch through the TV or had the radio on, you wouldn't have a clue.
>> There's still nesting in bed with a book, you wouldn't have a clue.
>> Only, you know, it's right on top of you. I don't have the exact number, but I'm going to guess one in 10, one in 20 people even have the internet at this point when this movie comes out.
>> I mean, we didn't get We started on America Online like November of 95, >> right? So, you were the one, not a 10.
>> Yeah.
>> I didn't have >> all up on dialup and everything.
>> Sure.
>> I had friends that had AOL. I didn't have internet in my own home until ' 98.
And even then, that's not not like >> like I knew that there's something that you could get weather alerts. Well, you probably couldn't.
>> I don't know. I mean, you could go to >> message forums and and chat rooms, stuff like that was basically what it was and whatever it was. I don't know.
>> Last week, >> it's not the internet that it is now.
>> No, last week as we're recording this, so late March was the anniversary. It was late March of 93 >> that the internet officially opened to the public.
>> Like >> it it had been in existence for businesses and whatever.
>> Sure.
>> But it opened the worldwide web open to the public in late March of 93.
>> Okay.
>> And you know I don't know how many websites there were 30 40 >> mostly bulletin board system stuff like that.
>> Sure. That kind of thing. Yeah. And then AOL came out and it was I think in 97 that they debuted America or AIM Instant Messenger.
>> Okay. Yeah. Yeah.
>> And like that literally changed the world.
>> So >> perhaps you put some money in this one.
>> Yeah.
>> I love this. Right. Like they >> Yeah.
>> They they looked at the weather vein.
>> Yeah. and said, >> "We got little wings on this thing.
>> We got to we got to augment. This is the missing piece."
>> Some do. Do the do.
>> Sure.
>> That, my friends, is an F5.
>> That's a scary sound [ __ ] That's apparently where the name of Brock Lesnar's move comes from, >> the tornado, >> right? Yeah, that that makes sense.
>> It made sense in 2002. like >> that being only 6 years removed from >> yeah this >> watching this in the cinema >> and I don't know if the general public knew the is it Fuja scale is that what >> I'm guessing >> I think it's Fuja >> I think that's familiar from what this tell me >> the F scale that goes from 0 to five >> that ranks tornadoes I don't think people the average person understood >> as a cognitive sense of these >> what the numbers meant or what tornado how tornadoes were ranked until >> the RTOR scale which I think is outdated as well. Uh yeah, but that was already like that was in >> Yeah.
>> public. That's what I'm saying. The zeitgeist of America scale, which was like, okay, if there's a nine nine on the RTOR scale, you knew you're [ __ ] >> right? Right. It doesn't get any worse.
>> No one's going to give much of a crap.
>> I think this movie is what kind of introduced the F scale into the public lexicon.
>> Oh, yeah. I mean, that's a billion dollars. Someone's going to catch on.
as I count how much it probably made on rentals and everything and the DVD sales event and all that [ __ ] >> Well, as as we've discussed, I think here's here's the pop culture trivia thing, right?
>> Twister is the very first film that was ever released on DVD.
>> A there you go.
>> Um >> I think it got the DTS track on the DVD, too.
>> Like literally this, but on DVD it did.
>> DVD number one was Twister.
>> Hot stuff. Yeah.
>> I mean, talk about like what a perfect film. It's an audio file film like hell in every format.
>> They put on Blu-ray. They made sure they had a loss of sound on the thing.
Yeah.
>> Just the culmination of all the story coming together and their invention is coming. It's going to work.
>> Yeah.
The problem is >> Mhm.
>> It's a [ __ ] F5.
>> Yeah.
>> You got to You got to get out of the way.
>> Yeah. A long way.
>> That branch like >> Yeah.
>> Even just something as stupid as the branch coming down the road like that.
>> Yeah.
>> And knocking it over.
>> Yeah.
Like obviously the branch in the air that you could CGI, but you had to have a branch knock over the physical item.
>> Yeah.
>> Right there. It gets stuck out of the truck. Like that's a practical thing, right?
>> Yeah.
>> That could [ __ ] the car.
>> The truck. Yeah.
>> Right. Yeah. You just totaled your car.
>> Yeah.
>> It's the perfect foil, right? Like they thought they could get away.
>> Yeah.
>> The tornado said, "Nope."
>> Yeah.
>> Nigh nigh. I'm >> You're not getting out of the car to move the thing away cuz you might be gone too.
>> Sure. Although they do get out.
>> Yeah. I'm just saying it just >> then you see this thing coming at him.
>> That >> That's a giant.
>> He's an 18-wheeler.
>> Yeah. They go >> probably full of gasoline. most especially how it's gonna go in a few seconds here.
>> This is such an ultimate >> summer blockbuster.
>> Oh yeah, it comes out right at what early May.
>> Yeah, the 10th maybe. I mean I mean >> I think >> little yeah just the fact that it's just ahead of all those other big films going you because usually back then it's like remember day is usually when the summer things start now now it's like start like >> the first week of May.
>> Yeah. Something like that.
>> So you're just kind of getting ahead of ahead of the box office curve and everything else going to come out. So you could really capture the audience and really grab them and have them keep wanting to have an appetite to come back. And when you know you've got uh when you know you've got something that is good.
>> Yeah.
>> And you put it out May 10th.
>> Yeah.
>> And you know the studios know what's coming, right? They know the lineup.
>> Yeah. Yeah. Yeah.
>> And you put this out and you say, "Okay, [ __ ] top that."
>> Yeah. Yes. That's the thing.
and the fact that only one other film in the entire year topped it in terms of audience >> and I don't desire >> I don't think it was worthy of that like >> I'm sitting here now like I >> obviously enough people went back and and watched Independence Day.
>> I never even bought Independence Day on home media. No, >> I only have it on lasers cuz a friend gave it to me.
>> Well, right. And >> I never bought on any format. I maybe watch it on on TNT or something like that. I just I saw nothing. thought I was okay. Then I just never released.
>> We have gone too much time to it.
>> We have gone a little while without seeing the >> That's Yeah, Elvis.
>> Yeah. Hit the the competition group.
>> Yeah.
Which thing I was feeling about this time I was watching it and they come in just at the right time.
Bring him right back in the story. just was just feel like maybe it's just been almost too long and they come right back in and remind you >> and hook you back in that that dynamic >> and she wants to help him.
>> Yeah.
>> She's too much of a smurmy prick, >> right? Ego.
>> Yeah.
>> One, he thinks he knows everything better than than them. And two, he thinks he's they're trying to sabotage him.
They they can be a mile wide. That's >> Oh, yeah. It kind of looks close to that. Yeah.
>> He's not going to make it.
>> No, no, no. It's going to right across the road.
I don't want to be that guy. I mean, the ego says, "I'm gonna win."
>> No.
Oh, he ain't winning nothing now.
>> And >> would you rather be the guy who gets the driver gets run through or be having to carry up and not know where you're going to land on your head?
>> I think I would take I would take the instant.
>> The instant. Yeah.
>> Yeah. I would take the instant.
>> Yeah.
There we go. Yeah.
>> RIP.
>> Uhhuh. Yeah.
>> Yeah. You can't feel guilty.
>> Yeah.
>> You warned him.
I love this kind of like this looks like >> Yeah. Oh, that's perfect.
>> This is what you would see.
>> You would see, you know, a tractor dealership on the side of the road.
>> Yeah.
>> This feels real.
>> Yeah. That's the advantage of shooting where it's really supposed to be.
You can't beat authenticity.
>> No.
And these trucks, you know, are half a million dollar farm equipment.
>> Oh, yeah.
>> Not that one, but the big one.
>> Yeah, >> that one. That one's probably half a million dollars. Even then, >> cuz it's probably a million dollars now.
>> And the fact that they have to keep dropping this stuff.
>> Yeah.
>> Like, it's it's the practical freaking thing.
>> There goes a house. They're going to drive right through a house.
>> House.
Oh, >> like this is obviously comical, but >> yeah, but you know it works.
>> But it's fun. There was a He had a Green Bay Packers helmet on it.
>> It's a lot of practical stuff, man.
>> They they add in just a hint of comedy.
Again, it's >> the heart, right?
>> Like I said, >> you got to have the humanity in there.
They got one more Dorothy.
>> Yeah.
It would have been fun >> to make this movie, you know, >> the scale of that towards the farm, >> right?
>> Jesus.
>> To be in like the wind machine and like I don't know. I think it would have been fun.
>> Yeah.
>> I mean, >> it's like method acting only it's method shooting, whatever.
>> But yeah, I mean, whoever you want to credit overall for all this scale, the cinematography, I mean, these shot designs are phenomenal.
It is.
I remember I didn't go to the cinema a ton >> as a child.
>> Um I probably went more than average, but it it didn't feel like it was a special event to go.
>> Yeah.
>> I remember seeing Home Alone. I remember seeing Speed.
And I remember seeing Twister like >> it was an event and this Home Alone felt special.
>> This one is I'm telling you it's the first time that I understood a phenomenon >> of a summer blockbuster.
>> And there she go. They anchored it.
>> Yeah.
>> They sacrificed the truck.
>> Yeah.
In the name of science, I'm sure you can get reimbured.
>> Look at I love that they almost kiss and didn't.
>> Yeah.
>> Like it it was a >> I want this but wait. Should we? No.
Let's not right this second.
And they're getting data and science and >> I love that with the farmhouse.
>> Yeah.
Uhoh.
>> Yeah, >> it's coming right for us.
>> Uhhuh.
>> And if that some [ __ ] is a mile wide.
>> Oh yeah.
>> Uh I don't know if you can run fast enough, my friends.
>> Yeah.
>> Through the through the cornfield.
>> A lot of m going.
>> Isaac and Malachi waiting on the other side of this cornfield there.
>> Much better film than that one. God damn it.
Jeez, >> there are Oh, no. Not The Horse. There are >> innumerable amounts of films that are >> work it takes to get that that fence rippling like that. Oh my god.
>> Oh, I know.
>> All the little things, man.
>> I I do honestly.
>> Getting all just slatten up and everything.
>> Yeah. Just >> all the little things, man. I don't know if they're digital or what they're doing, but like it just because you're in that 96 era like you can do certain things digital, but you can't do as much like now. Like now there's so much you can do digital.
>> Well, it ruined it to today's movies are ruined by the computers >> a little bit. Yeah, >> because they just do it the computer for all of it.
>> Sure. That's when they do it not the best way, which is like in 96 like there's a certain amount you can do, but you can't do everything.
>> So, a lot of stuff you had to do practically like certain things just feels like did they find a way to do that practically or was there just a way they could >> make the effect look that good?
>> I'm very interested to hear your take on the second one. We'll get there. Well, we'll talk about that maybe during the credits.
>> I I haven't watched it yet. I know, but >> just uh Oh, yeah. Look at that.
>> How did this movie not get an Oscar nomination for production design, cinematography?
>> Yeah.
>> Like, I get it. We're in the world of the English patients.
>> Yeah.
>> You being the the thing.
>> Yeah. The epics.
>> Look at Look at the just the the shingles on the roof going one at a time. There goes the tractor.
This movie is brilliant.
And I tell you what, this movie, in my opinion, is 99% perfect. And the 1% is this goddamn ending.
>> There we go.
>> It's the one thing, the ending to this movie is the one thing that I hold against it.
>> Okay, let's see what we get there.
That's even almost a nod to the Wizard of Oz right there. The way the way that they >> that she leaned on the door and then came back and went to the door. It's almost the exact shot of Dorothy going into the house.
>> Yandon had a lot of uh reverence for that film. So, I don't doubt there's touches beyond the obvious. them going into the house there. It was It was almost the same like shot of Dorothy going into her house.
So, I I get it. They've got the the plumbing pipes or whatever that they're not going to move. I I get it.
>> And they're strapped in.
>> Yeah.
But the tornado coming over when you're in an F5 from what I understand >> and the tornado comes through.
>> No hope.
>> I I do not buy I I can't even suspend my disbelief that it doesn't rip them >> out of out of the air, >> rip the pipe out, all that stuff.
>> Now, is that a better story?
>> Yes. Is it a great visual? Yes. Do I think this movie is a 10 out of 10? Yes, I do.
>> Even this can't ruin it for me.
>> But this is the one thing that I don't think is believable.
>> Okay.
>> Apparently, a lot of this was them upside down, >> right? Like >> pretty much like hanging from the ceiling.
>> They've got their eyes open. They're looking at like, you know, oh, like nothing's going on. so much to you couldn't see anything.
>> Yeah. It would be black. It'd be all black.
>> Yeah.
>> Now I get it. That doesn't make for a very good >> movie. Now look, that house there, >> not even touched.
>> That That's exactly what she's saying.
It >> It missed that house and missed that house and went right for me. Like there's a great example of it.
>> And then here comes the sun. Doo doo doo.
>> But yeah, them holding on to Piper. I think that's one of those gibble set things like >> Oh, the rotating room type >> Doyle a little bit. It was They're doing a little bit of that trick on that regard.
>> And here comes the family out of the cellar.
>> Oh, yeah.
>> And he just like, well, it's the way it is and everything's gone. Yeah.
>> Not the horses, though. They look they >> Oh, yeah.
you know, killing the horse and the Oscars that year was really >> it was all >> emblematic of the mid9s, I guess. I mean, you had the the Jerry Magcguire, the big kind of >> that was the only >> sentimental hit. Then you got the independent stuff and some other >> Jerry Magcguire was the only studio film that was nominated for best picture.
Larry Flint and you got Shine and some other stuff.
>> Dude, Shine is great. Jeffrey Rush and Shine. Jeffrey Rush won, I believe.
>> Oh, yeah. Yes.
>> Um, >> yes.
>> Even though Billy Bob should have won.
>> They did it.
Like, oh no, just when I thought I was out, they pulled me back in.
>> Yeah, the best cinematography was all epics.
>> Did English Patient win cinematography?
>> Oh, yeah. It's swept all over the place.
It's everywhere.
It's like Eva and Michael Collins and here and there and everywhere.
>> Eva >> art directors like Romeo and Juliet and the bird cage.
>> There it is. We're back, baby.
>> PSH going nuts.
>> Visual effects. It was Independence Day winning against Twister and Dragon Heart.
Um, I don't know. Like I don't know about dragon heart.
>> No, but you got to have you got to have three.
>> You got to get something else in there.
I don't know what else was >> like even this. Let's talk about the the end credits.
>> Yeah, just this >> look at this. It's a this is a helicopter shot.
>> Yeah.
>> Look at that production. That right there. This production design wins an Oscar for me.
So, they did a sequel and >> Oh, yeah.
>> They call it Twisters.
>> Yes.
>> Um, which is fine. I I don't mind that.
Um, it really >> a better sequel to a Yand Bond film than Speed 2: Cruise Control.
>> 100%.
>> Bad damn near tanked his career.
>> One of the not good uh boat movies. Um, so that one has a virtually similar like it's almost identical movie and >> I mean there they take the characters and they they mix them up like there's the bad guy team, there's the good guy team, they have the the love story be a slightly different cross path they've got >> but it's it's basically like I don't want to say beat it's not shot for shot and but it's kind of major beat for major beat, you know, >> kind of a refresh.
>> Yeah. Opening terror, midpoint terror, end of the movie terror. Um, >> and but godamn is it fun.
>> It's just it's maybe not as well written as this one.
>> Sure.
>> But it is, I think, equally fun. Okay.
>> And I'm glad that I saw that one in the cinema also. Um I don't know. It's just it's so I think it's worth worth the time. I I just had I went in thinking this is going to be not good. You know, I was expecting speed two >> and I don't know you you know it's just it it really blew me away. I was so surprised at how good it was.
>> Yeah, that one was It was a big hit domestically. Overseas, it really didn't get as much traction in the box office.
Still still made money, but >> the sequel >> Yeah. cost 155, got back 372. So, not not quite as much of a profit margin, but >> Right. But still decent.
>> Decent enough. I mean, >> the positive on the ledger sheet.
>> Yeah. Absolutely. I mean, it you know, you're in business to make money.
>> Yeah. Yeah. Yeah.
>> They they paid X, they got back double.
>> Yeah.
>> That's good business.
>> Mhm. Yeah.
>> At least from my >> Yeah. Yeah.
>> Simple mind.
>> Mhm.
>> This helicopter shot's still going, by the way.
>> Yeah. Yeah.
>> FYI, like >> if you if you got all the B-roll, you might as well use it for something.
>> That's what I'm saying. Like, what does nobody realize how epic these end credits are?
>> Oh, yeah. Lovely.
You got this one again, this wonderful Mark Mancina music going over it.
There's much soundtrack they had. Like we're just going to put the the score over the end credits.
>> This is one that's actually worthy of having a separate score and a soundtrack discs.
>> I I I don't know. I I think there might have been one. I don't know.
I mean, like Don Van Halen, they had uh Stevie Nixon, what Lindsay Buckham doing a track on the whole thing. And there was uh let me go back on the Wikipedia here.
Soundtracks.
Lisa Lobe on the thing. They got John Resnick from Google Dolls on the thing.
Shaniah Twain, who was really becoming a hot piece of business.
>> Oh, she had the number one selling album.
>> Did a uh I think an instrumental track on as well or Amos.
>> This sounds like >> this could be this guitar in there. It probably is. It was uh >> Respect the Wind. So yeah, it might might be closing out the film then.
Yeah. No, >> I just I heard that guitar lick and I was like that sounds like Eddie.
>> Yeah. Eddie very distinctive uh >> soundone tone. Yeah.
>> Yeah. There was a separate score album released.
>> I kind of figured there would be.
>> Yeah. Yeah. So >> yeah, Shaniah Twain had the biggest selling album I think of either 95 or 96.
>> Something like that. She was building up really hot >> number 90s into the 2000s. 2000. She exploded.
>> Yeah. This is definitely This is Eddie like hell.
>> Yeah, I thought so.
>> Yeah.
>> Kind of subdued for Eddie, but I like it. It's moody.
>> Yeah.
>> Moody Van Halen.
>> Yeah. Yeah. Just Oh, fact you lost them six years ago. Almost six years ago, we lost.
>> Yeah. It's been a minute.
>> Yeah. I mean, >> it's weird cuz he hadn't really Van Halen hadn't put out they've done tours with Ralph and everything which is >> you're a Sammy guy all day night.
>> Yes. I mean, it's not even close.
>> Yeah, >> Sammy's a 10.
>> Yeah.
>> The other the other idiots a one. Like >> he's his own breed of weird.
>> Look, they clapped it on here. Like >> Stevie and Lindsay >> Joe Diffy was a big country artist at the time.
>> Okay.
>> Um >> Shaniah with her rusted root >> husband John Mutang.
>> I think they were already married at this point.
>> Like that or >> Deep Purple obviously Oklahoma >> Mutang did a bunch of de leopard >> goooo dolls. Yeah.
>> Uh Edwin McCain big big at the time.
>> So yeah, this was this was a hot seller.
So, you know me, I'm a big Stevie fan. So, I like I had to get this track and it's a really damn good track between her and Lindsay.
>> Yep. DTS.
>> Yeah. Ha.
Yeah.
>> No doubt whatsoever why this was such a big hit. There was >> nice hour 50 runtime >> and you know it's a movie that makes you want to go back and watch it again in the cinema.
>> That experience with the sound system alone.
>> Yeah.
>> Oh yeah, I can see it. Feel I can feel it. I can hear it.
>> It was such a thing.
>> Oh. So yeah, I mean >> it's the first time that I really went, "Oh my god, this is a thing."
>> Yeah.
>> And it made me fall in love with the cinema all over again. And it kind of convinced me. This movie actually might have been the event that convinced me like I want to work >> in the cinema. Yeah.
>> I want to be in the cinema all the time.
>> Yeah.
>> Thank you guys.
>> Thanks for joining us guys. We'd love to hear what you thought about the film and all that type of stuff. And uh >> 30 years. [ __ ] >> Wants to cover the sequel. Be interested to >> I'm down. I'm down toain that maybe for next year.
>> Absolutely. All right. We'll see you next time.
>> Take care. Take care. Bye.
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