First listen to audio commentary #2 (of 2) included on the 4K UHD SNEAKERS (1992) disc from Kino Lorber:
https://en.wikipedia.org/wiki/Sneakers_(1992_film)
This track:
Director/Co-Writer Phil Alden Robinson with Cinematographer John Lindley
#Sneakers #Film #Movie #PhilAldenRobinson #JohnLindley #RobertRedford #DanAykroyd #BenKingsley #MaryMcDonnell #RiverPhoenix #SidneyPoitier #DavidStrathairn #TimothyBusfield #JamesEarlJones #KinoLorber #4KUHD #Bluray
I've read a warning this represents the more "boring" of the 2 audio commentaries.
Let's find out! 👀
Initial 1969 campus sequence was a "period look": saturated colors and smaller format, "so the image you see is smaller than screen."
"And then we realized one day that the theatre projectionists might actually bring the curtains in when they saw that so we had the title designer extend the individual credits slightly outside the frame that you see, so the people would realize in fact you're going to see more picture than this. It's not a mistake."
"I think we used every bit of artificial snow that was to be had in Hollywood that night" 🙂 ❄️
"In fact, middle of the night, about midnight, Ken Pepiot, our special effects supervisor, actually had to go to, I think, Warner Brothers, at midnight, woke somebody up to let him into the lot to get the rest of the artificial snow because we were about to run out."
"We had a lot of fun casting these 2 parts: the young Ben Kingsley and the young Robert Redford. Both of the actors actually spent a lot of time with Ben & Bob to kind of get their mannerisms down and the way they walked and talked."
IMDB lists Jo Marr as College-Aged Cosmo (as Jojo Marr), and Gary Hershberger as College-Aged Bishop
"Part of the fun in setting up this scene was having our art department actually find computer equipment that was working in 1969. Hard to find that stuff anymore."
"It's also amazing to think that the computers you see in this room, the big jobs with the tapes rolling, about 100 of them would equal your laptop for computer power today."
"Gee that was interesting. Let's not use that."
They seem to say this immediately after Cosmo says, "Pepperoni pizza, please. Shaken, not stirred." 😅
"And here you hear the beginning of a theme that James Horner wrote for the movie. We had used as a temp track what are commonly called contemporary minimalist composers like Philip Glass, and Steve Reich, and John Adams, and I thought James captured the feel of that beautifully."
I agree 💜
#JamesHorner #SteveReich #PhilipGlass #JohnAdams #ContemporaryMinimalist #MinimalMusic
Scene with young Marty in the van: "I remember doing this scene in, on a sound stage that was frozen so that, because we wanted to see the actor's breath, uh, so the effects department went to a lot of trouble to uh, get the stage incredibly cold, and you'll notice, you can't tell." (laughs) 😅
"Right? I don't think he breathed."
"He just inhaled." (laughs)
"I always love that shot, of the shadows of the policemen on the wall of the building."
"Yeah, meant to look like the headlights, although most cars don't have them on this side." (laughs)
"And now here was the purpose of that smaller frame is that we could dissolve from the snow on the campus to the snow on a monitor, and then pull out of the monitor and you're into a wide frame again."
"And I'll never forget how difficult it was explaining that to people all the time we were shooting. No one quite understood what we were doing."
"And that's a scene from the Orson Welles' 'Touch of Evil' in which the line, 'I looked in that box and there was nothing there', is sort of a harbinger of the end of this film."
"We were criticized by one reviewer who said we used that for no purpose at all, and I always wanted to tell him."
"This shot is one of the reasons that we, at great expense, went to San Francisco, for location scout for our shooting, and looking at it now I realize we didn't actually have to go to San Francisco. The studio was right." (chuckles)
"But we ate very well while we were there."
"One of my favorite little bits of business in the film is when the fire alarm goes off, the security guard, played by Bodhi Elfman, consults his manual."
Bodhi is the son of Richard Elfman and Rhonda Joy Saboff 🤯
Richard Elfman directed the cult musical film "Forbidden Zone" (1982). Danny Elfman is Richard's younger brother.
"This bank that we shot at is long abandoned, it's been empty for many years and it's been used as locations in a lot of films, and in fact in 1983, a picture I wrote called All of Me used the lobby of the bank for the hallway where Steve Martin goes to the elevator, walking like a woman and talking like a man."
"In fact, I seem to recall that the night that we finished shooting there, MC Hammer came in and shot a video the next night."
"Yeah, it's used all the time for commercials too."
"Now among the bank executives up here, the fellow in the front with the glasses looking particularly stony-faced...there he is, on the far-right, is Lin Parsons who was our line producer."
IMDB lists him as Lindsley Parsons Jr.
"When we shot the scene of Bob coming out of the bank, this was in San Francisco, after one take he just got into a car of some passerby and drove off. I think that was his way of telling us that he was finished with the scene." (laughs)
"I always wonder what these tourists who had rented this car felt when Robert Redford walked in their car."
iokevins
