June 30, 2015 • 39 mins
Did you know some of our most beloved movies originally had different, sometimes better, endings? That is until they were tested in front of focus groups.
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Episode Transcript
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Speaker 1 (00:01):
Welcome to Stuff you Should Know from HowStuffWorks dot com.
Speaker 2 (00:11):
Hey, and welcome to the podcast. I'm Josh Clark, There's
Charles w Chuck Bryant, and Jerry's over there. So let's
just call this Stuff you Should Know, shall we.
Speaker 1 (00:19):
Hey, that's a good name for a show.
Speaker 2 (00:22):
Yeah, you know, I came up with that.
Speaker 1 (00:25):
You did, You're the inventor, and from that was hatched
all of the stuff podcasts.
Speaker 2 (00:33):
Yeah, but I mean how Stuff Works stuff.
Speaker 1 (00:36):
Yeah, but I don't know. I think you're not you're
selling yourself short.
Speaker 2 (00:39):
It's okay.
Speaker 1 (00:40):
So this is another one of our movie centric podcasts
that people seem to love. We've done all kinds of things,
from exploitation films to movies that change filmmaking, to how
films are rated.
Speaker 2 (00:54):
The n p A, n PAA, how TV ratings work. Yeah,
ten exploitation films, Yeah, that was a good one, and
some movies that changed filmmaking. That's right, all the stuff
you just said.
Speaker 1 (01:05):
Yeah, before we get going here, buddy, we need a
blanket spoiler because we're going to be talking about movies
that had their endings changed, and so this is your
fair warning. Most of them are old movies. Most of
this information is out there, of course, yes, But if
you're one of those people who gets really upset by
(01:26):
this kind of thing, you may want to You've been warned.
You've been warned. And now drum roll, we're going to
talk about audience testing, which is depending on the filmmaker
and the film can be a really super awesome, valuable.
Speaker 2 (01:41):
Tool, all right, it can also be like a terrible
the worst thing that's ever happened to you. Yep, And
apparently even if you believe in the system, it's a
terrible experience, says Ron Howard.
Speaker 1 (01:53):
Yeah, he's a fame, well not famous for but he
is on record along with his producing partner Brian Graser
for who.
Speaker 2 (02:01):
By the way, do you know this about Brian Grazer.
Speaker 1 (02:03):
Best hair and show business?
Speaker 2 (02:05):
Well, clearly, yeah. But he has the habit of taking
frame pictures of himself over to people's houses and when
they're not looking, he'd like plants them among their family photo.
Speaker 1 (02:15):
That's pretty awesome, pretty cool. That reminds me. I know,
you hate George Cloinney's guts, but there's you said that
there's a famous practical he's a big practical joker and
he prepared this one over the course of like a year,
supposedly told like his best friends that he had taken
up painting. Oh yeah, just kept that going and going,
and then like gave some of his close friends he's awful,
(02:35):
awful paintings, right, and you know you're kind of expected
to hang it up, right, They're like, oh, thanks.
Speaker 2 (02:41):
George, Yeah, that's a pretty good one.
Speaker 1 (02:42):
This is great.
Speaker 2 (02:44):
Oh but he felt so good about himself after.
Speaker 1 (02:46):
That, so glib so. Ron Howard and his producing partner
Brian Gratzer are on record as saying that they really
can get a lot out of it, and like what
they would hate is to put a movie out and
find out there's something they really easily could have corrected,
either like confused or upset an audience as a whole.
But he also said it's terrible to go through. Yeah,
(03:09):
Like even when it's a good experience, it's never a
good experience.
Speaker 2 (03:12):
And that's somebody who believes in the system. If you
don't believe in the system and you still have to
go through it, like Robert Altman did.
Speaker 1 (03:21):
He's not a test audience kind of guy. No, can
you imagine putting him through that?
Speaker 2 (03:25):
No, that's like letting all of the town's ladies bring
Boo Radley that the pies for killing Bob Yule. You know,
you can't put Robert Altman through the audience testing system.
Who did they? Oh?
Speaker 1 (03:39):
I don't know, a dummy because yeah, he was a
Maverick filmmaker. My brother and my Emily worked on movies
with him. It's pretty neat legend. I know, it's good stuff.
I wish I could tell a couple of the stories.
Speaker 2 (03:53):
But I mean, did you expect to get rich off
of a Robert Altman movie? No, apparently these people did.
Speaker 1 (04:00):
I wonder what his top grossing movie ever was. Probably
The Player or Mash I'll bet it was Mash. Yeah,
movies didn't gross so much back then.
Speaker 2 (04:07):
Yeah, but it's just it's a perennial classic.
Speaker 1 (04:10):
Yeah, that's true.
Speaker 2 (04:11):
The Player was great.
Speaker 1 (04:13):
Yeah, I mean he's He's made a lot of great
movies and some kind of stinkers as well. Oh yeah,
but a lot of classics like Ashville. Have you ever
seen Nashville?
Speaker 2 (04:21):
No? I never saw in Nashville.
Speaker 1 (04:22):
So good?
Speaker 2 (04:23):
So the Player shortcuts? Yeah, I didn't see the uh
the Lake Woble Gone one with Lindsay Lohan for some reason. What. Yeah,
they did Pie Home Companion. Yeah, with Lindsay Lohan. That's
just weird and Meryl Street. Hum, it was like, let's
(04:47):
getting casting director super drunk. Yeah, they just have a
point out photos head shots and then that's how we'll
cast this.
Speaker 1 (04:54):
Uh and then McKay and miss Miller and that's a
classic as well.
Speaker 2 (04:57):
Never even heard of it more and Beaty liked mash though.
That was a good one.
Speaker 1 (05:01):
It was so Ron Howard calls the process brutal and hideous. Yeah,
he said, even if it's going well, it's not fun. Yeah.
Francis Ford Coppola is somewhat responsible, although they have tested
movies all the way back in the thirties. Yeah, when
audience has said, you know that somewhere over the Rainbow
(05:22):
song really slows things down.
Speaker 2 (05:24):
It's a stinker. Get it out of there.
Speaker 1 (05:26):
Thank goodness they didn't listen, because that became one of
the most iconic singing performances ever in a movie.
Speaker 2 (05:33):
Yeah, and apparently pointing that out is a really good
way to talk somebody out of cutting something a test audience, Yeah,
think about somewhere over the Rainbow. Chief.
Speaker 1 (05:43):
So when Coppola was making Apocalypse Now. He had focus
groups and.
Speaker 2 (05:49):
Really, yeah, I would not have guessed that.
Speaker 1 (05:53):
Well that movie.
Speaker 2 (05:54):
You've seen The Hearts of Darkness, right, No, the documentary
about it, Yeah, no, it's really good.
Speaker 1 (06:00):
He had a lot of studio heat coming down on him.
Speaker 2 (06:02):
You know you've got a great movie when the documentary
about your great movie is a great movie.
Speaker 1 (06:07):
Yeah, that's a good point.
Speaker 2 (06:08):
It's really good.
Speaker 1 (06:09):
I think his wife made.
Speaker 2 (06:10):
That, although that's not necessarily true. The best worst movie
was a great documentary, and Trolls two was not a
good movie in any way, shape or form.
Speaker 1 (06:18):
I've never heard of best worst movie.
Speaker 2 (06:19):
It's about have you ever heard of Trolls two?
Speaker 1 (06:21):
I've heard of Trolls so, I guess I've heard of Trolls.
Speaker 2 (06:23):
Too, apparently made by totally different filmmakers, completely unconnected story
wise and everything. This is just Trolls two, gotcha? And
this documentary caught up with the people from Trolls Too,
because it became like kind of this cool hipster thing
to like, look, how terrible this movie is, like the
Room Sure, and this documentary kind of followed this movement
(06:45):
and went and found the people who were in this
movie who had no idea this was going on, and
then like basically puts him on the road going around
promoting showings of Trolls Too and just living it up.
That was great documentary.
Speaker 1 (06:59):
The documentary is good.
Speaker 2 (07:00):
The movie wasn't good, right, Okay, so I ate my
own words, understood, No you didn't. But I think one
of your pals from UCB.
Speaker 1 (07:07):
Is in it Controls Too.
Speaker 2 (07:09):
In the best worst movie the documentary.
Speaker 1 (07:12):
Do you know one of the founders, No, not Matt Besser.
Speaker 2 (07:21):
Yes, it might be Matt Besserer. Maybe I don't know
one of the guys from you. There's like a bunch
of UCB people in it.
Speaker 1 (07:28):
Yeah, but okay, I got you. Besser was one of
the founding members though, with Amy Poehler and Ian Roberts
and Matt Walsh.
Speaker 2 (07:36):
Maybe Matt Walsh is the one that was in old school, right, Yeah,
so this is the other Matt. Yeah, I think he
might be in it.
Speaker 1 (07:44):
Yeah, he's a good guy.
Speaker 2 (07:44):
He listens to our show, Prove me wrong, Matt, prove
me wrong.
Speaker 1 (07:48):
Razorbacks, that's for him.
Speaker 2 (07:49):
He's an Arkansas fan or he just really likes Razorbacks. No,
he's a Arkansas guy, gotcha.
Speaker 1 (07:54):
Yeah, he's just a fan.
Speaker 2 (07:55):
Of the big are we had an ad break yet.
Speaker 1 (07:58):
Not yet, not until I finished the story about Coppola.
He when he was making Apocalypse Now, hired a man
named Joe Farrell or Farrell to help with marketing, and
Farrell said, you know what, I see a pretty big
opportunity here, and so he partnered up with Katherine Catherine
Para and formed the National Research Group. I don't know,
(08:21):
I don't think they're still exclusive, but at the time
signed all the studios to an exclusive contract to do
their audience testing. And I think there's still the top
dog in audience testing, even though I think there are
other companies that do it.
Speaker 2 (08:33):
Now, this is the company with the extraordinarily secretive name NRG,
the National Research Group. Yeah, and they also do like
contract hits I think for the CIA and the NSA.
Speaker 1 (08:46):
No, but they don't have a website that I could find,
Like I was trying to just get a little information
about the company.
Speaker 2 (08:50):
But so they're a division of Nielsen.
Speaker 1 (08:53):
Well, which of course they're super secretive.
Speaker 2 (08:55):
We already tell they are. But yeah, so it's crazy
like this.
Speaker 1 (09:00):
It's like a cabal.
Speaker 2 (09:01):
Yeah, you know, very much. So Randy Quaid was right,
you might be.
Speaker 1 (09:05):
And they don't just do audience testing. They also, back
when people had telephones, would do a lot of just
random calling and saying like market research, like did you
know this movie was coming out?
Speaker 2 (09:19):
It's called awareness.
Speaker 1 (09:20):
Yeah, awareness campaigns and stuff like that.
Speaker 2 (09:23):
And then they'd split you into four quadrants, right, which
is the four quadrants that everyone on the planet is
divided into men under twenty five, men over twenty five,
women under twenty five, and women over twenty five. That's right,
and that's it. There's the division of importance. At age
twenty five, you cross over and get put out to
(09:46):
pasture basically. All right.
Speaker 1 (09:48):
So that's the longest setup in history.
Speaker 2 (09:51):
So wait a minute. I want to make sure I
understand what you're saying, because I made a lot of
jokes in the middle of all this.
Speaker 1 (09:58):
They were flying.
Speaker 2 (09:59):
But you're saying that NRG, the National Research Group, came
out of focus groups done for apocalypse.
Speaker 1 (10:08):
Now, Yes, that's the way I understand it.
Speaker 2 (10:10):
Wow, Yeah, I did not know that.
Speaker 1 (10:12):
Yeah, but they were already doing focus groups, but this
company really ran with it, I think in the corner
of the industry. Yeah, I got you, all right, So
let's take that promised break and we'll talk more about
audience testing right after this. All right, back with audience testing.
(10:40):
There's many different reasons to test your movie. Yeah, sometimes
if it's a comedy, they will literally do multiple screenings
just to test little bits and little jokes.
Speaker 2 (10:51):
If that makes sense to me. Yeah, if you're testing
a comedy, totally makes sense. Because a couple of comedy
writers that you put into like a room and say,
write this hilarious movie or take this dog of a
movie and punch it up with some jokes.
Speaker 1 (11:05):
It's very subjective.
Speaker 2 (11:06):
It might sound fun to you, sure, but then you're
a movie executive and you had like a three scotch launch,
so everything seems kind of funny right now, you know
what I mean? Yeah, sixties right, so I get I
get that, and then like this joke landed, this joke didn't,
This joke was too far, and it like went against
like what the what the character we've developed so far?
That and that to me makes sense, Yeah, Like I
(11:28):
see audience testing to that end.
Speaker 1 (11:31):
For sure, you see the value.
Speaker 2 (11:32):
But if it's like should this explosion be seventy percent
more explosive, well, or should this guy's brain splatter, like
more or less?
Speaker 1 (11:42):
Well with the violence, you have a point they that
is something they will also test for it like, are
you turned off by the amount of violence?
Speaker 2 (11:49):
Could we dial it back a little bit?
Speaker 1 (11:50):
Yeah?
Speaker 2 (11:51):
What was the movie that was given an example in
this article of of something that was found to be
too violent?
Speaker 1 (11:57):
Good Fellas? Yes, yeah, that was in a mental Thos article, right, Yeah, yeah,
Goodfellas the audience like he had and that was the
first movie Scorsese had ever tested.
Speaker 2 (12:07):
Yeah, and yeah, that's another guy I don't see like
testing stuff. I'm really surprised about Apocalypse Map.
Speaker 1 (12:13):
Yeah.
Speaker 2 (12:14):
Well, like I said, it was studio heat, Yeah, I gotcha.
Speaker 1 (12:17):
Yeah, Scorsese, I think like forty or fifty people walked
out in the first ten minutes because of the violence. Yeah,
and they said that they didn't like that third act
where you know, just they thought it was too intense, Yeah.
Speaker 2 (12:29):
And apparently very drawn out, way more drawn out than
it even is now.
Speaker 1 (12:33):
Yeah, they thought the ending of Goodfellows is too intense.
Speaker 2 (12:36):
Right, and again very drawn out. So he went to
a quick cut montage thing, yeah, which actually ended up
making it better because Henry Hill is like coke to
the gills at this point. Sure, and like that whole
thing where like he's looking driving, watching the helicopter that's
following him. Yeah, and it's like chop, chop, chop. It
(12:56):
really gets the point across.
Speaker 1 (12:58):
Yeah, it was. It was very effective. So it worked
in that case. I think, yes, right, the system works. Well,
I don't know about that. It worked in that case.
So how these things work is, if you live in
the Los Angeles area and you go to the mall,
or if you're even in a movie line, you've probably
been approached or seeing the people with clipboards, don't run
(13:20):
away because they are not trying to sell you something.
They're trying to give you something, which is a free screening,
that's true, and they'll come and sign you up there.
I ask if you're interested, Hey, we got a new
Owen Wilson movie that we're screening in Burbank next Friday night.
Speaker 2 (13:34):
And everybody starts murmuring, oh oh, I love him. He's
a national treasure. And everybody starts signing up.
Speaker 1 (13:39):
What's with the nose?
Speaker 2 (13:41):
He got a broken when he was younger.
Speaker 1 (13:43):
It looks like more than once. I liked that he
didn't fix it.
Speaker 2 (13:46):
Though, Yeah, he was a smart alec.
Speaker 1 (13:48):
That thing is just like so crooked, and he's just like, yep,
this is me.
Speaker 2 (13:52):
He said. He always expected to do something like go
into advertising or whatever. But if you're a buddy of
Wes Anderson's from a young age, yeah, going into movies.
Speaker 1 (14:00):
Sorry, I'm a big fan of him and his nose. Yeah,
so you're gonna get approached. Like I said, probably in
LA but they do test all over the country. Because
we've talked about will it play in Peoria? Yeah, sometimes
they want to go to Ohio and see what you know,
someone outside of the LA area feels about the movie.
Speaker 2 (14:21):
Right. But the reason that your chances are vastly higher
of being asked to be in a test audience for
a movie in Los Angeles is because a lot of
times the people working on the movie who live in
Los Angeles have to attend these things. Yeah, because not
only do they want to, they want to get the
feedback from it, which we'll find out about that. They
(14:43):
also want to experience it firsthand, sure, so they get
a real feel for how the audience is responding.
Speaker 1 (14:48):
Yeah, And if you're eighteen to thirty four, you're more
likely to get approached because that's the sweet spot of
course that you talked about. Yeah, if you're older than that,
then forget it.
Speaker 2 (14:56):
No one cares about you.
Speaker 1 (14:57):
No one cares about you.
Speaker 2 (14:58):
Give up all of your dreams and work and yep,
smoke a pipe, be quiet.
Speaker 1 (15:03):
That's right. If you are an assistant editor or in
any part of the editing crew, it's going to be
a bit of a hellish experience because you're going to
be scrambling trying to timp in music and temp in
special effects, like some really hackneyed version of special effects,
just so they know, like in the scene it's going
(15:24):
to be a spaceship.
Speaker 2 (15:26):
And then the editors like, well, I can just cut
to this stock quick time footage of a spaceship landing
and get the point across, Like sure.
Speaker 1 (15:34):
So they're going to be scrambling trying to put together
as much of a finished project as they can, and
most of the times they will also be at the theater.
They're going to queue it up and watch it just
to make sure it's ready to roll. Yeah, before the
audience sees it, you're gonna have a moderator. Have you
ever been to a test screen?
Speaker 2 (15:51):
No of you?
Speaker 1 (15:52):
Yeah?
Speaker 2 (15:53):
Cool?
Speaker 1 (15:54):
Yeah, it's neat what I don't remember.
Speaker 2 (15:57):
Wow, it must not have been very good movie.
Speaker 1 (15:58):
That was a long time ago. Yeah, that was it.
I love that movie. It wasn't. I did watch that
the other night though, in full.
Speaker 2 (16:06):
That's that was. That was one of the songs that
I sang at piano karaoke, A couple of dollars songs.
Sang that you mean and I sang I was in
the stream.
Speaker 1 (16:16):
Oh well that she did the Kenny Rogers part and
you did the Dolly part.
Speaker 2 (16:19):
We switched it up a little. Yeah, very hard song
to sing, by the way, and that movie holds up.
Speaker 1 (16:25):
Man, it's still very funny.
Speaker 2 (16:26):
Yeah, the great Dabney Coleman, great Lily Commlin, the great
Dolly Parton, great Jane Fonda, the great Jane Fonda.
Speaker 1 (16:35):
So good, and you know, the three of them, like
it was just a great shoot. There were best buds,
and they remained friends all these years later.
Speaker 2 (16:43):
You can tell.
Speaker 1 (16:43):
Yeah, it's kind of neat. Uh all right, So where
was I? Oh, Yeah, someone's gonna introduce the movie and
they're gonna get you all excited and like everyone's glad
to be here. So you know when Wilson's new movie.
Speaker 2 (16:56):
Right, everybody reach under your seat for some pre red vines.
Speaker 1 (16:59):
Yeah, yeah, might get little free something you never know,
And they're going to explain, like, what you're about to
see is gonna be a little rough in parts and
the effects aren't complete, so just don't take that into account. Right.
Speaker 2 (17:10):
They're not looking for like, well, maybe you should color
correct it a little more before you release it. They're
aware of that.
Speaker 1 (17:16):
I think you're supposed to take the green screen out
of the shot.
Speaker 2 (17:19):
Right. What they're looking for is pacing. They want to
know you as like an audience members, keeping up with
the movie and how it's how it is going, right.
Speaker 1 (17:28):
Yeah, you're gonna well, you're gonna watch the movie just
as cleanly as possible, and then you're gonna have to
fill out comment cards. And they're pretty standard, but they
can tailor it for the movie. Like if, like let's
say you think there's a problem with one of the characters,
they might specifically say, like, what'd you think about the
Luke Wilson character?
Speaker 2 (17:48):
Too much?
Speaker 1 (17:49):
Too little?
Speaker 2 (17:49):
He's no Owen Wilson.
Speaker 1 (17:52):
They might ask your favorite parts, your least favorite parts? Yeah,
how did it flow? Did anything stand out to you?
Speaker 2 (18:00):
Like could you follow it the whole time.
Speaker 1 (18:01):
Yeah, did it make sense? That's a good.
Speaker 2 (18:03):
One, right, What did you think of the jokes?
Speaker 1 (18:06):
Yeah? What do you think of the jokes? They drill down,
They try and get as specific as they.
Speaker 2 (18:10):
Can, and these are just the comment cards.
Speaker 1 (18:13):
Yeah.
Speaker 2 (18:13):
Supposedly, if you're in the demographic that they're shooting for
in release and you're at this thing, as you're trying
to leave, they might come up to you and be like, hey, like, yeah,
this is just kind of the schlubby audience. You want
to be part of a real focus group, come with us,
And then you follow the stranger to a second location.
Speaker 1 (18:33):
Yeah, do you follow them to a van with a
little round window in the back.
Speaker 2 (18:36):
That's been covered over with a black plastic bag?
Speaker 1 (18:40):
Yeah, they got dark it did. So the big thing
they're looking for, though, the money question is would you
recommend this movie to a friend. That's the one thing
they want to know, and that is where you're going
to get your overall score that they really are going
to hone in.
Speaker 2 (18:59):
On, right, And they want to know that so bad
that if they don't say I definitely would, Yeah, they
don't even count that. Yeah you can say like yeah, yeah,
maybe probably nope. So a movie. A movie gets a
score at the end, and it's based apparently exclusively on
whether or not you said you would definitely recommend the
movie to a friend.
Speaker 1 (19:18):
Yeah, out of one hundred people, they will score.
Speaker 2 (19:20):
That so yeah, or out of however many people. But
for example, out of one hundred, yeah, if sixty people
say that, yeah, I guess I would recommend it to
a friend, and forty people say that they definitely would,
that movie got to score forty terrible, not even like
a like you can't even take into account that yeah.
(19:41):
Probably you have to say you definitely would recommend it
to a friend to get a point for that movie.
Speaker 1 (19:47):
Yeah, And they said in this article, I'm sure there's
a huge caveats on a sliding scale, but uh, anything
over eighty they think they're in pretty decent shape. I
would guess eighty percent a low the average, they said.
Speaker 2 (20:01):
A lot, a lot less than eighties lately, he asked me,
except of course for Mad Max x Makina. That was
a pretty great movie. So good, they ask in this article.
Speaker 1 (20:10):
That makes you wonder, like when you when a train
wreck of a movie comes out, like what happened? Did
they focus scrop it, Did they test screen it? Did
they ignore it?
Speaker 2 (20:19):
Yeah?
Speaker 1 (20:20):
Like what what? How does that thing get released? Is
the question?
Speaker 2 (20:23):
Or are you asking me? Yeah?
Speaker 1 (20:24):
Well, I mean no, I'm just throwing it out there.
Speaker 2 (20:27):
I'm not the one who's been the one of these
tests creating. No, it does make you wonder though, like
they probably didn't they didn't screen it, or the the
people who had edit rights didn't care to listen. But this,
this article keeps picking on glitter, which seems mean because
there's a lot of stinkers out there. Apparently Human sevent
(20:50):
pede three has the I think it came out recently.
Speaker 1 (20:54):
Is this the one in prison? I don't know. I
think it's the first, like hundreds of people.
Speaker 2 (21:00):
Yeah, it has the lowest Metacritics score of all time.
Speaker 1 (21:04):
Really you saw the first one?
Speaker 2 (21:06):
Yeah? Have you seen it? No, dude, it's definitely worth seeing.
Really Yeah.
Speaker 1 (21:11):
I just think I get it just by seeing the trailer.
Speaker 2 (21:13):
You would No, No, I mean there's no real surprises
beyond what you've seen in the trailer. But it's not
even appreciating it in an ironic way, even taking it
on its own terms. You're kind of like it's worth
seeing at least once like can't be disturbing or yeah, okay,
but not like not like hostile can't be disturbing. Have
(21:39):
you seen Hostile?
Speaker 1 (21:40):
Yeah? I didn't think that was very campy.
Speaker 2 (21:42):
It was just straight up disturbing. This one already disturbing. Yeah,
the guy was definitely going for an already bent despite
the premise of the movie. All right, but yeah, there's
some disturbing stuff.
Speaker 1 (21:53):
I'm curious to see if that guy has anything left
in his bag of tricks. Because you can only go
mouth the butt for so long.
Speaker 2 (22:00):
What's what's can't be disturbing? Give me an example of
that thing?
Speaker 1 (22:04):
Oh, I think like like a reanimator type of thing.
Speaker 2 (22:11):
Oh yeah, okay, I see, yeah, hostels not can't be
dis reanimator definitely is.
Speaker 1 (22:19):
Can we talk about Tom Cruise for a minute and
how obnoxious this move was.
Speaker 2 (22:22):
Yeah, I guess he really believed in the way the
editing process was already going.
Speaker 1 (22:27):
Yeah, he crashed his own test screening of Mission Impossible
three allegedly and ran in there and lo.
Speaker 2 (22:36):
Was like, Hey, everybody, I'm Tom Cruise.
Speaker 1 (22:39):
Let's high five each other.
Speaker 2 (22:41):
Enjoy the movie, give me a couch to jump on.
Speaker 1 (22:43):
I mean can you believe that that totally negates the
purpose of an audience screening because everyone there. I'm sure
there were a few people who are like, oh, I
hatred got too weird though, but the rest of people
are like, oh my god, Tom Cruise just came into
the very test screening. Yeah, like, they probably din't feel
good about writing negative comments, right, you know.
Speaker 2 (23:00):
He white over here. He might want to hang out
with me after this, and I want to be able
to tell him that I gave him high marks.
Speaker 1 (23:06):
I can't believe he did that. I can't believe he
did that.
Speaker 2 (23:08):
Actually, yeah, I can too. So by the way, Also,
there's a really interesting long form article in La Weekly
from about a year ago called how YouTube and Internet
journalism destroyed Tom Cruise our last real movie star. And
it's it's not an apologist's view, but it definitely defends
(23:33):
him against a lot of it's just read it.
Speaker 1 (23:38):
I'm still a fan of his acting in most cases,
Like that Edge of Tomorrow movie was terrific.
Speaker 2 (23:44):
Yeah, I haven't seen it yet and I've heard nothing
but good things about it. Yeah, it was really good.
Speaker 1 (23:47):
But no, I can still watch his movies and separate
that from the wacko in real life.
Speaker 2 (23:52):
This is yes, this is defending his acting as well,
but it's defending as that public perception of him as
being a whack go Yeah, and he basically like really
kind of pulls apart like all the layers and you're like,
oh yeah, Like it really goes to town stressing that
he never jumped up and down on the couch, right.
Speaker 1 (24:11):
He just jumped up on the couch.
Speaker 2 (24:12):
Exactly, But they go to great lengths to point out
that that is not the same thing as just off
handedly saying, oh, yeah, he jumped up and down on
that couch like he was crazy. Yeah. No, he jumped
up on the couch once and then stepped down or
something like that. So it's a really great article, really
interesting because he's just been like kid for so long now. Yea,
it's really it's almost surprising to see somebody step up,
(24:35):
not as like a crusader on behalf of Time cruise,
but just more to be like, everybody put your knives away.
Speaker 1 (24:42):
Well, I think the knives are out, not just because like, oh,
he's a scientologist and people think that's weird. It's like
when you dig down into scientology and find out the
things that he abides by like the slave labor to
decorate his cars and to wash his truck. And you
know that makes you kind of I'm not a good person,
you know.
Speaker 2 (25:01):
Yeah, I see what you mean.
Speaker 1 (25:03):
Like that's beyond like, oh, that's just a strange religion.
That's like people are being paid fifteen cents an hour
to take care of me.
Speaker 2 (25:11):
Oh, if they're being paid, that's not slavery.
Speaker 1 (25:14):
That's true. That's a good point.
Speaker 2 (25:18):
What was the what's the name of the Was it
an HBO documentary?
Speaker 1 (25:22):
Going clear?
Speaker 2 (25:22):
Going clear?
Speaker 1 (25:23):
Yeah? Based on the book Going Clear.
Speaker 2 (25:25):
I saw the guy who wrote the book come speak.
Oh really, that guy likes something that I don't remember
his name, but like, I mean, how whatever you think
of his book or his journalism, that guy had brass ones.
Oh really, he's the one who did it. He's the
one who went after scientology when no one else would
touch it. Oh yeah, he's the guy who did And
(25:46):
apparently five million lawyers read that book before it was
ever published.
Speaker 1 (25:51):
I think HBO supposedly had like one hundred attorneys when
they went to adapt it as a documentary.
Speaker 2 (25:56):
Yeah, and this is after it had already been vetted
by all of the lawyer in the book publishing world. Yeah,
it's good.
Speaker 1 (26:03):
Yeah, the great book. All right, let's take another break here,
and when we come back, we'll talk about some of
the more famous examples of movies that have been changed
due to audience screenings.
Speaker 2 (26:13):
It's gonna be so good, so chuck. There's there's some
legendary changes to movies that have been made over the years.
(26:34):
Like we mentioned the Wizard of Oz. Good that was
not a change actually, but like a test audience suggested
it be taken out somewhere over the rainbow apparently. Also
very famously, James Bond's movie Licensed to Kill Yeah, was
originally called License Revoked. Yeah, And even after all the
(26:55):
promotion material posters have been made, they changed the name
because American test audiences were like, I don't understand what
the title means, like his driver's license was revoked. Yeah,
and they were serious.
Speaker 1 (27:05):
Yeah, it was so weird. I mean it sounds like
a like a Queen Latifa comedy license, you know, like
where she's a bus school sassy school bus forever.
Speaker 2 (27:14):
And the like the K and the R backwards or
something like that. And the poster.
Speaker 1 (27:19):
Yeah, absolutely, she's a sassy, pretty Woman. The movie, the
Sacraine feel good movie from Richard Gere and Julia.
Speaker 2 (27:29):
Roberts apparently not started out as Sacra.
Speaker 1 (27:32):
No, this is hysterical to me. It was originally titled
three thousand, based on the amount of money it costs
to hire a hooker for a week. Sure that would
like made no sense.
Speaker 2 (27:43):
Yeah, apparently they changed the name, not because of the test,
is because the execs were like, sounds too science fiction
y and they were right.
Speaker 1 (27:50):
They were right, Pretty Woman, it's a much better title
for that for that movie.
Speaker 2 (27:54):
Uh.
Speaker 1 (27:54):
And then apparently it was had a lot darker edge
when it was in script form, and it ended with
Richard Gears's character kicking Julia Robert's character out of his
car and driving away. That's how it ended. Not very
rom commy.
Speaker 2 (28:10):
No, no, well it wasn't.
Speaker 1 (28:12):
A rom com It was Gary Marshall. But see what
I want to know is.
Speaker 2 (28:17):
Gary Marshall, he's a rom COMMI director.
Speaker 1 (28:20):
No, that's what I'm saying. He made that, like what
I want to It seems to me like all that
would have changed with Gary Marshall, not like in test screenings.
Speaker 2 (28:27):
Yes, I think that's what happened. And then what the
test audience. The hand they played was that they're like,
you need to change that ending. Okay, got they need
to get together.
Speaker 1 (28:36):
Right, Fatal Attraction famously changed. Yeah.
Speaker 2 (28:41):
So the ending of Fatal Attraction apparently has Glenn Cose
Glenn Close, who's Michael Douglas's former one night stand turned stalker,
killing herself flitting her own throat. Yeah, pretty good with
a knife with Michael Douglas's fingerprints on it. And then
Michael Douglas is arrested for her murder.
Speaker 1 (29:01):
Yeah, and like it's supposed to, they don't show trials
and things, but it ends with him going to prison.
Speaker 2 (29:07):
Yeah, and that's a great ending. Glenn Close loved it.
She was very sad when audiences were like, Nope, we
hate this character so much, like she has to be
killed off. She can't kill herself, somebody has to kill her. Yeah,
and just for good measure, make it the wife.
Speaker 1 (29:22):
Well that makes sense because I think people people weren't
rooting for Michael Douglas in that movie either because he
was such a jerk right toyed with this woman left her,
had this great wife at home and kid. So people
I think they said, you know what would go over
the top is if the only sympathetic character in this movie,
(29:42):
which is Ann Archer, is the one who does it
right and that was effective, I'll give it to him.
Speaker 2 (29:46):
Yeah, but apparently Glenn closes like the original ending was
way better.
Speaker 1 (29:50):
She washed her hands of it. Did you ever see
Scott Pilgrim Versus the World? No, it's a good flick,
the original, and that one had him had his character.
Speaker 2 (30:05):
Ending up with his.
Speaker 1 (30:08):
Love interest knives Chow played by Ellen Wong instead of
his dream girl Ramona Flowers, and the test audiences didn't
like that and said, basically, this guy spent the whole
movie annoyed by this girlfriend and pining for this other
girl and defeating her evil ex boyfriends. He can't just
(30:31):
not end up with her at the end. It's very
anti climactic. So they said, all right, we'll change it.
And that's what it was in the graphic novel too,
so I know why they changed it to begin with.
Speaker 2 (30:40):
Who knows, So they went back to the original ending. Yeah,
that it was of the material is adaptive.
Speaker 1 (30:47):
From that's right.
Speaker 2 (30:47):
Yeah, pretty in pink. Yeah, this one's pretty famous too.
I'd heard this many many years ago that originally they
had Molly Ringwald ending up with John Cryer with Ducky
rather than Blaine Andrew McCarthy, which, by the way, I
saw Weekend at Bernie's again recently. It's a No, it's
(31:09):
not that bad. Really. Yeah, it's very thin. Well it's
one it's one joke. Yeah, but the.
Speaker 1 (31:16):
Boy they take it in so many directions.
Speaker 2 (31:18):
Yeah, it's pretty funny, and it's amazing how young Jonathan
Silverman and Andrew McCarthy look, I mean young.
Speaker 1 (31:27):
Yeah, and the guy who played Bernie, who, like I
don't think ever did anything else. No, I never saw
him to anything else.
Speaker 2 (31:33):
He threw out the ball at like a Los Angeles
Dodgers game or San Francisco Giants.
Speaker 1 (31:38):
Gamers nineteen eighty seven.
Speaker 2 (31:39):
Yeah, no, no, like last season. Really, I don't remember
the reason why, but it was like he's been working
out that character for a long time.
Speaker 1 (31:49):
You know, it would have been genius if they would
have had Silverman and McCarthy out there like grabbing his
arm and throwing the ball for him as if he
were dead.
Speaker 2 (31:58):
It would have been great.
Speaker 1 (31:59):
That would have been pretty good. I think they call
that meta these days, Yeah, they do, or metas already
out it's like, so two years ago, you know, uh,
twenty eight days later you saw that one, right, Yep,
that one ends with Jim's Cilia Murphy's character dying in
the original ending, and his people were going to rescue him,
(32:23):
just like going back out to fight the zombies again.
Speaker 2 (32:26):
Right.
Speaker 1 (32:27):
They are like, no, that stinks.
Speaker 2 (32:29):
I love this guy. Yeah, so they he recovers. Yeah,
didn't end in like a field or a meadow.
Speaker 1 (32:35):
Or they're in the field and I think they see
a plane.
Speaker 2 (32:39):
I'm sure. Danny bow is like, oh, you want a
happy ending, Yeah, give you you're happy, stupid ending. Here's
your stupid ending. Chi kuna, you stupid audience.
Speaker 1 (32:46):
I like the ending, though I don't.
Speaker 2 (32:48):
I like both.
Speaker 1 (32:49):
I don't mind a happy ending when it's done well.
But I also like dark endings. Yeah, you know one
of the It doesn't have to be one or the other.
Speaker 2 (32:56):
What about the opposite dark beginnings in un dark beginnings
like with Sunset Boulevard.
Speaker 1 (33:03):
All right, go ahead and break it down. I don't
know that one.
Speaker 2 (33:06):
Oh have you ever seen Sunset Boulevard. No, that's on
my list as a classic movie for a reason. It's
a truly great movie. But apparently at the beginning of it.
Originally they had Bill Holden's Corpse, the character he plays
corpse talking to other corpses in the morgue, explaining how
he got there. Oh wow, and audiences were like, is
(33:28):
this a comedy? Like what is going on here? Apparently
a lot of people walked out and Billy Wilder, the
director was there, yea, and some lady told him to
his face that it was a steaming pile and maybe
didn't know it was him or something like that. But
the the legend goes that she told them to his
face like this is terrible and so steaming pile. He
(33:50):
reshot the beginning to where it's Bill Holden's corpse, but
it's a voiceover and he's not talking to other corpses
in the morgue.
Speaker 1 (33:59):
But it's not a comedy, right, it's not at all.
Maybe because it was Billy Wilder, people had an expectation.
Speaker 2 (34:04):
Yeah, And I mean there's some parts that you wonder like,
did he mean that to be like kind of funny,
like in a really dark way.
Speaker 1 (34:11):
Maybe?
Speaker 2 (34:12):
Yeah, it's quite possible. But great, I need to see that.
Speaker 1 (34:15):
I love Billy Wilder.
Speaker 2 (34:16):
You should watch it like tonight, doesn't matter the mood
you're in. It doesn't matter what you got going on.
Just you could watch Sunset Boulevard and be like, this
is a great movie.
Speaker 1 (34:24):
Okay, Heathers, did you see Heathers? The regular ending? Well,
I'm sorry the yeah. The ending they went with was
Christian Slater's character wants to blow up the school gymnasium
during a basketball game, and Veronica what's her faces? One
(34:46):
on a Writer's character shoots him dead, stops it and
ends up bonding with the outcast girl. Yes, and the
original ending and the script I don't think this was
an I don't think it was shot. But she kills
Christian Slater's character, straps the bomb to herself and blows
(35:06):
up the school, and everyone has prom in heaven and
like everybody gets along. The nerds and the geeks are
all like living in harmony. Huh yeah, not bad. You're like, yeah,
I could see that. Blade Runner perhaps the most famous
changed ending of all time.
Speaker 2 (35:24):
I had not heard that.
Speaker 1 (35:26):
Yes, you know, the original ending of Blade Runner was
very dark, and that's the one that ended up in
the director's cut, Ridley Scott's Director's cut.
Speaker 2 (35:33):
What was that in me?
Speaker 1 (35:34):
Basically that Harrison Ford is going to die, well that
Rachel Ward is going to die because replicants have expiration dates,
and is Harrison Ford a replicant or not? And I'm
pretty sure the director's cut leaves it ambiguous, even though
I think Ridley Scott came out years later and said, yeah,
he is a replicant.
Speaker 2 (35:54):
So in the in the audience tested version, he turns
to the camera and says directly the audience, Nope, not
a replicant.
Speaker 1 (36:01):
Not quite end, but they all that terrible voiceover narration
was added, you know, in the non director's cut, and
they had the happy ending with infamous blue Sky shot
the Only Blue Sky, and the whole movie was then
like driving down the road at the end and explaining
the voiceover that, well, not all replicants have an expiration date.
(36:22):
You're special, so you don't have one, so we can
just live together in harmony. And that.
Speaker 2 (36:30):
Grave probably so.
Speaker 1 (36:32):
But that shot of the Only Blue Sky, it wasn't
even from that movie. It was pulled from outtakes of
the shining, the beginning car scene and the shining when
they're driving up the road. So yeah, Blade Runner really
screwed that one up, and really Scott, of course was.
He was not so happy about that.
Speaker 2 (36:51):
I can imagine this masterpiece. And then somebody tax on
outtakes from the movie. Yeah, weird bad. You got anything else? Nope, okay,
I don't either. We could probably do this for a
while though, because there's plenty of other movies that were
changed thanks to audiences. But if you are ever in
a line at a movie theater and somebody trustworthy seeming
(37:14):
comes up to you and I A see you, if
you want to be in a test audience, give it
a shot.
Speaker 1 (37:18):
Yeah, and big thanks to Mental Floss for all. A
lot of that list stuff came from one of their articles.
Speaker 2 (37:23):
Yeah that's right.
Speaker 1 (37:25):
Yeah, that's all I got.
Speaker 2 (37:26):
And if you want to know more about audience testing,
type those words in the search bart howstuff works dot com.
And since I said that, it's time for listener mail.
Speaker 1 (37:35):
I'm gonna call this oceans are cool if I pay attention. Hey, guys,
love the show. I used to listen every day when
I rode the trains from Brooklyn and to Manhattan to work,
But recently I started to work in Brooklyn close enough
for me to buy too, so I don't write trains anymore.
They're pros and cons for that. On one hand, I
save over one hundred and ten dollars a month in
MetroCard fees, don't have to wait for trains, which adds
(37:58):
another twenty minutes to the Google Map travel times. On
the downside, when it rains, it's tough the bike to work,
although I am learning to love that. And the other
con is that I don't have time to listen to
you guys as much. Since it's very detailed. I'm paying
attention is key if I want to enjoy the show
and I need to keep my thoughts on the road.
My commute is also down to fifteen minutes, which doesn't
(38:21):
help much either. I need to reconcile this fellas. This morning,
I tried to listen to The Ocean's episode while doing
some work on my computer. Was it long before I
knew I'd missed something critical. At some point, riptides were
defined and laddered up to equatorial wins, a connection I
recall from taking oceanography in high school. But I did
not understand when I wasn't paying attention this morning. When
(38:41):
I used to listen on the train, the show had
my undivided attention. Now I'm trying to find a new
time to listen. Maybe I'll save up shows and binge
them on a nice long bike ride. And that is
from Andrew negrosche nigrsh di gros Negros something like that. Interesting,
I've never heard that name.
Speaker 2 (39:01):
Well, thanks a lot, Andrew. We appreciate you getting in
touch with this. We hope you figure this out. This
sounds like a terrible conundrum. Maybe just get a new.
Speaker 1 (39:10):
Job that requires Yeah, yeah, go work in Vermont.
Speaker 2 (39:15):
Yeah, there you go, a problem solved. If you have
a problem that you want Chuck and I to solve
for you, like we just did for Andrew, you can
tweet to us at SYSK podcast. You can join us
on Facebook dot com, slash stuff you Should Know. You
can send us an email the Stuff podcast at HowStuffWorks
dot com and has always joined us at our home
on the web, Stuff you Should Know dot com.
Speaker 1 (39:41):
For more on this and thousands of other topics, visit
HowStuffWorks dot com.
Welcome to Stuff you Should Know from HowStuffWorks dot com.
Speaker 2 (00:11):
Hey, and welcome to the podcast. I'm Josh Clark, There's
Charles w Chuck Bryant, and Jerry's over there. So let's
just call this Stuff you Should Know, shall we.
Speaker 1 (00:19):
Hey, that's a good name for a show.
Speaker 2 (00:22):
Yeah, you know, I came up with that.
Speaker 1 (00:25):
You did, You're the inventor, and from that was hatched
all of the stuff podcasts.
Speaker 2 (00:33):
Yeah, but I mean how Stuff Works stuff.
Speaker 1 (00:36):
Yeah, but I don't know. I think you're not you're
selling yourself short.
Speaker 2 (00:39):
It's okay.
Speaker 1 (00:40):
So this is another one of our movie centric podcasts
that people seem to love. We've done all kinds of things,
from exploitation films to movies that change filmmaking, to how
films are rated.
Speaker 2 (00:54):
The n p A, n PAA, how TV ratings work. Yeah,
ten exploitation films, Yeah, that was a good one, and
some movies that changed filmmaking. That's right, all the stuff
you just said.
Speaker 1 (01:05):
Yeah, before we get going here, buddy, we need a
blanket spoiler because we're going to be talking about movies
that had their endings changed, and so this is your
fair warning. Most of them are old movies. Most of
this information is out there, of course, yes, But if
you're one of those people who gets really upset by
(01:26):
this kind of thing, you may want to You've been warned.
You've been warned. And now drum roll, we're going to
talk about audience testing, which is depending on the filmmaker
and the film can be a really super awesome, valuable.
Speaker 2 (01:41):
Tool, all right, it can also be like a terrible
the worst thing that's ever happened to you. Yep, And
apparently even if you believe in the system, it's a
terrible experience, says Ron Howard.
Speaker 1 (01:53):
Yeah, he's a fame, well not famous for but he
is on record along with his producing partner Brian Graser
for who.
Speaker 2 (02:01):
By the way, do you know this about Brian Grazer.
Speaker 1 (02:03):
Best hair and show business?
Speaker 2 (02:05):
Well, clearly, yeah. But he has the habit of taking
frame pictures of himself over to people's houses and when
they're not looking, he'd like plants them among their family photo.
Speaker 1 (02:15):
That's pretty awesome, pretty cool. That reminds me. I know,
you hate George Cloinney's guts, but there's you said that
there's a famous practical he's a big practical joker and
he prepared this one over the course of like a year,
supposedly told like his best friends that he had taken
up painting. Oh yeah, just kept that going and going,
and then like gave some of his close friends he's awful,
(02:35):
awful paintings, right, and you know you're kind of expected
to hang it up, right, They're like, oh, thanks.
Speaker 2 (02:41):
George, Yeah, that's a pretty good one.
Speaker 1 (02:42):
This is great.
Speaker 2 (02:44):
Oh but he felt so good about himself after.
Speaker 1 (02:46):
That, so glib so. Ron Howard and his producing partner
Brian Gratzer are on record as saying that they really
can get a lot out of it, and like what
they would hate is to put a movie out and
find out there's something they really easily could have corrected,
either like confused or upset an audience as a whole.
But he also said it's terrible to go through. Yeah,
(03:09):
Like even when it's a good experience, it's never a
good experience.
Speaker 2 (03:12):
And that's somebody who believes in the system. If you
don't believe in the system and you still have to
go through it, like Robert Altman did.
Speaker 1 (03:21):
He's not a test audience kind of guy. No, can
you imagine putting him through that?
Speaker 2 (03:25):
No, that's like letting all of the town's ladies bring
Boo Radley that the pies for killing Bob Yule. You know,
you can't put Robert Altman through the audience testing system.
Who did they? Oh?
Speaker 1 (03:39):
I don't know, a dummy because yeah, he was a
Maverick filmmaker. My brother and my Emily worked on movies
with him. It's pretty neat legend. I know, it's good stuff.
I wish I could tell a couple of the stories.
Speaker 2 (03:53):
But I mean, did you expect to get rich off
of a Robert Altman movie? No, apparently these people did.
Speaker 1 (04:00):
I wonder what his top grossing movie ever was. Probably
The Player or Mash I'll bet it was Mash. Yeah,
movies didn't gross so much back then.
Speaker 2 (04:07):
Yeah, but it's just it's a perennial classic.
Speaker 1 (04:10):
Yeah, that's true.
Speaker 2 (04:11):
The Player was great.
Speaker 1 (04:13):
Yeah, I mean he's He's made a lot of great
movies and some kind of stinkers as well. Oh yeah,
but a lot of classics like Ashville. Have you ever
seen Nashville?
Speaker 2 (04:21):
No? I never saw in Nashville.
Speaker 1 (04:22):
So good?
Speaker 2 (04:23):
So the Player shortcuts? Yeah, I didn't see the uh
the Lake Woble Gone one with Lindsay Lohan for some reason. What. Yeah,
they did Pie Home Companion. Yeah, with Lindsay Lohan. That's
just weird and Meryl Street. Hum, it was like, let's
(04:47):
getting casting director super drunk. Yeah, they just have a
point out photos head shots and then that's how we'll
cast this.
Speaker 1 (04:54):
Uh and then McKay and miss Miller and that's a
classic as well.
Speaker 2 (04:57):
Never even heard of it more and Beaty liked mash though.
That was a good one.
Speaker 1 (05:01):
It was so Ron Howard calls the process brutal and hideous. Yeah,
he said, even if it's going well, it's not fun. Yeah.
Francis Ford Coppola is somewhat responsible, although they have tested
movies all the way back in the thirties. Yeah, when
audience has said, you know that somewhere over the Rainbow
(05:22):
song really slows things down.
Speaker 2 (05:24):
It's a stinker. Get it out of there.
Speaker 1 (05:26):
Thank goodness they didn't listen, because that became one of
the most iconic singing performances ever in a movie.
Speaker 2 (05:33):
Yeah, and apparently pointing that out is a really good
way to talk somebody out of cutting something a test audience, Yeah,
think about somewhere over the Rainbow. Chief.
Speaker 1 (05:43):
So when Coppola was making Apocalypse Now. He had focus
groups and.
Speaker 2 (05:49):
Really, yeah, I would not have guessed that.
Speaker 1 (05:53):
Well that movie.
Speaker 2 (05:54):
You've seen The Hearts of Darkness, right, No, the documentary
about it, Yeah, no, it's really good.
Speaker 1 (06:00):
He had a lot of studio heat coming down on him.
Speaker 2 (06:02):
You know you've got a great movie when the documentary
about your great movie is a great movie.
Speaker 1 (06:07):
Yeah, that's a good point.
Speaker 2 (06:08):
It's really good.
Speaker 1 (06:09):
I think his wife made.
Speaker 2 (06:10):
That, although that's not necessarily true. The best worst movie
was a great documentary, and Trolls two was not a
good movie in any way, shape or form.
Speaker 1 (06:18):
I've never heard of best worst movie.
Speaker 2 (06:19):
It's about have you ever heard of Trolls two?
Speaker 1 (06:21):
I've heard of Trolls so, I guess I've heard of Trolls.
Speaker 2 (06:23):
Too, apparently made by totally different filmmakers, completely unconnected story
wise and everything. This is just Trolls two, gotcha? And
this documentary caught up with the people from Trolls Too,
because it became like kind of this cool hipster thing
to like, look, how terrible this movie is, like the
Room Sure, and this documentary kind of followed this movement
(06:45):
and went and found the people who were in this
movie who had no idea this was going on, and
then like basically puts him on the road going around
promoting showings of Trolls Too and just living it up.
That was great documentary.
Speaker 1 (06:59):
The documentary is good.
Speaker 2 (07:00):
The movie wasn't good, right, Okay, so I ate my
own words, understood, No you didn't. But I think one
of your pals from UCB.
Speaker 1 (07:07):
Is in it Controls Too.
Speaker 2 (07:09):
In the best worst movie the documentary.
Speaker 1 (07:12):
Do you know one of the founders, No, not Matt Besser.
Speaker 2 (07:21):
Yes, it might be Matt Besserer. Maybe I don't know
one of the guys from you. There's like a bunch
of UCB people in it.
Speaker 1 (07:28):
Yeah, but okay, I got you. Besser was one of
the founding members though, with Amy Poehler and Ian Roberts
and Matt Walsh.
Speaker 2 (07:36):
Maybe Matt Walsh is the one that was in old school, right, Yeah,
so this is the other Matt. Yeah, I think he
might be in it.
Speaker 1 (07:44):
Yeah, he's a good guy.
Speaker 2 (07:44):
He listens to our show, Prove me wrong, Matt, prove
me wrong.
Speaker 1 (07:48):
Razorbacks, that's for him.
Speaker 2 (07:49):
He's an Arkansas fan or he just really likes Razorbacks. No,
he's a Arkansas guy, gotcha.
Speaker 1 (07:54):
Yeah, he's just a fan.
Speaker 2 (07:55):
Of the big are we had an ad break yet.
Speaker 1 (07:58):
Not yet, not until I finished the story about Coppola.
He when he was making Apocalypse Now, hired a man
named Joe Farrell or Farrell to help with marketing, and
Farrell said, you know what, I see a pretty big
opportunity here, and so he partnered up with Katherine Catherine
Para and formed the National Research Group. I don't know,
(08:21):
I don't think they're still exclusive, but at the time
signed all the studios to an exclusive contract to do
their audience testing. And I think there's still the top
dog in audience testing, even though I think there are
other companies that do it.
Speaker 2 (08:33):
Now, this is the company with the extraordinarily secretive name NRG,
the National Research Group. Yeah, and they also do like
contract hits I think for the CIA and the NSA.
Speaker 1 (08:46):
No, but they don't have a website that I could find,
Like I was trying to just get a little information
about the company.
Speaker 2 (08:50):
But so they're a division of Nielsen.
Speaker 1 (08:53):
Well, which of course they're super secretive.
Speaker 2 (08:55):
We already tell they are. But yeah, so it's crazy
like this.
Speaker 1 (09:00):
It's like a cabal.
Speaker 2 (09:01):
Yeah, you know, very much. So Randy Quaid was right,
you might be.
Speaker 1 (09:05):
And they don't just do audience testing. They also, back
when people had telephones, would do a lot of just
random calling and saying like market research, like did you
know this movie was coming out?
Speaker 2 (09:19):
It's called awareness.
Speaker 1 (09:20):
Yeah, awareness campaigns and stuff like that.
Speaker 2 (09:23):
And then they'd split you into four quadrants, right, which
is the four quadrants that everyone on the planet is
divided into men under twenty five, men over twenty five,
women under twenty five, and women over twenty five. That's right,
and that's it. There's the division of importance. At age
twenty five, you cross over and get put out to
(09:46):
pasture basically. All right.
Speaker 1 (09:48):
So that's the longest setup in history.
Speaker 2 (09:51):
So wait a minute. I want to make sure I
understand what you're saying, because I made a lot of
jokes in the middle of all this.
Speaker 1 (09:58):
They were flying.
Speaker 2 (09:59):
But you're saying that NRG, the National Research Group, came
out of focus groups done for apocalypse.
Speaker 1 (10:08):
Now, Yes, that's the way I understand it.
Speaker 2 (10:10):
Wow, Yeah, I did not know that.
Speaker 1 (10:12):
Yeah, but they were already doing focus groups, but this
company really ran with it, I think in the corner
of the industry. Yeah, I got you, all right, So
let's take that promised break and we'll talk more about
audience testing right after this. All right, back with audience testing.
(10:40):
There's many different reasons to test your movie. Yeah, sometimes
if it's a comedy, they will literally do multiple screenings
just to test little bits and little jokes.
Speaker 2 (10:51):
If that makes sense to me. Yeah, if you're testing
a comedy, totally makes sense. Because a couple of comedy
writers that you put into like a room and say,
write this hilarious movie or take this dog of a
movie and punch it up with some jokes.
Speaker 1 (11:05):
It's very subjective.
Speaker 2 (11:06):
It might sound fun to you, sure, but then you're
a movie executive and you had like a three scotch launch,
so everything seems kind of funny right now, you know
what I mean? Yeah, sixties right, so I get I
get that, and then like this joke landed, this joke didn't,
This joke was too far, and it like went against
like what the what the character we've developed so far?
That and that to me makes sense, Yeah, Like I
(11:28):
see audience testing to that end.
Speaker 1 (11:31):
For sure, you see the value.
Speaker 2 (11:32):
But if it's like should this explosion be seventy percent
more explosive, well, or should this guy's brain splatter, like
more or less?
Speaker 1 (11:42):
Well with the violence, you have a point they that
is something they will also test for it like, are
you turned off by the amount of violence?
Speaker 2 (11:49):
Could we dial it back a little bit?
Speaker 1 (11:50):
Yeah?
Speaker 2 (11:51):
What was the movie that was given an example in
this article of of something that was found to be
too violent?
Speaker 1 (11:57):
Good Fellas? Yes, yeah, that was in a mental Thos article, right, Yeah, yeah,
Goodfellas the audience like he had and that was the
first movie Scorsese had ever tested.
Speaker 2 (12:07):
Yeah, and yeah, that's another guy I don't see like
testing stuff. I'm really surprised about Apocalypse Map.
Speaker 1 (12:13):
Yeah.
Speaker 2 (12:14):
Well, like I said, it was studio heat, Yeah, I gotcha.
Speaker 1 (12:17):
Yeah, Scorsese, I think like forty or fifty people walked
out in the first ten minutes because of the violence. Yeah,
and they said that they didn't like that third act
where you know, just they thought it was too intense, Yeah.
Speaker 2 (12:29):
And apparently very drawn out, way more drawn out than
it even is now.
Speaker 1 (12:33):
Yeah, they thought the ending of Goodfellows is too intense.
Speaker 2 (12:36):
Right, and again very drawn out. So he went to
a quick cut montage thing, yeah, which actually ended up
making it better because Henry Hill is like coke to
the gills at this point. Sure, and like that whole
thing where like he's looking driving, watching the helicopter that's
following him. Yeah, and it's like chop, chop, chop. It
(12:56):
really gets the point across.
Speaker 1 (12:58):
Yeah, it was. It was very effective. So it worked
in that case. I think, yes, right, the system works. Well,
I don't know about that. It worked in that case.
So how these things work is, if you live in
the Los Angeles area and you go to the mall,
or if you're even in a movie line, you've probably
been approached or seeing the people with clipboards, don't run
(13:20):
away because they are not trying to sell you something.
They're trying to give you something, which is a free screening,
that's true, and they'll come and sign you up there.
I ask if you're interested, Hey, we got a new
Owen Wilson movie that we're screening in Burbank next Friday night.
Speaker 2 (13:34):
And everybody starts murmuring, oh oh, I love him. He's
a national treasure. And everybody starts signing up.
Speaker 1 (13:39):
What's with the nose?
Speaker 2 (13:41):
He got a broken when he was younger.
Speaker 1 (13:43):
It looks like more than once. I liked that he
didn't fix it.
Speaker 2 (13:46):
Though, Yeah, he was a smart alec.
Speaker 1 (13:48):
That thing is just like so crooked, and he's just like, yep,
this is me.
Speaker 2 (13:52):
He said. He always expected to do something like go
into advertising or whatever. But if you're a buddy of
Wes Anderson's from a young age, yeah, going into movies.
Speaker 1 (14:00):
Sorry, I'm a big fan of him and his nose. Yeah,
so you're gonna get approached. Like I said, probably in
LA but they do test all over the country. Because
we've talked about will it play in Peoria? Yeah, sometimes
they want to go to Ohio and see what you know,
someone outside of the LA area feels about the movie.
Speaker 2 (14:21):
Right. But the reason that your chances are vastly higher
of being asked to be in a test audience for
a movie in Los Angeles is because a lot of
times the people working on the movie who live in
Los Angeles have to attend these things. Yeah, because not
only do they want to, they want to get the
feedback from it, which we'll find out about that. They
(14:43):
also want to experience it firsthand, sure, so they get
a real feel for how the audience is responding.
Speaker 1 (14:48):
Yeah, And if you're eighteen to thirty four, you're more
likely to get approached because that's the sweet spot of
course that you talked about. Yeah, if you're older than that,
then forget it.
Speaker 2 (14:56):
No one cares about you.
Speaker 1 (14:57):
No one cares about you.
Speaker 2 (14:58):
Give up all of your dreams and work and yep,
smoke a pipe, be quiet.
Speaker 1 (15:03):
That's right. If you are an assistant editor or in
any part of the editing crew, it's going to be
a bit of a hellish experience because you're going to
be scrambling trying to timp in music and temp in
special effects, like some really hackneyed version of special effects,
just so they know, like in the scene it's going
(15:24):
to be a spaceship.
Speaker 2 (15:26):
And then the editors like, well, I can just cut
to this stock quick time footage of a spaceship landing
and get the point across, Like sure.
Speaker 1 (15:34):
So they're going to be scrambling trying to put together
as much of a finished project as they can, and
most of the times they will also be at the theater.
They're going to queue it up and watch it just
to make sure it's ready to roll. Yeah, before the
audience sees it, you're gonna have a moderator. Have you
ever been to a test screen?
Speaker 2 (15:51):
No of you?
Speaker 1 (15:52):
Yeah?
Speaker 2 (15:53):
Cool?
Speaker 1 (15:54):
Yeah, it's neat what I don't remember.
Speaker 2 (15:57):
Wow, it must not have been very good movie.
Speaker 1 (15:58):
That was a long time ago. Yeah, that was it.
I love that movie. It wasn't. I did watch that
the other night though, in full.
Speaker 2 (16:06):
That's that was. That was one of the songs that
I sang at piano karaoke, A couple of dollars songs.
Sang that you mean and I sang I was in
the stream.
Speaker 1 (16:16):
Oh well that she did the Kenny Rogers part and
you did the Dolly part.
Speaker 2 (16:19):
We switched it up a little. Yeah, very hard song
to sing, by the way, and that movie holds up.
Speaker 1 (16:25):
Man, it's still very funny.
Speaker 2 (16:26):
Yeah, the great Dabney Coleman, great Lily Commlin, the great
Dolly Parton, great Jane Fonda, the great Jane Fonda.
Speaker 1 (16:35):
So good, and you know, the three of them, like
it was just a great shoot. There were best buds,
and they remained friends all these years later.
Speaker 2 (16:43):
You can tell.
Speaker 1 (16:43):
Yeah, it's kind of neat. Uh all right, So where
was I? Oh, Yeah, someone's gonna introduce the movie and
they're gonna get you all excited and like everyone's glad
to be here. So you know when Wilson's new movie.
Speaker 2 (16:56):
Right, everybody reach under your seat for some pre red vines.
Speaker 1 (16:59):
Yeah, yeah, might get little free something you never know,
And they're going to explain, like, what you're about to
see is gonna be a little rough in parts and
the effects aren't complete, so just don't take that into account. Right.
Speaker 2 (17:10):
They're not looking for like, well, maybe you should color
correct it a little more before you release it. They're
aware of that.
Speaker 1 (17:16):
I think you're supposed to take the green screen out
of the shot.
Speaker 2 (17:19):
Right. What they're looking for is pacing. They want to
know you as like an audience members, keeping up with
the movie and how it's how it is going, right.
Speaker 1 (17:28):
Yeah, you're gonna well, you're gonna watch the movie just
as cleanly as possible, and then you're gonna have to
fill out comment cards. And they're pretty standard, but they
can tailor it for the movie. Like if, like let's
say you think there's a problem with one of the characters,
they might specifically say, like, what'd you think about the
Luke Wilson character?
Speaker 2 (17:48):
Too much?
Speaker 1 (17:49):
Too little?
Speaker 2 (17:49):
He's no Owen Wilson.
Speaker 1 (17:52):
They might ask your favorite parts, your least favorite parts? Yeah,
how did it flow? Did anything stand out to you?
Speaker 2 (18:00):
Like could you follow it the whole time.
Speaker 1 (18:01):
Yeah, did it make sense? That's a good.
Speaker 2 (18:03):
One, right, What did you think of the jokes?
Speaker 1 (18:06):
Yeah? What do you think of the jokes? They drill down,
They try and get as specific as they.
Speaker 2 (18:10):
Can, and these are just the comment cards.
Speaker 1 (18:13):
Yeah.
Speaker 2 (18:13):
Supposedly, if you're in the demographic that they're shooting for
in release and you're at this thing, as you're trying
to leave, they might come up to you and be like, hey, like, yeah,
this is just kind of the schlubby audience. You want
to be part of a real focus group, come with us,
And then you follow the stranger to a second location.
Speaker 1 (18:33):
Yeah, do you follow them to a van with a
little round window in the back.
Speaker 2 (18:36):
That's been covered over with a black plastic bag?
Speaker 1 (18:40):
Yeah, they got dark it did. So the big thing
they're looking for, though, the money question is would you
recommend this movie to a friend. That's the one thing
they want to know, and that is where you're going
to get your overall score that they really are going
to hone in.
Speaker 2 (18:59):
On, right, And they want to know that so bad
that if they don't say I definitely would, Yeah, they
don't even count that. Yeah you can say like yeah, yeah,
maybe probably nope. So a movie. A movie gets a
score at the end, and it's based apparently exclusively on
whether or not you said you would definitely recommend the
movie to a friend.
Speaker 1 (19:18):
Yeah, out of one hundred people, they will score.
Speaker 2 (19:20):
That so yeah, or out of however many people. But
for example, out of one hundred, yeah, if sixty people
say that, yeah, I guess I would recommend it to
a friend, and forty people say that they definitely would,
that movie got to score forty terrible, not even like
a like you can't even take into account that yeah.
(19:41):
Probably you have to say you definitely would recommend it
to a friend to get a point for that movie.
Speaker 1 (19:47):
Yeah, And they said in this article, I'm sure there's
a huge caveats on a sliding scale, but uh, anything
over eighty they think they're in pretty decent shape. I
would guess eighty percent a low the average, they said.
Speaker 2 (20:01):
A lot, a lot less than eighties lately, he asked me,
except of course for Mad Max x Makina. That was
a pretty great movie. So good, they ask in this article.
Speaker 1 (20:10):
That makes you wonder, like when you when a train
wreck of a movie comes out, like what happened? Did
they focus scrop it, Did they test screen it? Did
they ignore it?
Speaker 2 (20:19):
Yeah?
Speaker 1 (20:20):
Like what what? How does that thing get released? Is
the question?
Speaker 2 (20:23):
Or are you asking me? Yeah?
Speaker 1 (20:24):
Well, I mean no, I'm just throwing it out there.
Speaker 2 (20:27):
I'm not the one who's been the one of these
tests creating. No, it does make you wonder though, like
they probably didn't they didn't screen it, or the the
people who had edit rights didn't care to listen. But this,
this article keeps picking on glitter, which seems mean because
there's a lot of stinkers out there. Apparently Human sevent
(20:50):
pede three has the I think it came out recently.
Speaker 1 (20:54):
Is this the one in prison? I don't know. I
think it's the first, like hundreds of people.
Speaker 2 (21:00):
Yeah, it has the lowest Metacritics score of all time.
Speaker 1 (21:04):
Really you saw the first one?
Speaker 2 (21:06):
Yeah? Have you seen it? No, dude, it's definitely worth seeing.
Really Yeah.
Speaker 1 (21:11):
I just think I get it just by seeing the trailer.
Speaker 2 (21:13):
You would No, No, I mean there's no real surprises
beyond what you've seen in the trailer. But it's not
even appreciating it in an ironic way, even taking it
on its own terms. You're kind of like it's worth
seeing at least once like can't be disturbing or yeah, okay,
but not like not like hostile can't be disturbing. Have
(21:39):
you seen Hostile?
Speaker 1 (21:40):
Yeah? I didn't think that was very campy.
Speaker 2 (21:42):
It was just straight up disturbing. This one already disturbing. Yeah,
the guy was definitely going for an already bent despite
the premise of the movie. All right, but yeah, there's
some disturbing stuff.
Speaker 1 (21:53):
I'm curious to see if that guy has anything left
in his bag of tricks. Because you can only go
mouth the butt for so long.
Speaker 2 (22:00):
What's what's can't be disturbing? Give me an example of
that thing?
Speaker 1 (22:04):
Oh, I think like like a reanimator type of thing.
Speaker 2 (22:11):
Oh yeah, okay, I see, yeah, hostels not can't be
dis reanimator definitely is.
Speaker 1 (22:19):
Can we talk about Tom Cruise for a minute and
how obnoxious this move was.
Speaker 2 (22:22):
Yeah, I guess he really believed in the way the
editing process was already going.
Speaker 1 (22:27):
Yeah, he crashed his own test screening of Mission Impossible
three allegedly and ran in there and lo.
Speaker 2 (22:36):
Was like, Hey, everybody, I'm Tom Cruise.
Speaker 1 (22:39):
Let's high five each other.
Speaker 2 (22:41):
Enjoy the movie, give me a couch to jump on.
Speaker 1 (22:43):
I mean can you believe that that totally negates the
purpose of an audience screening because everyone there. I'm sure
there were a few people who are like, oh, I
hatred got too weird though, but the rest of people
are like, oh my god, Tom Cruise just came into
the very test screening. Yeah, like, they probably din't feel
good about writing negative comments, right, you know.
Speaker 2 (23:00):
He white over here. He might want to hang out
with me after this, and I want to be able
to tell him that I gave him high marks.
Speaker 1 (23:06):
I can't believe he did that. I can't believe he
did that.
Speaker 2 (23:08):
Actually, yeah, I can too. So by the way, Also,
there's a really interesting long form article in La Weekly
from about a year ago called how YouTube and Internet
journalism destroyed Tom Cruise our last real movie star. And
it's it's not an apologist's view, but it definitely defends
(23:33):
him against a lot of it's just read it.
Speaker 1 (23:38):
I'm still a fan of his acting in most cases,
Like that Edge of Tomorrow movie was terrific.
Speaker 2 (23:44):
Yeah, I haven't seen it yet and I've heard nothing
but good things about it. Yeah, it was really good.
Speaker 1 (23:47):
But no, I can still watch his movies and separate
that from the wacko in real life.
Speaker 2 (23:52):
This is yes, this is defending his acting as well,
but it's defending as that public perception of him as
being a whack go Yeah, and he basically like really
kind of pulls apart like all the layers and you're like,
oh yeah, Like it really goes to town stressing that
he never jumped up and down on the couch, right.
Speaker 1 (24:11):
He just jumped up on the couch.
Speaker 2 (24:12):
Exactly, But they go to great lengths to point out
that that is not the same thing as just off
handedly saying, oh, yeah, he jumped up and down on
that couch like he was crazy. Yeah. No, he jumped
up on the couch once and then stepped down or
something like that. So it's a really great article, really
interesting because he's just been like kid for so long now. Yea,
it's really it's almost surprising to see somebody step up,
(24:35):
not as like a crusader on behalf of Time cruise,
but just more to be like, everybody put your knives away.
Speaker 1 (24:42):
Well, I think the knives are out, not just because like, oh,
he's a scientologist and people think that's weird. It's like
when you dig down into scientology and find out the
things that he abides by like the slave labor to
decorate his cars and to wash his truck. And you
know that makes you kind of I'm not a good person,
you know.
Speaker 2 (25:01):
Yeah, I see what you mean.
Speaker 1 (25:03):
Like that's beyond like, oh, that's just a strange religion.
That's like people are being paid fifteen cents an hour
to take care of me.
Speaker 2 (25:11):
Oh, if they're being paid, that's not slavery.
Speaker 1 (25:14):
That's true. That's a good point.
Speaker 2 (25:18):
What was the what's the name of the Was it
an HBO documentary?
Speaker 1 (25:22):
Going clear?
Speaker 2 (25:22):
Going clear?
Speaker 1 (25:23):
Yeah? Based on the book Going Clear.
Speaker 2 (25:25):
I saw the guy who wrote the book come speak.
Oh really, that guy likes something that I don't remember
his name, but like, I mean, how whatever you think
of his book or his journalism, that guy had brass ones.
Oh really, he's the one who did it. He's the
one who went after scientology when no one else would
touch it. Oh yeah, he's the guy who did And
(25:46):
apparently five million lawyers read that book before it was
ever published.
Speaker 1 (25:51):
I think HBO supposedly had like one hundred attorneys when
they went to adapt it as a documentary.
Speaker 2 (25:56):
Yeah, and this is after it had already been vetted
by all of the lawyer in the book publishing world. Yeah,
it's good.
Speaker 1 (26:03):
Yeah, the great book. All right, let's take another break here,
and when we come back, we'll talk about some of
the more famous examples of movies that have been changed
due to audience screenings.
Speaker 2 (26:13):
It's gonna be so good, so chuck. There's there's some
legendary changes to movies that have been made over the years.
(26:34):
Like we mentioned the Wizard of Oz. Good that was
not a change actually, but like a test audience suggested
it be taken out somewhere over the rainbow apparently. Also
very famously, James Bond's movie Licensed to Kill Yeah, was
originally called License Revoked. Yeah, And even after all the
(26:55):
promotion material posters have been made, they changed the name
because American test audiences were like, I don't understand what
the title means, like his driver's license was revoked. Yeah,
and they were serious.
Speaker 1 (27:05):
Yeah, it was so weird. I mean it sounds like
a like a Queen Latifa comedy license, you know, like
where she's a bus school sassy school bus forever.
Speaker 2 (27:14):
And the like the K and the R backwards or
something like that. And the poster.
Speaker 1 (27:19):
Yeah, absolutely, she's a sassy, pretty Woman. The movie, the
Sacraine feel good movie from Richard Gere and Julia.
Speaker 2 (27:29):
Roberts apparently not started out as Sacra.
Speaker 1 (27:32):
No, this is hysterical to me. It was originally titled
three thousand, based on the amount of money it costs
to hire a hooker for a week. Sure that would
like made no sense.
Speaker 2 (27:43):
Yeah, apparently they changed the name, not because of the test,
is because the execs were like, sounds too science fiction
y and they were right.
Speaker 1 (27:50):
They were right, Pretty Woman, it's a much better title
for that for that movie.
Speaker 2 (27:54):
Uh.
Speaker 1 (27:54):
And then apparently it was had a lot darker edge
when it was in script form, and it ended with
Richard Gears's character kicking Julia Robert's character out of his
car and driving away. That's how it ended. Not very
rom commy.
Speaker 2 (28:10):
No, no, well it wasn't.
Speaker 1 (28:12):
A rom com It was Gary Marshall. But see what
I want to know is.
Speaker 2 (28:17):
Gary Marshall, he's a rom COMMI director.
Speaker 1 (28:20):
No, that's what I'm saying. He made that, like what
I want to It seems to me like all that
would have changed with Gary Marshall, not like in test screenings.
Speaker 2 (28:27):
Yes, I think that's what happened. And then what the
test audience. The hand they played was that they're like,
you need to change that ending. Okay, got they need
to get together.
Speaker 1 (28:36):
Right, Fatal Attraction famously changed. Yeah.
Speaker 2 (28:41):
So the ending of Fatal Attraction apparently has Glenn Cose
Glenn Close, who's Michael Douglas's former one night stand turned stalker,
killing herself flitting her own throat. Yeah, pretty good with
a knife with Michael Douglas's fingerprints on it. And then
Michael Douglas is arrested for her murder.
Speaker 1 (29:01):
Yeah, and like it's supposed to, they don't show trials
and things, but it ends with him going to prison.
Speaker 2 (29:07):
Yeah, and that's a great ending. Glenn Close loved it.
She was very sad when audiences were like, Nope, we
hate this character so much, like she has to be
killed off. She can't kill herself, somebody has to kill her. Yeah,
and just for good measure, make it the wife.
Speaker 1 (29:22):
Well that makes sense because I think people people weren't
rooting for Michael Douglas in that movie either because he
was such a jerk right toyed with this woman left her,
had this great wife at home and kid. So people
I think they said, you know what would go over
the top is if the only sympathetic character in this movie,
(29:42):
which is Ann Archer, is the one who does it
right and that was effective, I'll give it to him.
Speaker 2 (29:46):
Yeah, but apparently Glenn closes like the original ending was
way better.
Speaker 1 (29:50):
She washed her hands of it. Did you ever see
Scott Pilgrim Versus the World? No, it's a good flick,
the original, and that one had him had his character.
Speaker 2 (30:05):
Ending up with his.
Speaker 1 (30:08):
Love interest knives Chow played by Ellen Wong instead of
his dream girl Ramona Flowers, and the test audiences didn't
like that and said, basically, this guy spent the whole
movie annoyed by this girlfriend and pining for this other
girl and defeating her evil ex boyfriends. He can't just
(30:31):
not end up with her at the end. It's very
anti climactic. So they said, all right, we'll change it.
And that's what it was in the graphic novel too,
so I know why they changed it to begin with.
Speaker 2 (30:40):
Who knows, So they went back to the original ending. Yeah,
that it was of the material is adaptive.
Speaker 1 (30:47):
From that's right.
Speaker 2 (30:47):
Yeah, pretty in pink. Yeah, this one's pretty famous too.
I'd heard this many many years ago that originally they
had Molly Ringwald ending up with John Cryer with Ducky
rather than Blaine Andrew McCarthy, which, by the way, I
saw Weekend at Bernie's again recently. It's a No, it's
(31:09):
not that bad. Really. Yeah, it's very thin. Well it's
one it's one joke. Yeah, but the.
Speaker 1 (31:16):
Boy they take it in so many directions.
Speaker 2 (31:18):
Yeah, it's pretty funny, and it's amazing how young Jonathan
Silverman and Andrew McCarthy look, I mean young.
Speaker 1 (31:27):
Yeah, and the guy who played Bernie, who, like I
don't think ever did anything else. No, I never saw
him to anything else.
Speaker 2 (31:33):
He threw out the ball at like a Los Angeles
Dodgers game or San Francisco Giants.
Speaker 1 (31:38):
Gamers nineteen eighty seven.
Speaker 2 (31:39):
Yeah, no, no, like last season. Really, I don't remember
the reason why, but it was like he's been working
out that character for a long time.
Speaker 1 (31:49):
You know, it would have been genius if they would
have had Silverman and McCarthy out there like grabbing his
arm and throwing the ball for him as if he
were dead.
Speaker 2 (31:58):
It would have been great.
Speaker 1 (31:59):
That would have been pretty good. I think they call
that meta these days, Yeah, they do, or metas already
out it's like, so two years ago, you know, uh,
twenty eight days later you saw that one, right, Yep,
that one ends with Jim's Cilia Murphy's character dying in
the original ending, and his people were going to rescue him,
(32:23):
just like going back out to fight the zombies again.
Speaker 2 (32:26):
Right.
Speaker 1 (32:27):
They are like, no, that stinks.
Speaker 2 (32:29):
I love this guy. Yeah, so they he recovers. Yeah,
didn't end in like a field or a meadow.
Speaker 1 (32:35):
Or they're in the field and I think they see
a plane.
Speaker 2 (32:39):
I'm sure. Danny bow is like, oh, you want a
happy ending, Yeah, give you you're happy, stupid ending. Here's
your stupid ending. Chi kuna, you stupid audience.
Speaker 1 (32:46):
I like the ending, though I don't.
Speaker 2 (32:48):
I like both.
Speaker 1 (32:49):
I don't mind a happy ending when it's done well.
But I also like dark endings. Yeah, you know one
of the It doesn't have to be one or the other.
Speaker 2 (32:56):
What about the opposite dark beginnings in un dark beginnings
like with Sunset Boulevard.
Speaker 1 (33:03):
All right, go ahead and break it down. I don't
know that one.
Speaker 2 (33:06):
Oh have you ever seen Sunset Boulevard. No, that's on
my list as a classic movie for a reason. It's
a truly great movie. But apparently at the beginning of it.
Originally they had Bill Holden's Corpse, the character he plays
corpse talking to other corpses in the morgue, explaining how
he got there. Oh wow, and audiences were like, is
(33:28):
this a comedy? Like what is going on here? Apparently
a lot of people walked out and Billy Wilder, the
director was there, yea, and some lady told him to
his face that it was a steaming pile and maybe
didn't know it was him or something like that. But
the the legend goes that she told them to his
face like this is terrible and so steaming pile. He
(33:50):
reshot the beginning to where it's Bill Holden's corpse, but
it's a voiceover and he's not talking to other corpses
in the morgue.
Speaker 1 (33:59):
But it's not a comedy, right, it's not at all.
Maybe because it was Billy Wilder, people had an expectation.
Speaker 2 (34:04):
Yeah, And I mean there's some parts that you wonder like,
did he mean that to be like kind of funny,
like in a really dark way.
Speaker 1 (34:11):
Maybe?
Speaker 2 (34:12):
Yeah, it's quite possible. But great, I need to see that.
Speaker 1 (34:15):
I love Billy Wilder.
Speaker 2 (34:16):
You should watch it like tonight, doesn't matter the mood
you're in. It doesn't matter what you got going on.
Just you could watch Sunset Boulevard and be like, this
is a great movie.
Speaker 1 (34:24):
Okay, Heathers, did you see Heathers? The regular ending? Well,
I'm sorry the yeah. The ending they went with was
Christian Slater's character wants to blow up the school gymnasium
during a basketball game, and Veronica what's her faces? One
(34:46):
on a Writer's character shoots him dead, stops it and
ends up bonding with the outcast girl. Yes, and the
original ending and the script I don't think this was
an I don't think it was shot. But she kills
Christian Slater's character, straps the bomb to herself and blows
(35:06):
up the school, and everyone has prom in heaven and
like everybody gets along. The nerds and the geeks are
all like living in harmony. Huh yeah, not bad. You're like, yeah,
I could see that. Blade Runner perhaps the most famous
changed ending of all time.
Speaker 2 (35:24):
I had not heard that.
Speaker 1 (35:26):
Yes, you know, the original ending of Blade Runner was
very dark, and that's the one that ended up in
the director's cut, Ridley Scott's Director's cut.
Speaker 2 (35:33):
What was that in me?
Speaker 1 (35:34):
Basically that Harrison Ford is going to die, well that
Rachel Ward is going to die because replicants have expiration dates,
and is Harrison Ford a replicant or not? And I'm
pretty sure the director's cut leaves it ambiguous, even though
I think Ridley Scott came out years later and said, yeah,
he is a replicant.
Speaker 2 (35:54):
So in the in the audience tested version, he turns
to the camera and says directly the audience, Nope, not
a replicant.
Speaker 1 (36:01):
Not quite end, but they all that terrible voiceover narration
was added, you know, in the non director's cut, and
they had the happy ending with infamous blue Sky shot
the Only Blue Sky, and the whole movie was then
like driving down the road at the end and explaining
the voiceover that, well, not all replicants have an expiration date.
(36:22):
You're special, so you don't have one, so we can
just live together in harmony. And that.
Speaker 2 (36:30):
Grave probably so.
Speaker 1 (36:32):
But that shot of the Only Blue Sky, it wasn't
even from that movie. It was pulled from outtakes of
the shining, the beginning car scene and the shining when
they're driving up the road. So yeah, Blade Runner really
screwed that one up, and really Scott, of course was.
He was not so happy about that.
Speaker 2 (36:51):
I can imagine this masterpiece. And then somebody tax on
outtakes from the movie. Yeah, weird bad. You got anything else? Nope, okay,
I don't either. We could probably do this for a
while though, because there's plenty of other movies that were
changed thanks to audiences. But if you are ever in
a line at a movie theater and somebody trustworthy seeming
(37:14):
comes up to you and I A see you, if
you want to be in a test audience, give it
a shot.
Speaker 1 (37:18):
Yeah, and big thanks to Mental Floss for all. A
lot of that list stuff came from one of their articles.
Speaker 2 (37:23):
Yeah that's right.
Speaker 1 (37:25):
Yeah, that's all I got.
Speaker 2 (37:26):
And if you want to know more about audience testing,
type those words in the search bart howstuff works dot com.
And since I said that, it's time for listener mail.
Speaker 1 (37:35):
I'm gonna call this oceans are cool if I pay attention. Hey, guys,
love the show. I used to listen every day when
I rode the trains from Brooklyn and to Manhattan to work,
But recently I started to work in Brooklyn close enough
for me to buy too, so I don't write trains anymore.
They're pros and cons for that. On one hand, I
save over one hundred and ten dollars a month in
MetroCard fees, don't have to wait for trains, which adds
(37:58):
another twenty minutes to the Google Map travel times. On
the downside, when it rains, it's tough the bike to work,
although I am learning to love that. And the other
con is that I don't have time to listen to
you guys as much. Since it's very detailed. I'm paying
attention is key if I want to enjoy the show
and I need to keep my thoughts on the road.
My commute is also down to fifteen minutes, which doesn't
(38:21):
help much either. I need to reconcile this fellas. This morning,
I tried to listen to The Ocean's episode while doing
some work on my computer. Was it long before I
knew I'd missed something critical. At some point, riptides were
defined and laddered up to equatorial wins, a connection I
recall from taking oceanography in high school. But I did
not understand when I wasn't paying attention this morning. When
(38:41):
I used to listen on the train, the show had
my undivided attention. Now I'm trying to find a new
time to listen. Maybe I'll save up shows and binge
them on a nice long bike ride. And that is
from Andrew negrosche nigrsh di gros Negros something like that. Interesting,
I've never heard that name.
Speaker 2 (39:01):
Well, thanks a lot, Andrew. We appreciate you getting in
touch with this. We hope you figure this out. This
sounds like a terrible conundrum. Maybe just get a new.
Speaker 1 (39:10):
Job that requires Yeah, yeah, go work in Vermont.
Speaker 2 (39:15):
Yeah, there you go, a problem solved. If you have
a problem that you want Chuck and I to solve
for you, like we just did for Andrew, you can
tweet to us at SYSK podcast. You can join us
on Facebook dot com, slash stuff you Should Know. You
can send us an email the Stuff podcast at HowStuffWorks
dot com and has always joined us at our home
on the web, Stuff you Should Know dot com.
Speaker 1 (39:41):
For more on this and thousands of other topics, visit
HowStuffWorks dot com.
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