Speaker 1: Tip Deck Media.
Speaker 2: See the Party.
Speaker 3: Hello, and welcome to see you at the Potty Richter.
Speaker 3: My name is Chris Chapman, and joining me as always
Speaker 3: are my co hosts Aaron Frescus Hello, and Joseph beck Castro, Hello,
Speaker 3: QT Pies. And joining us once again this week is
Speaker 3: Erica Shasky Hello, and she is joining us to cover
Speaker 3: Arnold's nineteen ninety three satire.
Speaker 4: Vehicle fantasy Action Yeah, Hicle Car Truck Fair. Anyway, Last
Speaker 4: Action Hero came out in nineteen ninety three, and we're
Speaker 4: going to continue talking about it today.
Speaker 1: So Aaron talk, Okay, that's a good intro. Okay. So
Speaker 1: we were on them trying to find a director and
Speaker 1: then offering it to John McTiernan, and I read you
Speaker 1: guys a quote that mcchernan gave to The New York
Speaker 1: Times in nineteen ninety three saying basically that he passed
Speaker 1: on the film because the original script was quote wasn't
Speaker 1: very good. It wasn't challenging or fascinating, It didn't have
Speaker 1: a spark. And then we talked about Paul Verhovean and
Speaker 1: Arnold trying to find funding for a Crusade but it
Speaker 1: falling through because Rahoven's fucking crazy.
Speaker 3: Yeah right.
Speaker 1: Oh, I had one last thing I forgot to add
Speaker 1: about Crusade. Like as far as Crusade, so I mentioned
Speaker 1: that Schwarzenegger and Verhoven were talking to Kralco like Slash
Speaker 1: Mario Kassar about funding, but Cralco decided against it because
Speaker 1: they were just broke as fuck. Yeah. Well, according to
Speaker 1: that Fiasco book, I guess it was Mario Kassar and
Speaker 1: Carlco that originally owned the rights to the film, which
Speaker 1: was surprising to me because I found articles about Arnold
Speaker 1: still trying to get a movie made in like nineteen
Speaker 1: ninety nine, but Kralco went bankrupt in ninety five. So
Speaker 1: I just assumed that either Arnold, like either one of
Speaker 1: them like Arnold Verhoven, had always on the rights and
Speaker 1: they just brought it to Carolco to try to get
Speaker 1: funding for it.
Speaker 2: Yeah.
Speaker 1: Yeah, but no, apparently even though Kralco was literally maybe
Speaker 1: like maybe one box office bomb away from bankruptcy, it
Speaker 1: definitely didn't stop Mario Kassar from making a fifteen million
Speaker 1: dollar deal with Arnold A Star and Crusade. And it
Speaker 1: wasn't like some boring, like regular old deal and that
Speaker 1: it was a they agreed to a pay or play deal.
Speaker 1: You do we know what that is? No, No, okay,
Speaker 1: So basically Kralco agreed to pay Arnold fifteen million dollars
Speaker 1: regardless if the movie gets made or not. So the
Speaker 1: pay or play, which normally wouldn't be a big deal
Speaker 1: because it's pretty common, like a common contract clause in Hollywood,
Speaker 1: especially with dealing with like a list talent, which Arnold
Speaker 1: was at the time. But Krolco was basically like hanging
Speaker 1: on a thread at this point. So like they were
Speaker 1: so bad with money that even though they co produced
Speaker 1: Terminator two in ninety one, which made half a billion dollars,
Speaker 1: these motherfuckers still somehow managed to lose ninety one million
Speaker 1: dollars that same year.
Speaker 5: Christ Yeah, I mean how much of that.
Speaker 1: Is well, what you got out of it completely?
Speaker 5: Yeah, yeah, that was just more of a question of
Speaker 5: how much of that was Hollywood accounting, you know, Oh,
Speaker 5: because in theory, no film ever makes a profit.
Speaker 1: Yep, it was.
Speaker 3: There their studio.
Speaker 1: That's because of the studio. Yeah, yeah, So it's.
Speaker 3: It's movies can lose money, and it's all like it's
Speaker 3: good for the studio, But if the studio is losing money,
Speaker 3: that's bad.
Speaker 1: Yeah. So they were getting investigated by the IRS at
Speaker 1: this time too, and it I'm not sure what like
Speaker 1: what happened with it, but they owed money, and Mario
Speaker 1: Cassart is just really bad with money. And it's definitely
Speaker 1: Mario Kasar because the Andrew the Vegeter was out by
Speaker 1: this time, Andrew Vaginer was already like he sold his
Speaker 1: I think before termat or two. Actually I believe really yeah,
Speaker 1: I mean that wasn't the worst decision because they still
Speaker 1: were still ninety one million dollars. And then I looked
Speaker 1: up the other movies that they did because I was like, okay,
Speaker 1: well maybe they had like a huge bomb, but no,
Speaker 1: it was uh the Punisher, like the Adulph lungerin one.
Speaker 1: Sure I thought I wrote them down, but apparently I didn't.
Speaker 1: And there was like there was like four others, but uh.
Speaker 5: Was that one based on the comic? Yes, yeah, okay,
Speaker 5: I haven't seen that one.
Speaker 1: I remember it being on all the time, but I don't.
Speaker 1: You don't remember anything from it anyway.
Speaker 5: Remember when like how like book movies are just absolute
Speaker 5: dog shit and then they became like kind of good
Speaker 5: in like the late nineties, you know, Blade and X
Speaker 5: Men and early Odds, and then they kind of went
Speaker 5: back to like not absolute dog shit, but just like catch.
Speaker 3: But we started making so many of them that it's
Speaker 3: hard not to make like half of them dog shit.
Speaker 5: Yeah, like Daredevil, Oh my god, what a shit show
Speaker 5: that one. It's funny. I was talking to somebody in
Speaker 5: their mid twenties. He was like, yeah, I remember when
Speaker 5: comic book movies were good, like when I was like
Speaker 5: growing up, they were all like good. I was like, God,
Speaker 5: damn fucking children. Christ. Okay, Yeah, anyways, I'm sorry to
Speaker 5: sidetrack thing.
Speaker 1: Okay, so I just looked.
Speaker 2: Sorry.
Speaker 1: The nineteen ninety one they did La Story, which I
Speaker 1: think was Steve Martin, which I remember looking up. It
Speaker 1: didn't lose money, probably did, but the Doors which didn't.
Speaker 1: Again didn't like lose money. The Punisher and then the
Speaker 1: rest of Terminator too, that's true, but it was definitely.
Speaker 1: Marcus Arnim was something about like he's just it's like
Speaker 1: a lavish lifestyle thing. And then they would make dumb
Speaker 1: deals with like their stars, like this is the second
Speaker 1: time like that. They made a deal with Schwarzenegger before
Speaker 1: what was it? What was it with the Terminator three?
Speaker 3: Like they didn't actually have the rights? Yeah, and they
Speaker 3: signed like they.
Speaker 1: Oh no, no, they no, they got funding from different places,
Speaker 1: like two different studios before they signed Schwarzenegger, but they
Speaker 1: already guarantee that he would do it. Yeah. Yeah, So so.
Speaker 5: Has there been talk about cocaine with this guy? Because
Speaker 5: that's kind of what all you're telling me of, just
Speaker 5: like these bad deals, super hyped up and fucking just
Speaker 5: doing a bunch of But let's fucking do it, man,
Speaker 5: Let's just fucking do it.
Speaker 3: And there's a between the lines joke here that I'm trying.
Speaker 5: To come up with, uh snort, between the lines.
Speaker 3: Yeah, I don't know, but yeah, I'm just saying there's
Speaker 3: cocaine sprinkled all throughout the story, but if it's not explicitly.
Speaker 1: So yeah, okay. Yeah. So basically, once Mario Kassar realized
Speaker 1: that Crusade could potentially cost more than the original proposed budget,
Speaker 1: he backed out of that deal. And I'm assuming that
Speaker 1: Arnold just I think he just really wanted to make
Speaker 1: the movie, so he agreed to the film rights in
Speaker 1: lieu of money, which I mean, sure, yeah, I go, well,
Speaker 1: worked out from Mario Caasar because it never got made. Yeah,
Speaker 1: so the best part. The best part is that Caralco
Speaker 1: also had another movie in development at the time, but
Speaker 1: after realizing that Crusade would be the more expensive of
Speaker 1: the two films, Mario Cassar decided to back out of
Speaker 1: that deal and then make Cutthroat Island instead, which Rick,
Speaker 1: can I watch?
Speaker 2: It's whatever, I don't know, It's really not that bad.
Speaker 2: It's like Romancing the Stonebak Pirates.
Speaker 1: He ended up selling that, like right before they they
Speaker 1: went bankrupt. He ended up selling that. And he also
Speaker 1: had the rights to show Girl said he sold. So yeah,
Speaker 1: anyway to get back on track. As far as finding
Speaker 1: the director for a Last Section Hero, so six months
Speaker 1: after John mcteernan said no because that Zach penn Adam
Speaker 1: left draft of the script didn't like light his balls
Speaker 1: on fire, didn't have a spark or whatever it was.
Speaker 1: He ended up telling the fucking New York Times. But yeah, so,
Speaker 1: six months after turning down the director job, Columbia sent
Speaker 1: mc tern in the newly rewritten Shane Black version of
Speaker 1: the script, which was now titled Last Action Hero, and
Speaker 1: apparently it had a spark that was missing from that
Speaker 1: pen Left version because he loved it, telling the New
Speaker 1: York Times in nineteen ninety three, quote, what drew me
Speaker 1: is the whack of sense of humor. Shane Black and
Speaker 1: David are not brought. Shane had done enough service in
Speaker 1: the salt minds of action movies to ridicule them in
Speaker 1: an acid way. That script had so much venom that
Speaker 1: I loved it, unquote and quick question, Chris. We didn't
Speaker 1: end up finding the Shane Black version of the script, not.
Speaker 3: The one well, yeah, not the one that's just Shane Black.
Speaker 3: We found the one that had been touched up by
Speaker 3: William Goldman.
Speaker 1: Yeah, which ended up a little loose. You said, seemed
Speaker 1: like the shooting script, right.
Speaker 3: Essentially, it seemed almost indistinguishable for the movie for from
Speaker 3: what I've read of it, like aside from maybe a
Speaker 3: few words here and there. Yeah, it's pretty damn close
Speaker 3: to the movie.
Speaker 1: Okay. I was just curious if it was like that
Speaker 1: much better than the pen Left one, But.
Speaker 3: I think I think the movie is that much better
Speaker 3: than the pen Left script.
Speaker 1: So yeah, kind of uh so. John my Ternan signs
Speaker 1: on as director in July nineteen ninety two, and According
Speaker 1: to McTiernan, Arnold was about ready to sign on to
Speaker 1: Do Tooth Fairy when mcchernan called him up and told
Speaker 1: him not to commit until he read the rewritten Last
Speaker 1: Action Hero script because it's it's good. It's seriously good.
Speaker 1: You know. I'm sure the whole time during that called mcturney,
Speaker 1: which is going on and on about that's got some spark.
Speaker 1: You gotta read it. It's got spark. Don't sit down while
Speaker 1: you're reading it, Arnold. It's got too much spark. It
Speaker 1: could blow your balls out of your butthole. Okay, that's
Speaker 1: not a direct quote, but I'm assuming that's it isn't talk. Hey,
Speaker 1: come on, johnmy.
Speaker 3: NaN's more, I said, got deeper and deeper.
Speaker 1: John's more like it's gonna blow your balls out of
Speaker 1: your buttle, like while smoking a cigarette.
Speaker 5: Like it's like fucking Batman.
Speaker 3: I feel like you're just doing Bruce Willis from Dieheard.
Speaker 5: Gonna blow your balls out of your buttle.
Speaker 1: Okay. So, uh, Arnold reads it, and while he agrees
Speaker 1: that script was good, he still felt there were a
Speaker 1: few elements of it that needed work. Before he agreed
Speaker 1: to sign on and for Columbia the sooner he signed on,
Speaker 1: the better because this was this was all like taking
Speaker 1: place in July of ninety two, and the studio needed
Speaker 1: to know whether or not Arnold was on board by
Speaker 1: at least August if they wanted the film to be
Speaker 1: ready for summer nineteen ninety three release. So they were
Speaker 1: basically like, tell us what you want, will make it happen. Yeah. So,
Speaker 1: both Arnold and mccherney agreed that the third acts still
Speaker 1: need a little work, But Arnold's main issue was that
Speaker 1: the Shane the Black David script. The main issue with
Speaker 1: it was that the relationship between Danny and Jack Slater
Speaker 1: was kind of yeah, like there wasn't a whole lot
Speaker 1: of one.
Speaker 3: I don't know, well, I don't know. I don't know
Speaker 3: when the Shane Black only script, I don't think.
Speaker 1: It changed very much like that that the relationship between
Speaker 1: the dott Yeah then, but.
Speaker 3: Yeah, and the Penn Left script, Like the Arnold character
Speaker 3: doesn't have enough personality to really have a relationship with Danny.
Speaker 1: Okay, Yeah, I think they gave him a little bit
Speaker 1: more personality in the in the Shane Black script, but
Speaker 1: I don't know if they like did anything with their
Speaker 1: relationship I don't know, we got it. I'll try to
Speaker 1: find it. Yeah, but uh yeah, with Arnold ends up
Speaker 1: telling The New York Times about the script, about the
Speaker 1: uh the Shane Black script quote. They had created rhythm
Speaker 1: and a pace and staggering action scenes. What I felt
Speaker 1: was missing was the bond between this kid and his hero. Thankfully,
Speaker 1: Arnold had a solution to fix all these problems. And
Speaker 1: not only that, but he also told Columbia that he
Speaker 1: was one hundred percent on board if they fulfilled his request.
Speaker 1: All they had to do was bring him the head
Speaker 1: of Robin Hood by the next four moon. Yeah. I
Speaker 1: don't know. Columbia have told him like, Robin Hood's not
Speaker 1: real man, which just like shock Arnold, who was like, wait,
Speaker 1: what about the Fox one? You know, their Disney movie?
Speaker 1: That's not real. Columbia didn't want to set him, so
Speaker 1: they told Ronald no, no, that one's real. But he died
Speaker 1: back in the fourteenth century. Yeah, so Arnold gave it
Speaker 1: after they shot the movie. Yeah, romantics. So Arnold gave
Speaker 1: like a dramatic sigh, like a disciplined like shuffle of
Speaker 1: his feet. He's like, huh, all right, well, I guess
Speaker 1: you know then he told him like he'd do the
Speaker 1: movie if they hired William Goldman to do the rewrite
Speaker 1: of the script in order to add like some emotional depth. Yeah,
Speaker 1: stupid shit like that is why this takes me so long.
Speaker 1: I was gonna ask well Worthy, right, I'm sure who
Speaker 1: I'm sure? Uh like to anyone listening, by the way,
Speaker 1: that the only thing that Arnold actually requested was the
Speaker 1: rewrite rewrite by William Goldman. He did not ask for
Speaker 1: the head of Robin Hood, to make that clear, because
Speaker 1: you can't ask for something that you already own, you know.
Speaker 1: He's like, I don't need the head, I want this heart.
Speaker 2: I mean, what do you think that skull is? Actually?
Speaker 1: Yeah, Okay, Arnold tells Columbia that he's in if they
Speaker 1: get William Goldman, who had done an uncredited script polish
Speaker 1: on the Twins script a few years prior, which I'm
Speaker 1: sure that I totally mentioned when we cover Twins, because
Speaker 1: there's no way I'd missed that during my ten minutes
Speaker 1: of fucking research that was doing anyway. So apparently Goldman
Speaker 1: was like one of the top script doctors for Hollywood. Yeah,
Speaker 1: because in addition to Twins, Oh really about him?
Speaker 3: No, no, no, William Goldman has a very famous book on
Speaker 3: writing scripts. Yeah, I'm writing screenplays.
Speaker 1: Yeah, yeah, I know. But yeah. So in addition to Twins,
Speaker 1: he also did uncredited rewrites for a few good Men,
Speaker 1: Indecent Proposal, and Dolores Claiborne, which I think is based
Speaker 1: on a Stephen King book.
Speaker 5: That is correct.
Speaker 1: Okay, Yeah, so there was also a rumor that William
Speaker 1: Goldman supposedly did rewrites on Goodwill Hunting as well, but
Speaker 1: he denied that being true. And I only mentioned that
Speaker 1: because when he was asked about the rumor that he
Speaker 1: worked on it, he pointed out that it's not your
Speaker 1: fault scene was like basically using that as proof of that,
Speaker 1: Like he's like, I write that, Like come on, like,
Speaker 1: there's no way already do that write that bullshit? Yeah, well,
Speaker 1: he basically said, he's like, if you've been a therapy therapy,
Speaker 1: if you've been a therapy before, you know that that's
Speaker 1: not the way stuff works. Yeah, basically is what he said.
Speaker 1: But about therapy.
Speaker 3: To be fair, that scene was like not a real
Speaker 3: therapy session like they had.
Speaker 1: That's true, that's true. That would be your counter argument
Speaker 1: when he gives that excuse it wasn't.
Speaker 3: Robin Williams wasn't doing therapy exactly. He wasn't getting his friend,
Speaker 3: his like adopted son.
Speaker 1: That he was off the He was off the clock
Speaker 1: at that point, so that would technically be kind of therapy.
Speaker 1: The session hadn't started.
Speaker 2: I called my therapist this week. Uh I basically I
Speaker 2: told her her job as thought prostitution, which luckily she
Speaker 2: thought that was funny.
Speaker 1: What I don't even know what that means.
Speaker 5: I mean, it's kind of a friend for hire.
Speaker 2: So yes, that's what her job literally is. And luckily
Speaker 2: she thought it was funny, and she was like, I
Speaker 2: should change the name, like the description of my cards
Speaker 2: to thought worker. And I started laughing so hard.
Speaker 1: But thought, yeah, yeah exactly.
Speaker 2: It was like I should have held my tongue on
Speaker 2: that one.
Speaker 1: This is quickly becoming a scientologist podcast. We're just joking around.
Speaker 5: I watched are Laura and I watched Goodwill Hunting recently
Speaker 5: to be very a little drunk. But I don't know,
Speaker 5: watching it, like and knowing how old fucking Aflac and
Speaker 5: Mad Demon were, I was like, they're they're too young
Speaker 5: to write something this good.
Speaker 1: I don't know that's exactly that was in his or not.
Speaker 1: It was like some big statement that was like he
Speaker 1: got asked at it like a like a he was
Speaker 1: doing a speaking engagement. I think that was one of
Speaker 1: the questions. But he that was one of the reasons
Speaker 1: that Daddy said. He's like, people are always saying that
Speaker 1: these there's no way these two wrote this. Yeah they
Speaker 1: there was someone else. And he said that, sorry, couldn't
Speaker 1: finish your finish what you're saying too.
Speaker 5: Oh No, I was just gonna say, uh, I'm not
Speaker 5: saying those two couldn't write it. I'm just saying it's
Speaker 5: hard for me to imagine a bunch of twenty three
Speaker 5: year olds writing it. It doesn't matter who the fuck
Speaker 5: they are, you know, right.
Speaker 1: That makes sure that makes more sense. Uh. He said
Speaker 1: that people are yeah, like they're there's pretty actors anyway,
Speaker 1: but uh he said that same did.
Speaker 3: I'm just saying if he if he got paid, if
Speaker 3: he got paid to write that movie, he also probably
Speaker 3: got paid a lot of money to keep his fucking
Speaker 3: mouth shut.
Speaker 6: So the Oscar, Yeah, he said that they Rob Reiner
Speaker 6: gave them like they showed the script to Rob Reiner
Speaker 6: and he there used to be which I read and
Speaker 6: I think I read in a cracked article, but there
Speaker 6: used to be a bunch of.
Speaker 1: Like stuff about either the CIA or the FBI, like
Speaker 1: them trying to recruit uh, Matt Damon's character, which I
Speaker 1: who is I yeah, good Will, I think it's his name,
Speaker 1: and they were trying to recruit him, and Rob Renner
Speaker 1: told him to cut that, and they were still like
Speaker 1: hesitant about it, so he had them go talk to
Speaker 1: William Goldman and he was also like, yeah, you need
Speaker 1: to get rid of that. But otherwise, like focus on
Speaker 1: like the relationship stuff, like the you know, the William
Speaker 1: Goldman stuff. That's what he said on the William Goldman.
Speaker 2: Of it all.
Speaker 5: I mean, as we've seen, like I think the joke
Speaker 5: back in the day was like I think even a
Speaker 5: family guy did this too, where it was like, you know,
Speaker 5: one of their ways scenes like imagin it. But those
Speaker 5: two are writ in this script together, and you know,
Speaker 5: Matt Damon's like I got to finish and afflex like
Speaker 5: hitting a bogs like right cool, you know, like Affleck
Speaker 5: didn't do anything. But it turns out it's kind of
Speaker 5: the other way, like we've seen from fucking Affleck that
Speaker 5: guy can make a fucking movie like he absolutely argo
Speaker 5: it didn't he win. I know Ario won Best Picture,
Speaker 5: but he won Best Director for that, And like, uh,
Speaker 5: was it kill Baby Kills something like that? Yes, I
Speaker 5: was getting that and kiss Kiss Bang Bang.
Speaker 3: Kicks Like sounds like what fucking John Waters movie or whatever?
Speaker 3: Uh faster Pussycat Killed something like that?
Speaker 1: Yeah?
Speaker 5: Yeah, like by the fucking the town, Like, yeah, the
Speaker 5: boy knows how to fucking make movies. Like I think
Speaker 5: we just kind of underestimated and associal in the day.
Speaker 3: Come on, I eat, it was.
Speaker 5: That Gus fans ant. No, I don't think it was
Speaker 5: a good will hunting but I can't.
Speaker 1: I don't know who it was, but it wasn't, I guess.
Speaker 5: To bring it back to my original point, which already mentioned,
Speaker 5: I am not saying that those two could not rate
Speaker 5: that movie. I'm just very skeptical that too twenty three
Speaker 5: year olds could write that sort of thing.
Speaker 1: Yeah, yeah, which, yeah, it makes sense just because like
Speaker 1: we're getting old enough to we're like, there's no way.
Speaker 3: You know, you know, fucking dumb. I wasn't the time.
Speaker 5: Wait, they probably are talking about Sure, I'm talking about
Speaker 5: jerking off all the time. Okay, whose music is better
Speaker 5: music talking about pitties? Wait? Shit, this is like the
Speaker 5: shit out right now? Okay, well scratch all that.
Speaker 3: Yeah, well there's only what one reference to using a
Speaker 3: kesher's glove flat flat?
Speaker 1: Yeah, come on. Yeah. So Goldman had a prety cell
Speaker 1: list of credited work as well. He wrote nineteen sixty
Speaker 1: nine's Butch Cassidy and the Sundance Kid, which didn't watch
Speaker 1: as well as this nineteen seventy six movie I guess,
Speaker 1: I don't know. All the President's Men was one of
Speaker 1: those called the doc docu dramas. It's a bio bio
Speaker 1: historical drama, historical drama. Yeah, both of which won the
Speaker 1: Oscar won him and Oscar Or, which he won an
Speaker 1: Oscar for both. I haven't seen Butch Cassidy, but I
Speaker 1: remember watching All the President's Men in high school and
Speaker 1: being bored. But I was also pretty dumb, and it
Speaker 1: was the nineties, and a the movie didn't start Jim Carrey,
Speaker 1: so like, like, pay attention to it.
Speaker 5: Come on, it's all the President's Men. It's not all
Speaker 5: the presidents boobs, you know, are all the President's chicks?
Speaker 1: Yeah? That was also like I'm like you didn't have
Speaker 1: a boobs and the Robert Redford Dustin Hoffman what okay anyway.
Speaker 3: I mean deep throat cut your attention.
Speaker 1: But aside from that, yeah, things just got interesting once.
Speaker 5: Yeah. Where's Linda Lovelace.
Speaker 3: That's a very old Yeah, that's a reference older than you.
Speaker 1: Yeah, but okay. So Goldman also wrote two hit movies
Speaker 1: about about a decade later, one of which was adapted
Speaker 1: from his own novel, and then the other was based
Speaker 1: on a Stephen King book, and those were The Princess
Speaker 1: Bride in nineteen eighty seven, followed by Misery in nineteen
Speaker 1: ninety crep. I just realized I should have probably should
Speaker 1: have looked up which ones was is Stephen King book?
Speaker 1: But uh well, having watched two, I would say the
Speaker 1: Prince Spread, Yeah, yeah for sure, but yeah.
Speaker 2: So.
Speaker 1: Goldman's other credits include Chaplain in nineteen ninety two, The
Speaker 1: Ghost in the Darkness, The Ghost and the Darkness in
Speaker 1: nineteen ninety six, and then two more Stephen like well,
Speaker 1: sorry he did other stuff, but there was a two
Speaker 1: more Stephen King stories in there, nineteen ninety nine's Hearts
Speaker 1: and Atlantis and then two thousand and three Streamcatcher, which
Speaker 1: with the Lawrence Ka's name. I looked up. Yeah, we
Speaker 1: were talking about that. Okay. So Columbia immediately reaches out
Speaker 1: to William Goldman, who initially turns them down due to
Speaker 1: finding the script to bloody. But they must have kept
Speaker 1: like counting him or something, because a few days later
Speaker 1: he agreed to a conference call that would include Arnold,
Speaker 1: Arnold's agent, and then Columbia's top three executives. I'm gonna
Speaker 1: assume that out of like the three of them. Sorry,
Speaker 1: I'm gonna assume that out of all those people, like
Speaker 1: the lot of them, I guess would be the way
Speaker 1: to go about that. It was possibly it was probably
Speaker 1: actually Arnold who did the most, like most of the
Speaker 1: sweet talking in this case, I guess, unless there's like
Speaker 1: a charming as hell like studio exact like he was
Speaker 1: just But no, they I don't know. Maybe they got
Speaker 1: to be able to get that effort.
Speaker 3: I don't know. Maybe if he worked with them a
Speaker 3: lot or something he knew one of them. I don't know.
Speaker 1: Well, he had a relationship with Arnold because he uh
Speaker 1: like they developed like at least a working relationship, although
Speaker 1: also doing a little bit of that Persuadon was the
Speaker 1: money because Columbia offered Goldman seven hundred and fifty thousand
Speaker 1: dollars for four weeks of work Jesus Christ, which worked
Speaker 1: out to about one hundred and eighty seven thousand dollars
Speaker 1: a week, or about twenty seven thousand dollars a day.
Speaker 1: In return, I did not figure that out to write
Speaker 1: Leo the fart, No, that that was. That was he
Speaker 1: had to he had to make that a more emotional thing, like.
Speaker 3: To give him, to make that, yeah, more believable a character.
Speaker 1: He's like, they smelt it, but they couldnot deal with
Speaker 1: the fact that someone else anyway. In return, Goldman was
Speaker 1: supposed to make the script a little more family friendly,
Speaker 1: like a palatable or whatever, like basically to make it
Speaker 1: more appealing to a broader audience. Sure, a little more
Speaker 1: Princess Bride, a little less misery basically because Shane Black
Speaker 1: was definitely leaning like on the art Like, Shane Black
Speaker 1: admitted during an interview that they were constantly trying to
Speaker 1: see how far they could push the PG thirteen rating. Yeah,
Speaker 1: so I'm assuming they just wanted William Goldman to like
Speaker 1: reridle it back into like more PG thirteen anyway, and
Speaker 1: Goldman definitely made some pretty significant changes, including changing Danny's
Speaker 1: age from fifteen to eleven, which, according to The New
Speaker 1: York Times, was at Arnold's request due to the fact
Speaker 1: that he had quote played opposite a tough teenager in
Speaker 1: Terminator two and didn't want to do it again unquote,
Speaker 1: And wasn't John supposed to be like way younger than
Speaker 1: Edward for long actually was in Terminator.
Speaker 3: Yeah, didn't we talk about it. He was supposed to
Speaker 3: be like ten.
Speaker 1: Yeah, yeah, he's like I have written down in the script.
Speaker 1: He's a dirt bike writing toddler.
Speaker 5: So no, he was ten because the movie takes place
Speaker 5: in nineteen eighty four and he's born in eighty four.
Speaker 1: Okay, yeah, so that's why they changed the age, which
Speaker 1: there's a bunch of changes with I'm assuming with that too.
Speaker 1: Chris like the way the character acts too.
Speaker 3: I didn't feel like I had a good idea of
Speaker 3: what Danny's age was in the in the original script.
Speaker 1: From what Zach Pinnadam left and then Shane like, I
Speaker 1: thought it was seventeen, but it's anywhere between fifteen and seventeen.
Speaker 1: Apparently it's fifteen, but yeah, I don't know get he
Speaker 1: was older. But you know, apparently this also made the
Speaker 1: Danny character more vulnerable, because kids have no sense of
Speaker 1: self preservation whatsoever. Like seriously, I once saw this kid
Speaker 1: running as like a busy parking lot without even bothering
Speaker 1: to look around, because he was trying to hide from
Speaker 1: his dad, like playing a joke on his dad, trying
Speaker 1: to hide from him. Like I saw his dad like
Speaker 1: running around like yelling his name. He's like Jason, Jason,
Speaker 1: and the kid would kept like moving around the car,
Speaker 1: like just laughing. I was like, oh, this is good,
Speaker 1: but that kid's gonna be hit by a car. And
Speaker 1: his dad was freaking out Jason Jason, and then he
Speaker 1: like running around the cry as I starts laughing, He's like,
Speaker 1: oh my god. Oh he was good. Anyway, Sorry up
Speaker 1: there with Val Kilmer, but yeah, I guess he also
Speaker 1: made the Jack Slater character more vulnerable, which makes me
Speaker 1: curious how much of that ended up making it into
Speaker 1: the final script. Yeah. Anyway, So, Golden's other changes included
Speaker 1: promoting Benedict from secondary villain to main villain, ye, as
Speaker 1: well as, according to John mc ternan, getting rid of
Speaker 1: one hundred and fifty toilet jokes, which I think means
Speaker 1: fart jokes, and I'm not sure if that's a good
Speaker 1: thing or a bad thing, Like I don't know, like
Speaker 1: those the Holy old the fart sequence just makes me laugh.
Speaker 1: So yeah, I'm on, I'm on change black side. So far,
Speaker 1: that's really funny. Yeah, well it was adventary, was exaggeraing,
Speaker 1: But yeah. The other couple of big changes that seems
Speaker 1: like they would have shifted the tone in the movie
Speaker 1: a bit. I guess, well Goldman got rid of some
Speaker 1: of the more supernatural elements of the movie, or rather
Speaker 1: exercise them. Yeah, yeah, okay, yeah, okay. The first one
Speaker 1: being changing the character of Nick the projectionist into a
Speaker 1: sweet old guy who probably seems like he's Danny's only friend.
Speaker 1: I think kind of seems like it, which is definitely
Speaker 1: a big change from both the pen Left and the
Speaker 1: Black David versions of the script. What was Nick the
Speaker 1: character like in the pen Left draft?
Speaker 3: So in the zech Ben version, he's basically the devil. Oh, like,
Speaker 3: he's the bad guy, like you don't it starts out
Speaker 3: and he's just a projectionist. He's like Danny's buddy that
Speaker 3: lets him see movies early, which is fine, but the
Speaker 3: I think the theater is literally called the Asmodium. Yeah,
Speaker 3: I think it's called the Asmodium. With that, I think,
Speaker 3: I think Asmodius is like a I was supposed to
Speaker 3: look this Upsmodius is like a devil thing. It's like
Speaker 3: an evil thing, right, yeah, yeah, of course, yeah, thank you, Joe.
Speaker 1: You know what it is. If you remember what it is,
Speaker 1: let me know. Ye, a figure of.
Speaker 3: Jewish legend and demonology, the king of demons anyway, Yeah.
Speaker 2: Hang on, that makes sense because Fantasia smy.
Speaker 5: Yeah, Mickey Mouse, so sorry, I didn't mean to insult
Speaker 5: Disney in front of you.
Speaker 1: So he's so he's just like it's like a at
Speaker 1: least a demon.
Speaker 3: At first, he's just an old man kind of he's
Speaker 3: like Nick, just a little less goofy basically like a
Speaker 3: not exactly, but like so. And then there's this weird
Speaker 3: moment where he gives Danny a gun before he.
Speaker 1: Goes into the movie before he goes into the movie.
Speaker 3: Gives them like a magic gun and tells him that
Speaker 3: like it's after he gets mugged, right, So he's all
Speaker 3: upset about that, and he's talking to him about how
Speaker 3: there's no justice in the real world, and so he
Speaker 3: gives him this giant gun and tells him and just says,
Speaker 3: promise me that when you encounter a moment when justice
Speaker 3: is not being done, that you'll use it. So he's
Speaker 3: basically making him promise to murder somebody. And then he
Speaker 3: jumps into the movie. You don't know who the bad
Speaker 3: guy is. He's just this weird, random villain that has
Speaker 3: bandages all over his face. And then there's a reveal
Speaker 3: at the end of the movie when he takes off
Speaker 3: the bandages that it's the projectionist.
Speaker 1: Oh that's right, because they don't come back.
Speaker 3: No, they don't come back to the entire climax of
Speaker 3: the movie is in the movie. Yeah, that's right, okay,
Speaker 3: and they, like I told you last time, at the
Speaker 3: end of the movie, they end up in the movie
Speaker 3: world back at an old movie theater and like somewhere
Speaker 3: in that scene it like transitioned into the asmodium, like
Speaker 3: the same movie theater that he was originally at. They
Speaker 3: have a final showdown there the projectionist tries to is
Speaker 3: like yelling at him to kill him, basically to kill
Speaker 3: to shoot him.
Speaker 1: The projection Oh yeah, okay.
Speaker 3: Like because he's he's the bad guy. Yeah, and Danny
Speaker 3: has to like figure out that violence is not the answer.
Speaker 3: And then like the last shots of the movie, like
Speaker 3: the movie movie are like the are like the theater
Speaker 3: going up in flames on the movie screen, and the
Speaker 3: projectionist like falls into the fire.
Speaker 1: But he's Satan, so he likes that.
Speaker 5: He's probably cool.
Speaker 1: He's like crowdst like like like home. Yeah right, but.
Speaker 3: Yeah, he's, like I said, basically the devil.
Speaker 2: That makes sense because that whole character in to me
Speaker 2: gives off very like Catholic preacher vibes.
Speaker 1: He gives off a Grandpa monster vibe to me.
Speaker 2: He's very like I don't know, he.
Speaker 5: Was Catholic rudy because he's talking to young impressionable boys.
Speaker 2: Parents not supervised by his parents, with no other like
Speaker 2: living soul around the theater? Is that Keith's Church?
Speaker 3: Like true?
Speaker 1: I mean yeah, all right, yeah, this movie's sick. That's right.
Speaker 5: The Catholic Church should never live in that ship down.
Speaker 1: Okay, So I actually have a quote from David or
Speaker 1: Not that Nick the Projectionist was the villain in the
Speaker 1: original script, but they took it even further, saying, quote
Speaker 1: in Zach and Adams script, the villain within the movie
Speaker 1: turns out to be the projectionist of the theater. We
Speaker 1: extended that and made the projectionist the devil, because who's
Speaker 1: better sold to steal than the young kids who sneak
Speaker 1: in R rated movies and liver for violence. Yeah those kids. Yeah,
Speaker 1: I don't know, stealing from stealing from the hard working people.
Speaker 1: Come on anyway, Okay, so tell me if this is
Speaker 1: the end of the actual like movie, But he continues
Speaker 1: by saying in the end or in our ending. Nick
Speaker 1: tries to go to the kid into shooting him, but
Speaker 1: Jack talks him out of it. Then Nick the Devil says,
Speaker 1: what are you gonna do? Kid? Your Jack is dying.
Speaker 1: You're not gonna help him. The kid puts down Jack's
Speaker 1: gun and says, Nick, when I was younger and my
Speaker 1: dad was around, we used to play cowboys and Indians together.
Speaker 1: All I ever really needed was this, And then he
Speaker 1: clicks his fingers in a fake gun and he sort
Speaker 1: of looks at it, and there's a pause. The kid
Speaker 1: aims his finger at Nick and says the word bang,
Speaker 1: and a thick hole blows through him. He goes bang
Speaker 1: another hole and then he goes the bunch of holes.
Speaker 1: Not to sound really corny, but he essentially kills him
Speaker 1: with his imagination, and we thought, God, that's good.
Speaker 5: That's kind of what happens in it. I'm Stephen King.
Speaker 5: Yeah so, uh, I.
Speaker 3: Think it works a little bit better.
Speaker 5: And yeah, yeah, well the book, Oh the fucking dude.
Speaker 1: No they nam in the movie.
Speaker 7: Yeah, God Jesus, I mean I move some way, you
Speaker 7: fat bitch, like we were just a bully.
Speaker 5: I'm just a fucking being from the Elder realms.
Speaker 1: The Black Kids, you son, you fucking racist? Yeah, I like.
Speaker 2: So.
Speaker 1: By the way, the more that I read about the
Speaker 1: way that all the writers talk about their own scripts,
Speaker 1: the more I realized just had like sweet your own
Speaker 1: farts smell, which is just which is an observation. I
Speaker 1: think that Shane Black would probably appreciate. He's like for jokes.
Speaker 5: Yep, I mean, should I listen to this podcast?
Speaker 3: And by the way, sorry, you asked me if that
Speaker 3: was what happened in the original script. Yes, yes, yes, no,
Speaker 3: there was a lot less talking. It was just like
Speaker 3: him like screaming at him.
Speaker 5: Like do it, do it?
Speaker 3: Shoot me?
Speaker 2: Come on? Do it?
Speaker 1: Did he do it?
Speaker 3: Just no, you didn't do the finger gun thing. You
Speaker 3: didn't like talk to him at all. He just like
Speaker 3: decided not to shoot him.
Speaker 1: And then they they come out boring. Yeah, okay, well
Speaker 1: we gotta find boring and subtle. Yeah, it's not glorious like,
Speaker 1: so start using his wieners like.
Speaker 5: It's definitely the sound of guns.
Speaker 1: Just like bam uh. Anyway, okay, I want to set
Speaker 1: up the final Goldman change I have by watching Let's
Speaker 1: watch a quick deleted scene for the movie. This takes
Speaker 1: place after Jack, Slater and Danny arrive in the real
Speaker 1: world and is an alternate take of the scene when
Speaker 1: Danny starts complaining about like that they've been searching for
Speaker 1: Benedict all day before spotting him coming out of the
Speaker 1: movie theater like, which ends up leading to the the
Speaker 1: sequence when Slater's running across the cabs in the rain
Speaker 1: and then Arnold giving like the rubber baby buggy bumpers. Anyway,
Speaker 1: go ahead, hey guys, Aaron, here just a quick heads
Speaker 1: up there. We're not going to play the clip, mostly
Speaker 1: because the sound quality for it was so bad that
Speaker 1: we had to turn the subtitles on when we were
Speaker 1: watching it. Basically, what it is is It's a three
Speaker 1: minute alternate or extended sequence of the scene I just
Speaker 1: described that includes a pretty somber conversation between Jack Slater
Speaker 1: and Danny about Danny's dad, who we end up finding
Speaker 1: out died from cancer, and then Jack explaining that his
Speaker 1: dad was murdered. If you want to check out the
Speaker 1: scene for yourself, you can find the YouTube link in
Speaker 1: the episode's description. The video includes all the movies deleted scenes,
Speaker 1: but you can find this particular scene about two minutes in. Okay,
Speaker 1: now back to the episode.
Speaker 3: Okay, I don't understand what I was supposed to be
Speaker 3: looking for.
Speaker 1: Yeah, just the fact that I'd never thought about it before. Basically,
Speaker 1: I don't think the whole damn thing was the worst deletion.
Speaker 3: I think I was not thinking about it because in
Speaker 3: that Zach pennscript it's in there a lot. Yes, I
Speaker 3: know that, like that's the whole point of that. That's
Speaker 3: like Danny's whole arc is in terms with his dad's death.
Speaker 1: I think knowing that does maybe help as far as
Speaker 1: like the connection between Dak Dak and Janny, Jack and
Speaker 1: Danny in that they're both kind of like pretty much
Speaker 1: like the replacement for the person that they lost. But
Speaker 1: it's such a huge shift in tone from pretty much
Speaker 1: the rest of the movie.
Speaker 3: See that's the maybe that was the problem with the
Speaker 3: Zach pennscript and Arnold's character. He didn't need Danny, he
Speaker 3: hadn't lost any kids. Okay, yeah, exact pennscript, so like
Speaker 3: he had no reason to give a shit about Danny.
Speaker 3: It was just about Danny and his dad.
Speaker 1: They also called like they were very clear that the
Speaker 1: whole thing was like wish fulfillment for the Danny character.
Speaker 3: Yeah for sure.
Speaker 1: Yeah, and uh, I like I like a good comedy drama,
Speaker 1: common dramamedy. They they got to come up with the
Speaker 1: name of that come on.
Speaker 5: A comma.
Speaker 1: Okay, that's right, but yeah, it's it's probably like it's
Speaker 1: probably one of my favorite genres when it's done well,
Speaker 1: which is why I like Six Feet Under. But like
Speaker 1: this fills out of place with the tone that we've
Speaker 1: alread they've already established throughout the rest of the movie, Like, yeah,
Speaker 1: we're on twenty five minutes. You can watch a scene
Speaker 1: where f Murray Abraham gets shot by a cat, Like
Speaker 1: so just adds up. We're gonna bring this up again
Speaker 1: when we do the summary but I wanted to show
Speaker 1: you guys that deleted scene because, according to The New
Speaker 1: York Times, William Goldman deleted a scene that included quote
Speaker 1: some supernatural elements, including Danny's telephone call to his dead father,
Speaker 1: which unquote and damn yeah, that's uh, that's some pretty
Speaker 1: heavy stuff for a movie that includes a character getting
Speaker 1: impaled by an ice cream cone. It was Shane Black,
Speaker 1: by the way, yep, yeah, oh was it. Yeah, it
Speaker 1: was like I was just like, holy shit, like that's
Speaker 1: that's fucking impressing. It's it's just a weird tonal shift
Speaker 1: even with like That's.
Speaker 3: Part of why I said that the Zach Penn thing
Speaker 3: didn't feel right, because some of it felt like blazing saddle,
Speaker 3: Blazing Saddle is an airplane, and other parts were genuinely
Speaker 3: trying to get you to give a shit about Danny
Speaker 3: and his relationship to his dead dad, who you never met.
Speaker 3: Thee no, who you never mean. The total whiplash is
Speaker 3: definitely kind of weird in that script.
Speaker 1: Yeah anyway, Okay, so moving on, William Goldman hands in
Speaker 1: his draft, but supposedly Arnold wasn't completely happy with it.
Speaker 1: It was too serious and had lost like that zinger
Speaker 1: spark or whatever that made it a fun summer movie.
Speaker 1: So they brought Shane Black and David are Not back
Speaker 1: to give it like some of that spark that I've
Speaker 1: decided just makes John mckernan's Llin's throb. You know, that's
Speaker 1: what they want. That's that's that's the right look. Erica.
Speaker 1: She's like, hmm anyway, sorry, okay, anyway. And by the way,
Speaker 1: because zach Pin and Adam Left were never officially fun
Speaker 1: because they were never officially hired, they kind of were
Speaker 1: just hanging around. Like zach Pen even says it in
Speaker 1: twenty eighteen retrospective article by The Telegraph that he would
Speaker 1: call up studio executives and tell them what he thought
Speaker 1: was wrong with the story. And he's like, I can't
Speaker 1: believe that they did not hang up on me, which
Speaker 1: I find slightly annoying because it bugs me when people
Speaker 1: can't read or just don't care enough to read the room.
Speaker 1: But like, I kind of also don't blame him, because
Speaker 1: they were pretty much ghosted by like the studio, and
Speaker 1: they didn't have any prior experience, so they were like,
Speaker 1: we don't know what's going on.
Speaker 3: Yeah, yeah, we don't know how involved were supposed to be.
Speaker 3: So wait, he was still getting drafts of the script.
Speaker 1: I guess he was able to read him somehow. I
Speaker 1: don't know who it like, Yeah, but I'm pretty sure
Speaker 1: there were still they were still doing rewrites up until
Speaker 1: filming began, and I'm just I don't want to write
Speaker 1: write about the script anymore, So let's get the rest
Speaker 1: of the writers out of the way so we can move forward.
Speaker 1: So there was Shane Black and David Or not give
Speaker 1: it a go Columbia still apparently was Or and Arnold
Speaker 1: wasn't happy with the script, so they next brought in
Speaker 1: Larry Ferguson, who had written the John Mckerndon directed The
Speaker 1: Hunt for October, also wrote co wrote Beverly Hills Cop
Speaker 1: two and was the original I wrote, he's the original Highlander.
Speaker 1: But he's the original writer for Highlander. It might be
Speaker 1: the original Highlander. I don't know. So two concha two
Speaker 1: con Chawnery movies, Oh my god, two Sean Connery movies.
Speaker 1: And I'm curious for like for The Red Hunter of October.
Speaker 1: Instead of like describing Sean Connery's character as like a
Speaker 1: Sean Connery type like in the script, he just wrote
Speaker 1: the dialogue like fanatically, like Sean Connery type. I don't
Speaker 1: know anyway. He also wrote the screenplay for Alien three
Speaker 1: right before he did Last Action Hero, so it's probably
Speaker 1: a good thing he wasn't credited on Last Action Hero
Speaker 1: because that's a that one two combos not the best. Yeah.
Speaker 1: Next is Sally Robinson, who co wrote mccherney's last film
Speaker 1: before Last Action Hero, which was Medicine Man.
Speaker 3: Another Connery film.
Speaker 5: Yeah, and that's in the dark Quinn Medicine Woman verse.
Speaker 1: Right, Yes, yes, I think they're in the jungle. But yeah,
Speaker 1: like that's that's her, that's her Scottish uncle. I think
Speaker 1: they are in the jungle in that movie.
Speaker 3: That's a Scottish descendant.
Speaker 1: No uncle, No, she's in the fucking Old West. She's
Speaker 1: a Highlander.
Speaker 5: Okay, all right, fine, Yeah he's got there.
Speaker 1: I decided to don't boose on my keyboard.
Speaker 5: Uh it's over there.
Speaker 3: He was just thinking about doctor Quinn.
Speaker 1: Yeah, Sean Connery, not a Jane Seymour. Okay, So next, Yeah,
Speaker 1: Sally Robinson Robinson, she wrote Medicine Man, and who, according
Speaker 1: to the La Times, was brought in to write the
Speaker 1: four scenes for Danny's Mom. M. Yeah, but Aaron you sorry,
Speaker 1: didn't Danny's Mom only have three scenes in the movie,
Speaker 1: very observing Joe. Yeah, and we'll get to that in
Speaker 1: the summary. But as far as uh, because I was
Speaker 1: run out of time, we'll get that in the summer.
Speaker 1: But as far as Sally Robinson, the La Times credits
Speaker 1: her for writing the mom's dialogue, but also mentions that
Speaker 1: she denied being involved in the film.
Speaker 5: Hmmm.
Speaker 3: Interesting.
Speaker 1: And then lastly, we have Carrie Fisher, who isn't listed
Speaker 1: on anything official at all. Like, the only reason that
Speaker 1: I have relisted is because both Shane Black and Zach
Speaker 1: Pann confirmed that she did some work on the script.
Speaker 1: And I just forgot to mention that Charles Dance ended
Speaker 1: up writing most of his own dialogue.
Speaker 3: Oh that's interesting.
Speaker 1: Okay, So the total cost Columbia ended up paying out
Speaker 1: for all these fucking jib brownis to work on the
Speaker 1: script was like allegedly three million dollars damn yeah. So,
Speaker 1: which was crazy because uh, Shane Black got a million,
Speaker 1: and then they were paid The first two were paid
Speaker 1: three hundred and fifty thousand.
Speaker 3: So Goldman, you said it was paid seven yeah.
Speaker 1: Yeah, So that was it was, Yeah anyway, so Arnold
Speaker 1: I agreed to start fifty million. John McK chernon was
Speaker 1: paid five point five million, and in July nineteen ninety two,
Speaker 1: they announced a release date for Last Section Hero, which
Speaker 1: was a June eighteenth, nineteen ninety three. Unfortunately, a few
Speaker 1: months late, Universal would announce that it's big summer movie
Speaker 1: would be released on June eleventh. And oh oh, dress, yes.
Speaker 2: Got it.
Speaker 1: Yeah, So basically Last Section here ends up blowing Dassic
Speaker 1: Park out of the water.
Speaker 3: Yeah, as we all know.
Speaker 1: Yeah, right, but we'll get to that lad, all right, alrighty,
Speaker 1: And that's going to wrap things up for this episode,
Speaker 1: But join us next week. We'll be discussing some of
Speaker 1: the interesting marketing decisions that Columbia made, as well as
Speaker 1: doing a little comparing contrast between the Last Action Hero
Speaker 1: and Jurassic Park production schedules. Maybe a little bit of
Speaker 1: their marketing stuff too. Anyway, thanks so much for listening,
Speaker 1: and please don't forget to leave us a rating review
Speaker 1: on either Apple Podcast or Spotify because it just helps
Speaker 1: so much. Thank you again, and we'll see you soon.
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