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* DoingItForTheArt: Creator/TerrenceMalick, to the extreme. Overall, the film took ''five years'' to complete.
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* WhatCouldHaveBeen: Creator/TerrenceMalick originally wanted Creator/JohnTravolta for the role of Billy, but he was busy with ''Series/WelcomeBackKotter''. Creator/DustinHoffman and Creator/AlPacino also passed on it.
to:
* WhatCouldHaveBeen: WhatCouldHaveBeen:
** Creator/TerrenceMalick originally wanted Creator/JohnTravolta for the role of Billy, but he was busy with ''Series/WelcomeBackKotter''. Creator/DustinHoffman and Creator/AlPacino also passed onit.it.
** Creator/GenevieveBujold was considered for the role of Abby.
----
** Creator/TerrenceMalick originally wanted Creator/JohnTravolta for the role of Billy, but he was busy with ''Series/WelcomeBackKotter''. Creator/DustinHoffman and Creator/AlPacino also passed on
** Creator/GenevieveBujold was considered for the role of Abby.
----
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* AcclaimedFlop: The movie cost $3 million—not including the marketing and shipping costs. It bombed at the box office grossing just $3.4 million. Nevertheless, it received positive reviews on its original theatrical release; its photography was widely praised, although a small number of critics considered only this aspect to be worthy of high praise. It did win an UsefulNotes/AcademyAward for Best Cinematography along with three nominations for the score, costume design, and sound. Malick also won the Best Director Award at the 1979 [[UsefulNotes/PalmeDOr Cannes Film Festival]].
to:
* AcclaimedFlop: The movie cost $3 million—not including the marketing marketing, manufacturing, and shipping costs. It bombed at the box office grossing just $3.4 million. Nevertheless, it received positive reviews on its original theatrical release; its photography was widely praised, although a small number of critics considered only this aspect to be worthy of high praise. It did win an UsefulNotes/AcademyAward for Best Cinematography along with three nominations for the score, costume design, and sound. Malick also won the Best Director Award at the 1979 [[UsefulNotes/PalmeDOr Cannes Film Festival]].
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* DoingItForTheArt: Creator/TerrenceMalick, to the extreme. All in all the film took ''five years'' to complete.
to:
* DoingItForTheArt: Creator/TerrenceMalick, to the extreme. All in all Overall, the film took ''five years'' to complete.
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** The production schedule was loosely structured at best from top to bottom in order to allow actors to improvise. The call sheets were sparsely detailed, while the schedule was changed at short notice to take advantage of changes in the weather. Although this may have allowed the cast more freedom, many crew members who were more used to tighter organization took it as a sign that Malick and cinematographer Néstor Almendros had no idea what they were doing, leading to several resignations.
** Two weeks into production, Malick, disheartened by what he was seeing in the dailies, decided to throw out the script and "go Leo Tolstoy instead of Fyodor Dostoevsky" by shooting whatever seemed like a good idea at the time and making plans to trim the film down in the editing room, causing the film to fall badly behind schedule and go hugely over budget. On a day originally set aside for shooting the locust invasion, which involved two helicopters dropping peanut shells to simulate the insects, Malick changed his mind and decided to shoot scenes involving period cars, but he kept the helicopters on hold, further inflating the costs. Producer Bert Schneider had to mortgage his house to cover the $800,000 overages. The film's props were almost as difficult to work with, with the harvesting machines frequently breaking down, so that filming for the day began in the late afternoon, mere hours before nightfall.
** The delays forced both Almendros and camera operator John Bailey to leave midway through production to honor their commitments to Creator/FrancoisTruffaut's ''Film/TheManWhoLovedWomen''. Almendros persuaded his friend and fellow cinematographer Haskell Wexler to take his place and worked on the film with him for a week to ensure the film's visual style would be preserved. Wexler was responsible for around half of the footage that ended up in the finished film, but was dismayed to find himself credited only for "additional photography".
** Two weeks into production, Malick, disheartened by what he was seeing in the dailies, decided to throw out the script and "go Leo Tolstoy instead of Fyodor Dostoevsky" by shooting whatever seemed like a good idea at the time and making plans to trim the film down in the editing room, causing the film to fall badly behind schedule and go hugely over budget. On a day originally set aside for shooting the locust invasion, which involved two helicopters dropping peanut shells to simulate the insects, Malick changed his mind and decided to shoot scenes involving period cars, but he kept the helicopters on hold, further inflating the costs. Producer Bert Schneider had to mortgage his house to cover the $800,000 overages. The film's props were almost as difficult to work with, with the harvesting machines frequently breaking down, so that filming for the day began in the late afternoon, mere hours before nightfall.
** The delays forced both Almendros and camera operator John Bailey to leave midway through production to honor their commitments to Creator/FrancoisTruffaut's ''Film/TheManWhoLovedWomen''. Almendros persuaded his friend and fellow cinematographer Haskell Wexler to take his place and worked on the film with him for a week to ensure the film's visual style would be preserved. Wexler was responsible for around half of the footage that ended up in the finished film, but was dismayed to find himself credited only for "additional photography".
to:
** The production schedule was loosely structured at best from top to bottom in order to allow actors to improvise. The call sheets were sparsely detailed, while the schedule was changed at short notice to take advantage of changes in the weather. Although this may have allowed the cast more freedom, many crew members who were more used to tighter organization took it as a sign that Malick and cinematographer Néstor Almendros had no idea what they were doing, leading to several resignations.
** Two weeks into production, Malick, disheartened by what he was seeing in the dailies, decided to throw out the script and "go Leo Tolstoy instead of Fyodor Dostoevsky" by shooting whatever seemed like a good idea at the time and making plans to trim the film down in the editing room, causing the film to fall badly behind schedule and go hugely over budget. On a day originally set aside for shooting the locust invasion, which involved two helicopters dropping peanut shells to simulate the insects, Malick changed his mind and decided to shoot scenes involving period cars, but he kept the helicopters on hold, further inflating the costs. Producer Bert Schneider had to mortgage his house to cover the $800,000 overages. The film's props werealmost as difficult to work with, with the harvesting machines frequently breaking down, so that filming for the day began in the late afternoon, mere hours before nightfall.
** The delays forced both Almendros and camera operator John Bailey to leave midway through production to honor their commitments to Creator/FrancoisTruffaut's ''Film/TheManWhoLovedWomen''. Almendros persuaded his friend and fellow cinematographer Haskell Wexler to take his place and worked on the film with him for a week to ensure the film's visual style would be preserved. Wexler was responsible for around half of the footage that ended up in the finishedfilm, film but was dismayed to find himself credited only for "additional photography".
** Two weeks into production, Malick, disheartened by what he was seeing in the dailies, decided to throw out the script and "go Leo Tolstoy instead of Fyodor Dostoevsky" by shooting whatever seemed like a good idea at the time and making plans to trim the film down in the editing room, causing the film to fall badly behind schedule and go hugely over budget. On a day originally set aside for shooting the locust invasion, which involved two helicopters dropping peanut shells to simulate the insects, Malick changed his mind and decided to shoot scenes involving period cars, but he kept the helicopters on hold, further inflating the costs. Producer Bert Schneider had to mortgage his house to cover the $800,000 overages. The film's props were
** The delays forced both Almendros and camera operator John Bailey to leave midway through production to honor their commitments to Creator/FrancoisTruffaut's ''Film/TheManWhoLovedWomen''. Almendros persuaded his friend and fellow cinematographer Haskell Wexler to take his place and worked on the film with him for a week to ensure the film's visual style would be preserved. Wexler was responsible for around half of the footage that ended up in the finished
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* AcclaimedFlop: The movie cost $3 million—not including the marketing and shipping costs. It bombed at the box office grossing just $3.4 million. Nevertheless, it received positive reviews on its original theatrical release; its photography was widely praised, although a small number of critics considered only this aspect to be worthy of high praise. It did win an Academy Award for Best Cinematography along with three nominations for the score, costume design, and sound. Malick also won the Best Director Award at the 1979 Cannes Film Festival.
to:
* AcclaimedFlop: The movie cost $3 million—not including the marketing and shipping costs. It bombed at the box office grossing just $3.4 million. Nevertheless, it received positive reviews on its original theatrical release; its photography was widely praised, although a small number of critics considered only this aspect to be worthy of high praise. It did win an Academy Award UsefulNotes/AcademyAward for Best Cinematography along with three nominations for the score, costume design, and sound. Malick also won the Best Director Award at the 1979 [[UsefulNotes/PalmeDOr Cannes Film Festival.Festival]].
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** The production schedule was loosely structured at best from top to bottom in order to allow actors to improvise. The call sheets were sparsely detailed, while the schedule was changed at short notice to take advantage of changes in the weather. Although this may have allowed the cast more freedom, many crew members who were more used to tighter organisation took it as a sign that Malick and cinematographer Néstor Almendros had no idea what they were doing, leading to several resignations.
to:
** The production schedule was loosely structured at best from top to bottom in order to allow actors to improvise. The call sheets were sparsely detailed, while the schedule was changed at short notice to take advantage of changes in the weather. Although this may have allowed the cast more freedom, many crew members who were more used to tighter organisation organization took it as a sign that Malick and cinematographer Néstor Almendros had no idea what they were doing, leading to several resignations.
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** The delays forced both Almendros and camera operator John Bailey to leave midway through production to honour their commitments to Creator/FrancoisTruffaut's ''Film/TheManWhoLovedWomen''. Almendros persuaded his friend and fellow cinematographer Haskell Wexler to take his place, and worked on the film with him for a week to ensure the film's visual style would be preserved. Wexler was responsible for around half of the footage that ended up in the finished film, but was dismayed to find himself credited only for "additional photography".
to:
** The delays forced both Almendros and camera operator John Bailey to leave midway through production to honour honor their commitments to Creator/FrancoisTruffaut's ''Film/TheManWhoLovedWomen''. Almendros persuaded his friend and fellow cinematographer Haskell Wexler to take his place, place and worked on the film with him for a week to ensure the film's visual style would be preserved. Wexler was responsible for around half of the footage that ended up in the finished film, but was dismayed to find himself credited only for "additional photography".
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Added line(s) 2 (click to see context) :
* AcclaimedFlop: The movie cost $3 million—not including the marketing and shipping costs. It bombed at the box office grossing just $3.4 million. Nevertheless, it received positive reviews on its original theatrical release; its photography was widely praised, although a small number of critics considered only this aspect to be worthy of high praise. It did win an Academy Award for Best Cinematography along with three nominations for the score, costume design, and sound. Malick also won the Best Director Award at the 1979 Cannes Film Festival.
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* CriticalFlop: The movie cost $3 million—not including the marketing and shipping costs. It bombed at the box office grossing just $3.4 million. Nevertheless, it received positive reviews on its original theatrical release; its photography was widely praised, although a small number of critics considered only this aspect to be worthy of high praise. It did win an Academy Award for Best Cinematography along with three nominations for the score, costume design, and sound. Malick also won the Best Director Award at the 1979 Cannes Film Festival.
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Added DiffLines:
* CriticalFlop: The movie cost $3 million—not including the marketing and shipping costs. It bombed at the box office grossing just $3.4 million. Nevertheless, it received positive reviews on its original theatrical release; its photography was widely praised, although a small number of critics considered only this aspect to be worthy of high praise. It did win an Academy Award for Best Cinematography along with three nominations for the score, costume design, and sound. Malick also won the Best Director Award at the 1979 Cannes Film Festival.
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* TroubledProduction: From ThatOtherWiki:
-->The production was not "rigidly prepared", allowing for improvisation. Daily call sheets were not very detailed and the schedule changed to suit the weather. This upset some of the Hollywood crew members not used to working in such a spontaneous way...Some crew members said that [cinematographer] Almendros and Malick did not know what they were doing. Some of the crew quit the production...the rest of the production was difficult from the start. The actors and crew reportedly viewed Malick as cold and distant. After two weeks of shooting, Malick was so disappointed with the dailies, he "decided to toss the script, go Leo Tolstoy instead of Fyodor Dostoevsky, wide instead of deep [and] shoot miles of film with the hope of solving the problems in the editing room." In addition, the harvesting machines constantly broke down, which resulted in shooting beginning late in the afternoon, allowing for only a few hours of daylight before it was too dark to go on. One day, two helicopters were scheduled to drop peanut shells that were to simulate locusts on film; however, Malick decided to shoot period cars instead. He kept the helicopters on hold at great cost. Production was lagging behind, with costs exceeding the budget by about $800,000, and Schneider had already mortgaged his home in order to cover the overages. The production ran so late that both Almendros and camera operator John Bailey had to leave due to a prior commitment on Creator/FrancoisTruffaut's ''Film/TheManWhoLovedWomen''. Almendros approached his friend and renowned cinematographer Haskell Wexler to complete the film. They worked together for a week so that Wexler could get familiar with the film's visual style. Wexler was careful to match Almendros' work, but he did make some exceptions. Though half the finished picture was footage shot by Wexler, he received only credit for "additional photography", much to his chagrin.
-->The production was not "rigidly prepared", allowing for improvisation. Daily call sheets were not very detailed and the schedule changed to suit the weather. This upset some of the Hollywood crew members not used to working in such a spontaneous way...Some crew members said that [cinematographer] Almendros and Malick did not know what they were doing. Some of the crew quit the production...the rest of the production was difficult from the start. The actors and crew reportedly viewed Malick as cold and distant. After two weeks of shooting, Malick was so disappointed with the dailies, he "decided to toss the script, go Leo Tolstoy instead of Fyodor Dostoevsky, wide instead of deep [and] shoot miles of film with the hope of solving the problems in the editing room." In addition, the harvesting machines constantly broke down, which resulted in shooting beginning late in the afternoon, allowing for only a few hours of daylight before it was too dark to go on. One day, two helicopters were scheduled to drop peanut shells that were to simulate locusts on film; however, Malick decided to shoot period cars instead. He kept the helicopters on hold at great cost. Production was lagging behind, with costs exceeding the budget by about $800,000, and Schneider had already mortgaged his home in order to cover the overages. The production ran so late that both Almendros and camera operator John Bailey had to leave due to a prior commitment on Creator/FrancoisTruffaut's ''Film/TheManWhoLovedWomen''. Almendros approached his friend and renowned cinematographer Haskell Wexler to complete the film. They worked together for a week so that Wexler could get familiar with the film's visual style. Wexler was careful to match Almendros' work, but he did make some exceptions. Though half the finished picture was footage shot by Wexler, he received only credit for "additional photography", much to his chagrin.
to:
* TroubledProduction: From ThatOtherWiki:
-->TheTroubledProduction: Production was so stressful that Creator/TerrenceMalick [[Film/TheThinRedLine didn't make another film for twenty years]].
** The production schedule wasnot "rigidly prepared", allowing for improvisation. Daily loosely structured at best from top to bottom in order to allow actors to improvise. The call sheets were not very detailed and sparsely detailed, while the schedule was changed at short notice to suit take advantage of changes in the weather. This upset some of Although this may have allowed the Hollywood cast more freedom, many crew members not who were more used to working in such tighter organisation took it as a spontaneous way...Some crew members said sign that [cinematographer] Malick and cinematographer Néstor Almendros and Malick did not know had no idea what they were doing. Some of the crew quit the production...the rest of the production was difficult from the start. The actors and crew reportedly viewed Malick as cold and distant. After two doing, leading to several resignations.
** Two weeksof shooting, Malick into production, Malick, disheartened by what he was so disappointed with seeing in the dailies, he "decided decided to toss throw out the script, go script and "go Leo Tolstoy instead of Fyodor Dostoevsky, wide instead of deep [and] shoot miles of Dostoevsky" by shooting whatever seemed like a good idea at the time and making plans to trim the film with the hope of solving the problems down in the editing room." In addition, room, causing the film to fall badly behind schedule and go hugely over budget. On a day originally set aside for shooting the locust invasion, which involved two helicopters dropping peanut shells to simulate the insects, Malick changed his mind and decided to shoot scenes involving period cars, but he kept the helicopters on hold, further inflating the costs. Producer Bert Schneider had to mortgage his house to cover the $800,000 overages. The film's props were almost as difficult to work with, with the harvesting machines constantly broke frequently breaking down, which resulted in shooting beginning late so that filming for the day began in the late afternoon, allowing for only a few mere hours of daylight before it was too dark to go on. One day, two helicopters were scheduled to drop peanut shells that were to simulate locusts on film; however, Malick decided to shoot period cars instead. He kept the helicopters on hold at great cost. Production was lagging behind, with costs exceeding the budget by about $800,000, and Schneider had already mortgaged his home in order to cover the overages. nightfall.
** Theproduction ran so late that delays forced both Almendros and camera operator John Bailey had to leave due midway through production to a prior commitment on honour their commitments to Creator/FrancoisTruffaut's ''Film/TheManWhoLovedWomen''. Almendros approached persuaded his friend and renowned fellow cinematographer Haskell Wexler to complete the film. They take his place, and worked together on the film with him for a week so that Wexler could get familiar with to ensure the film's visual style. style would be preserved. Wexler was careful to match Almendros' work, but he did make some exceptions. Though responsible for around half of the footage that ended up in the finished picture film, but was footage shot by Wexler, he received dismayed to find himself credited only credit for "additional photography", much to his chagrin. photography".
-->The
** The production schedule was
** Two weeks
** The
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* CreatorBreakdown: Supposedly because of the stresses of making this movie, Malick took a twenty-year hiatus from films until returning for ''Film/TheThinRedLine''.
to:
* CreatorBreakdown: Supposedly because of the stresses of making this movie, Malick Creator/TerrenceMalick took a twenty-year hiatus from films until returning for ''Film/TheThinRedLine''.
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* DoingItForTheArt: Malick, to the extreme. All in all the film took ''five years'' to complete.
to:
* DoingItForTheArt: Malick, Creator/TerrenceMalick, to the extreme. All in all the film took ''five years'' to complete.
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* WhatCouldHaveBeen: Malick originally wanted Creator/JohnTravolta for the role of Billy, but he was busy with ''Series/WelcomeBackKotter''. Creator/DustinHoffman and Creator/AlPacino also passed on it.
to:
* WhatCouldHaveBeen: Malick Creator/TerrenceMalick originally wanted Creator/JohnTravolta for the role of Billy, but he was busy with ''Series/WelcomeBackKotter''. Creator/DustinHoffman and Creator/AlPacino also passed on it.
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Changed line(s) 6 (click to see context) from:
* WhatCouldHaveBeen: Malick originally wanted Creator/JohnTravolta for the role of Billy.
to:
* WhatCouldHaveBeen: Malick originally wanted Creator/JohnTravolta for the role of Billy.Billy, but he was busy with ''Series/WelcomeBackKotter''. Creator/DustinHoffman and Creator/AlPacino also passed on it.
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Added DiffLines:
* CreatorBreakdown: Supposedly because of the stresses of making this movie, Malick took a twenty-year hiatus from films until returning for ''Film/TheThinRedLine''.
* TheDanza: Linda, played by Linda Manz.
* DoingItForTheArt: Malick, to the extreme. All in all the film took ''five years'' to complete.
* TroubledProduction: From ThatOtherWiki:
-->The production was not "rigidly prepared", allowing for improvisation. Daily call sheets were not very detailed and the schedule changed to suit the weather. This upset some of the Hollywood crew members not used to working in such a spontaneous way...Some crew members said that [cinematographer] Almendros and Malick did not know what they were doing. Some of the crew quit the production...the rest of the production was difficult from the start. The actors and crew reportedly viewed Malick as cold and distant. After two weeks of shooting, Malick was so disappointed with the dailies, he "decided to toss the script, go Leo Tolstoy instead of Fyodor Dostoevsky, wide instead of deep [and] shoot miles of film with the hope of solving the problems in the editing room." In addition, the harvesting machines constantly broke down, which resulted in shooting beginning late in the afternoon, allowing for only a few hours of daylight before it was too dark to go on. One day, two helicopters were scheduled to drop peanut shells that were to simulate locusts on film; however, Malick decided to shoot period cars instead. He kept the helicopters on hold at great cost. Production was lagging behind, with costs exceeding the budget by about $800,000, and Schneider had already mortgaged his home in order to cover the overages. The production ran so late that both Almendros and camera operator John Bailey had to leave due to a prior commitment on Creator/FrancoisTruffaut's ''Film/TheManWhoLovedWomen''. Almendros approached his friend and renowned cinematographer Haskell Wexler to complete the film. They worked together for a week so that Wexler could get familiar with the film's visual style. Wexler was careful to match Almendros' work, but he did make some exceptions. Though half the finished picture was footage shot by Wexler, he received only credit for "additional photography", much to his chagrin.
* WhatCouldHaveBeen: Malick originally wanted Creator/JohnTravolta for the role of Billy.
* TheDanza: Linda, played by Linda Manz.
* DoingItForTheArt: Malick, to the extreme. All in all the film took ''five years'' to complete.
* TroubledProduction: From ThatOtherWiki:
-->The production was not "rigidly prepared", allowing for improvisation. Daily call sheets were not very detailed and the schedule changed to suit the weather. This upset some of the Hollywood crew members not used to working in such a spontaneous way...Some crew members said that [cinematographer] Almendros and Malick did not know what they were doing. Some of the crew quit the production...the rest of the production was difficult from the start. The actors and crew reportedly viewed Malick as cold and distant. After two weeks of shooting, Malick was so disappointed with the dailies, he "decided to toss the script, go Leo Tolstoy instead of Fyodor Dostoevsky, wide instead of deep [and] shoot miles of film with the hope of solving the problems in the editing room." In addition, the harvesting machines constantly broke down, which resulted in shooting beginning late in the afternoon, allowing for only a few hours of daylight before it was too dark to go on. One day, two helicopters were scheduled to drop peanut shells that were to simulate locusts on film; however, Malick decided to shoot period cars instead. He kept the helicopters on hold at great cost. Production was lagging behind, with costs exceeding the budget by about $800,000, and Schneider had already mortgaged his home in order to cover the overages. The production ran so late that both Almendros and camera operator John Bailey had to leave due to a prior commitment on Creator/FrancoisTruffaut's ''Film/TheManWhoLovedWomen''. Almendros approached his friend and renowned cinematographer Haskell Wexler to complete the film. They worked together for a week so that Wexler could get familiar with the film's visual style. Wexler was careful to match Almendros' work, but he did make some exceptions. Though half the finished picture was footage shot by Wexler, he received only credit for "additional photography", much to his chagrin.
* WhatCouldHaveBeen: Malick originally wanted Creator/JohnTravolta for the role of Billy.
