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Jason from Mnpp here - it's time for another "Beauty vs Beast" y'all! Today's we're talking Pixar because of two reasons -- first off their sequel Finding Dory is out this weekend, prepped to splash magic across the summer box office. And next off it's the 63rd birthday of Tim Allen today, whose greatest role (give or take a Galaxy Quest) came divorced from his physical being, his essence siphoned into Pixar's patented pixels and then tossed into the greatest toy box there ever was with 1995's Toy Story. Can you imagine a world with Buzz Lightyear or Woody the well-meaning cotton-stuffed cowpoke? I thought not. But try to remember that once upon a time they were more at each other's throats than anything else, and then take your sides...
Previously Last week we stormed onto the primary-color-coated set of the soap opera satire Soapdish, maneuvered ourselves between the divas and dimbulbs, and asked you to choose between the Queen Bee and the Crazy Bitch - well with 60% of the vote once again Celeste Talbert (Sally Field) has made her way to that podium. Said Sawyer:
"'What am I, 70, David? Why don't you just put me in a walker? Buy a goddamn walker and put me in it!' #celesteforever"
For over 40 years, Andy Armstrong has worked on a huge array of stunts and action sequences in TV and film. From directing 1,000s of extras in Stargate to a full body burn in Danny DeVito's Hoffa, Armstrong's experiences as a stuntman, stunt coordinator and unit director have taken him all over the world.
The brother of Vic Armstrong, the stunt coordinator and director who famously doubled for Harrison Ford in the Indiana Jones movies, Andy Armstrong's career began when he doubled for Sir John Mills on the 1970s TV series, The Zoo Gang. That early job jumpstarted a life in filmmaking which has taken in three James Bond movies, 90s action (Total Recall, Universal Soldier) and superhero movies (The Green Hornet, Thor, The Amazing Spider-Man).
Those 40 years of filmmaking experience are the pillar of Armstrong's book, the Action Movie Maker's Handbook. Intended as a reference for those thinking of starting a career in stunts or action unit directing, it also offers a valuable insight for those outside the industry, too. The book reveals the range of talents required to bring an effective action scene to the screen - organisation, storytelling, an understanding of engineering and physics - and how much input a coordinator and unit director has on how those sequences will look in the final film.
We caught up with Andy Armstrong via telephone to talk about his book and some of the highlights in his career so far. Read on for his thoughts on creating the action sequences in Thor and The Amazing Spider-Man, his hilarious behind-the-scenes memories from the 80s cult classic, Highlander, and what went wrong on the 2004 Catwoman movie...
Your book gave me a new appreciation for what second unit directors and stunt coordinators do. I didn't realise how much design work you do when it comes to action scenes, for example.
Yeah, it is true that a lot of people don't realise how much development goes into action. Especially nowadays, it's such a complex business. That becomes a huge part of it - the technicalities of it and the storytelling part of it. Some things might look great, but when you put them all together they don't necessarily work for that movie. A lot of what I've made a living doing is really creating action that is appropriate for the movie. Because the wrong type of action is just like the wrong costume or the wrong actor or something - it just takes you out of the film.
You get a lot of movies that actually have too much action in them. Then what happens is, you can't appreciate it. It's like a feast where the starter is such a huge meal that you don't even want the main course because you're full. That's like so many action movies - they'd actually benefit from having some of the action taken out of them. I'm always fascinated when you see an audience in an action movie.
When I feel there's too much action in a movie, or it goes on for too long, I always look around in a cinema. It's interesting to see people chatting to each other or doing something else. You should never have that in an action movie. Action should be like sex or violence - you want to be left just wanting a bit more. That gets forgotten in a lot of movies, which are just relentless. Stuff going on the whole time.
What happens then is that, when it comes to something special for the third act, some fantastic fight or something, you can't raise the bar enough, because the bar's been high all the way through the movie. It's a weird thing.
They have to build, action scenes.
They do have to build, absolutely. That's why I do that little graph in the book, which is something I do in every movie, just to work out how much action there should be and where it should go and, on a scale of one to 10, how big it is. It's funny how crude that looks, and yet if you compare it to any of the really great action movies, they'll fit that graph. There'll be something at the opening, there'll be something happening at the end of the first act and into the second act, and there'll be bits and pieces happening in the second act and then a big third act finale. Whether it's a movie made in the 60s or now, that formula of action still becomes the sweet spot.
A lot of these superhero movies, there's some fantastic action going on, but by the end of the movie, nobody cares. You have nowhere to go with it.
Some of them are very long as well.
Far too long. Far, far too long. You're absolutely right. I think any movie, past two hours, has got to be either incredibly spectacular or it's an ego-fest for the filmmakers. Keeping somebody in a seat for more than two hours - you'd better have a really good tale to tell. And I don't think many of these modern ones do - they just have lots of stuff in them.
So what films have impressed you recently in terms of action?
Kingsman, definitely. I thought it was absolutely brilliant, a really good take on it. I loved that it was Colin Firth and not a traditional action hero that's covered in muscles and torn t-shirts and things. And for the same reasons, really, I love the Taken series of movies with Liam Neeson. I loved them, particularly because they're grounded in reality, or set just above reality. Obviously, Kingsman you go more above reality, but they're still grounded with real gravity and real people. It's a bit hypocritical, because I've made a great living doing some superhero movies, but they're not more favourite movies by any chance. I'm very proud of the work I've done on them, but the movies I love aren't even action, really. I haven't seen the third Taken, I need to get that, but I thought the first two Takens were really very cool.
I quite liked both the Red films. I was going to do the second one of those, because the guy who directed the second one is a friend of mine. So I'd have liked to have done that, but they wanted to go with the person they used on the first film. Dean Parisot is a very good friend of mine, I did Galaxy Quest with him. That's one of my favourites.
But a lot of movies I've seen lately, I've been underwhelmed by some of them. It's funny. I like tight little movies. I think it's a shame we've not had more John Frankenheimers making things like Ronin, you know. Great action but well placed - the right action in the right place. Again, grounded in reality, real people.
Do you think stunts go through trends? Obviously, you've recently been doing a lot of wire work on superhero movies lately.
Oh, absolutely. It's kind of gone in a tight full circle, because a few years ago action went fully CG, and then the brief we were given when we did the first Amazing Spider-Man is that they want to get away from that feel, to go more gravity based, more reality. That's what we spent a lot of time doing on that first Spider-Man is the way he jumps around. I based it on real physics.
Some of the stuff on the first Amazing Spider-Man I'm really very, very proud of. We filmed some groundbreaking rig systems and high-powered winches that moved around so there was a proper organic travel when Spider-Man jumps around. It's funny, because when I agreed to do the movie, that was the brief - they want to make Spider-Man's movement much more realistic. I said, "Yes, absolutely, we can do it." But when I came out of the meeting, I have to be honest - I had no idea how the hell we were going to do that.
We did a lot of testing. They were good enough to give us a lot of time to test. One of the things I did was bring in an Olympic gymnast, and I had him swing from three bars, from one bar to the next bar to the next bar, doing giant swings on them. I videoed it, because I knew that something on the original [Sam Raimi] Spider-Man didn't look right. It sounds really obvious in the end, because your eye goes straight to it, but when I brought the gymnast in, I realised that when you see a human swinging, their downward swing is really violent. It gets faster, faster, faster until it nearly pulls the arms out of the sockets, and then as they swing up it gets slower, slower, slower until they get negative. Then they grab the next bar and it happens again. It's the massive variation in velocity that made me realise, "I get it. That's what's real." Then you can tell it's a real guy. When you see Spider-Man and his speed is the same going down as it is going up, even though you haven't analysed it in your mind, you know that it's not right. It's like the five-legged horse syndrome: if you saw one standing in a field, even though you've never seen one in your life, you'd know that it's not something from nature.
It's something I spend a lot of time doing, making things organic and real. In the book you've see a lot of reference to Buster Keaton and things, because I like to go back to that. When you've seen something done for real, then you can make anything as fantastic as you want. But you have to know where the baseline is, where real is, before you start doing something too spectacular. Or what will happen is, even though an audience has never seen an athlete on giant bars, or a guy swinging on a spider web, they'll know instinctively that it looks wrong. We're conditioned to do that - no matter how realistic a dummy in a shop window is, we know as humans that it isn't a real person. Animals know all that - they can spot their own species, they can spot other species and know what they are.
It's why, with a superhero movie, especially, I like to do a bible beforehand, so that you can have a reference. How strong is Spider-Man? Can he throw cars or push a building over? Can he just pick up a sofa? You have to have a yardstick of what people can do. Otherwise it's all over the place. We've seen those movies, where the power of the superheroes [varies]. One minute he gets knocked out by someone in a bar, the next he's pushing a house over.
It has to have some kind of internal logic, doesn't it.
It has to have some kind of logic, no matter how mad that logic is, it has to be consistent. We had it on Thor: how powerful is Thor? How much can he do with a hammer? What happens when the hammer really hits something? You have to have all these mad conversations at the beginning of the movie. If you see someone punch through a building, it's tough to then see that same person slap someone in their face without tearing their head off. You need a yardstick to go to.
I was interested to read what you said about Catwoman, and the idea you had for the big fight.
Yeah, that was a classic case. In the end I was proved right. The movie could have been fantastic. Halle Berry - in the outfit, she could stop traffic. And she was such a perfect choice for Catwoman - she had all the abilities. The movement down, the whole thing. It was such a waste, because the script got crappier and crappier. There was a rewrite every week or so. Each one was worse than the last one. It was like someone was drinking and writing worse and worse versions of it. I feel sorry for Halle as well - I don't think it did her career any good. She's such a trooper anyway.
It's funny, I remember when I saw the first TV commercial for the movie, and I'd been a bit depressed - I don't like leaving movies. I remember coming out, and you always have that second thought as to whether you should have left it or not. But I'm quite strict about only doing good stuff. The interesting thing is, I fought to get the motorcycle sequence in there, and the directors and the producers - none of them wanted it. The moment I saw that first commercial, and it was nearly all motorcycle. I remember shouting at the screen that I was absolutely right. You know when they put that in the trailer that it's the only good thing in the movie! It's very funny.
Why do you think that happens sometimes in these big Hollywood films, where you get this death spiral of script rewrites? You hear about it quite a lot.
Oh, God knows. If you could answer that I think you'd be a gazillionaire. A lot of these rewrites just get worse and worse. It's like cooking, putting this and that in, until you've got this inedible bowl of crap that's like the vision you originally set out to make. That happens so often. I think part of it happens in the main studio system because a lot of films get made by committee. That happens a lot. It didn't happen with some of the greats of the 50s, 60s and 70s, because some of those people were tyrannical, but the movies they made had a personal identity to them.
John Boorman doesn't always make great movies, but he's a great moviemaker and every movie he makes is a John Boorman movie. You look at Excalibur, you look at Deliverance, you look at Hope And Glory, they're all different, you can like them or not like them, but they have a real authority and identity to them. What happens in a studio system is you have a lot of junior executives and they all want to put a comment in there, they all want to use this actor or that actress. In the end, for right or wrong, a film has to have one real author. If it doesn't... there's the old saying that a camel is a horse designed by committee. That's what happens to movies. There are so many people in different areas in the studio that want to keep their fingers in the pie.
The big thing about studios is, most studio executives are all eventually going to get fired or run another studio or something. The rule of thumb is, most studio executives want to be just attached to a movie enough that if it's a huge success they can say they were or part of it, and they can point out the bits they changed or suggested or whatever. And if it's a Catwoman, they can distance themselves from it as if it were a disease. That's a real thing - a fine line executives work. Because you can get the blame for a picture that you may have had nothing to do with in some ways, you had no say in it if you were a studio executive, necessarily, and you can also get lots of praise and lots of awards and a million-dollar job at another studio because you're considered to be the guy or girl that brought this or that movie to the studio and it made $300m. It's a funny game, that.
In the end, who knows what's going to be successful? Who'd have thought movies like Fast & Furious would still be successful?
Yeah, there's gonna be eight or nine of them.
It's incredible. Vic [Armstrong] and I were offered, I guess it was three or four, and then they made a change with the action team and they've had the same action team since. But we'd just started Thor so we turned it down. It's funny because they went off and did more and more of those Fast & Furious films and we did the two Spider-Mans and Season Of The Witch and some other things. I think in the end we kind of made the right choice. I'm proud of the stuff I've done.
When you think of how advanced the look of Highlander was - Russell invented that look. The very long lenses, the very wide lenses. Fantastic cuts between things. It's absolutely timeless. I watched it again recently. It's as good now as it was when we made it. And it's a beautiful looking movie.
I'm really proud of the stuff I've done on it. It's amazing to think it's 30 years [old]. There's a lot of funny stories about Highlander. When they hired Sean Connery first of all as Ramirez, it’s funny because it's a Scotsman playing a Spaniard and a Frenchman playing a Scotsman! The funny thing is, Peter Davis and Bill Panzer, the producers, cast Connery - and the movie's called Highlander, so Connery thought he was playing the Highlander!
He got some huge fee, and then they let him know that he's playing Ramirez, this Spanish guy. He went, "Oh fine", but his fee was the same - he got about a million dollars for however many weeks he was on the movie. And then Christopher Lambert, who'd only done Greystoke before, as far as English-speaking movies went, they cast him and hadn't met him. Apparently, when they did Greystoke, he learned his lines parrot fashion - he just learned the line he had to speak. He couldn't speak English. But he's such a lovely guy.
When they first met him and he answered "Yes" to every question, they realised he didn't know what the hell they were talking about. [Laughs] They were in a bar or restaurant, and Peter Davis and Bill Panzer both came outside, and they left him at the table, and said, "He can't fucking speak English!" And they'd already cast him! The deal was done! It was fantastic, you know?
It just shows you. He was so charismatic in that movie. He learned English during the movie and was brilliant.
He's also incredibly short-sighted, Christophe. I did some really cool sword fight sequences with him. He couldn't see the sword! Incredible. His muscle memory and ability to be taught a fight with his glasses on, and then take is glasses off and then shoot was absolutely astounding. I've never met anyone like it. He never missed a beat, and yet he couldn't see - he couldn't see which end of the sword he had a hold of.
You look at those sword fights, and he's better than most stuntmen doing them. Yet he could hardly see his opponent, let alone the sword. Fascinating.
Clancy Brown, who played the villain, he's still a friend. He was fantastic. A couple of funny things happened on that, I think they're in the book. We were doing some car action in New York, and I had cameras on the front of the Cadillac. The Cadillac was my choice - originally it was written as a big four-wheel drive. I wanted something classically American that would slide around.
When we were towing it through town with the cameras on for the close-ups of the two actors, Clancy's there with his slit throat with the safety pins in it and all that, and I would jump off the back of the camera car when we got to a decent bit of road or bridge or something, and I'd turn all the cameras on.
At one point, I was turning the cameras on and the cop who was helping us - or supposed to be helping us in a typical sort of New York, aggressive cop way, said, "If you get off the camera car again, I'm going to arrest you."
Now, meanwhile, the cameras are rolling. I'm not really arguing with the cop, but I'm a bit pissed off to say the least. So I got back on the camera car. But while I'm doing that, Clancy, just dicking around, was [sings] "New York, New York!" And that was just him playing around. It was actually in response to me arguing with a New York cop, really.
Anyway, Russell, when he was putting the chase together, loved that little moment. He'd done all the Queen videos, and that's when Queen came in and saw it, and they loved it. So that's when they re-recorded their version of New York, New York and it became a hit record for Queen.
It started as a mild confrontation between me and a rather aggressive New York cop! [Laughs] Whenever I see Clancy, we still laugh about it. It wasn't in the script or anything, it was just one of those things.
Andy Armstrong, thank you very much!
Action Movie Maker's Handbook is available from Amazon now.
See related Does it matter whether stars do their own stunts? Speed 2: how a dream sparked one of the biggest stunts ever Olivier Megaton interview: Taken 2, Liam Neeson and stunts Sam Mendes interview: Skyfall, stunts & cinematography Movies Interview Ryan Lambie Andy Armstrong 14 Jun 2016 - 05:40 Highlander Catwoman The Amazing Spider-Man The Amazing Spider-Man 2 interview Andy Armstrong movies »
Galaxy Quest has become quite the popular movie since its release. It wasn’t a runaway hit at the box office back in 1999, but it still pulled in just over $90 worldwide on a budget of just $45 million, according to Box Office Mojo. If that happened today, there would likely be a sequel fast-tracked […]
The post Cool Stuff: Andrew Kolb’s ‘Galaxy Quest’ Prints Imagine Action Figures That Never Were appeared first on /Film. »
- Ethan Anderton
Looking for a great sci-fi movie to stream on Netflix right now? Venture no further than HitFix's list of, yes, the "15 greatest sci-fi movies streaming on Netflix right now"! From blockbusters (E.T., you may have heard of it?) to cult comedies (the Star Trek-spoofing Galaxy Quest) to silent classics (Melies's seminal A Trip to the Moon) to little-seen arthouse films (Shane Carruth's festival fave Upstream Color), the list is sure to have something for everyone. Check out the full list of recommendations in the video embedded above and below. »
- Chris Eggertsen
A British estate facing financial ruin? A controversial romance between classes? Top hats and petticoats as far as the eye can see? Downton Abbey fans, we think you’re going to like what you see.
PhotosJohn Krasinski to Star As Jack Ryan in Amazon Drama Series
Amazon on Tuesday released the first official trailer for Doctor Thorne, a new drama from Downton creator Julian Fellowes. Dropping on May 20, the three-part miniseries stars Tom Hollander (The Night Manager) as the titular doc, appearing alongside a slew of familiar faces, including Alison Brie (Community) and Ian McShane (Deadwood).
Doctor Thorne is »
John Krasinski is making a return to the small screen, but this job will take him far, far away from Scranton, Pa.
The Office grad has landed the title role in Amazon’s forthcoming Jack Ryan series, based on the novels by Tom Clancy, TVLine has confirmed.
As previously reported, the TV version — co-created by Lost vets Carlton Cuse and Graham Roland — will not be a direct adaptation of Clancy’s books, but will use them as source material for a contemporary take on the character »
Meet the films sequels that might not be dead, but are certainly stuck in some kind of limbo...
Every now and then, a sequel that appears to have been in the cooker for a while – Zoolander 2, Dumb And Dumber To, Anchorman 2 – finally escapes into the wild. But the journey to the screen can be a very lengthy one, and this little lot are still trying to find their way to your local multiplex…
Disney gambled hard on bringing Dick Tracy to the screen in the summer of 1990, backing the vision of director and star Warren Beatty, and hoping to ape the success that Warner Bros had enjoyed the summer before with Batman. Yet whilst Dick Tracy hit, it didn’t hit too hard. The studio adjusted its-then blockbuster strategy accordingly, and it wouldn’t really be until it got to the likes of »
Kevin Bacon has found his next TV role, and Ryan Hardy it is not.
Based on Chris Kraus’ 1997 novel of the same name, the potential series follows a struggling married couple in Texas and their mutual obsession with an off-putting but charismatic professor (played by Bacon).
Warning: The following contains spoilers for Tuesday’s iZombie
Wild guess: Your mind is reeling from iZombie‘s insanely eventful, action-packed Season 2 finale.
Here’s a quick rundown of the major twists and turns that took place during the two-hour event:
Mr. Boss found out Blaine is alive and had his goons kidnap Peyton, who was rescued by Blaine (sorry, Ravi); the Super Max launch party ended in a bloodbath — Rip Rob Thomas the singer — thanks to a zombie outbreak; Vaughn was eaten by a few of the undead, including his daughter Rita, who was later offed by Major; Liv »
Josh Greenberg will have plenty more chances to get his love life in order.
Fxx has renewed its comedy series Man Seeking Woman for a third season, the network announced Tuesday.
RelatedIt’s Always Sunny in Philadelphia Renewed for Seasons 13 and 14 at Fxx
Ready for more of today’s newsy nuggets? Well…
Galaxy Quest, the 1999 sci-fi film, had been set to get a sequel. Unfortunately, says Sam Rockwell, who played Guy Fleegman in the film, revealed that production would’ve been in the works right now, if it weren’t for the tragic death of Alan Rickman. “They were going to do a sequel on Amazon,” explained Rockwell on Chris Hardwick‘s Nerdist podcast, “We […]
- Jenny C Lu
During an interview with Nerdist, Sam Rockwell has revealed that Amazon was developing a sequel to the cult sci-fi comedy Galaxy Quest, only for the plans to fall apart following the passing of Alan Rickman in February.
“They were going to do a sequel on Amazon,” states Rockwell, who starred alongside Rickman, Tim Allen and Sigourney Weaver in the 1999 film. “We were ready to sign up, and [then] Alan Rickman passed away and Tim Allen wasn’t available – he has a show – and everybody’s schedule was all weird. It was going to shoot, like, right now. And how do you fill that void of Alan Rickman? That’s a hard void to fill.”
A parody of TV shows such as Star Trek, Galaxy Quest followed the cast of a once popular sci-fi series who get caught up in their own intergalactic adventure. It was only a moderate success upon release, »
- Gary Collinson
Later this year, Bill and Ted's Bogus Journey, the follow-up to the 1989 time travel classic Bill and Ted's Excellent Adventure, celebrates its 25th anniversary, and for most fans, the perfect anniversary gift would be confirmation that Bill & Ted 3 is actually moving forward. The sequel has been in development for years, with Dean Parisot (Galaxy Quest) signing on to direct back in 2012 from a script by Ed Solomon and Chris Matheson, who wrote the first two movies. Forbes caught up with Bill S. Preston Esquire himself, Alex Winter, who confirms, once again, that Keanu Reeves is on board to play Ted Theodore Logan.
"How the **** would we make it if he wasn't on board? People always ask if Keanu's doing it and I'm like, 'No, I'm making a Bill movie.' Of course he's in it. I can't make a Bill & Ted movie without Keanu."
Last March, Alex Winter hinted that »
Amazon’s Galaxy Quest revival has been put on hold.
“They were going to do a sequel on Amazon,” Rockwell said. “We were ready to sign up, and [then] Alan Rickman passed away and Tim Allen wasn’t available – he has [Last Man Standing] – and everybody’s schedule was all weird. It was going to shoot, like, right now. And how do you fill that void of Alan Rickman? That’s a hard void to fill. »
We did not need another example of how the entire galaxy is worse off without the great Alan Rickman but, lucky us, here's a fresh one: Sam Rockwell told Nerdist the band was going to get back together this year for a "Galaxy Quest" sequel, and then Alan Rickman died in January. So they lost their Alexander Dane and the whole thing fell apart.
As Rockwell explained (via Entertainment Weekly):
"They were going to do a sequel on Amazon. We were ready to sign up, and [then] Alan Rickman passed away and Tim Allen wasn't available – he has a show – and everybody's schedule was all weird. It was going to shoot, like, right now. And how do you fill that void of Alan Rickman? That's a hard void to fill."
It's impossible to fill, but by Grabthar's Hammer they should avenge his untimely death and do it anyway! Tim Allen »
- Gina Carbone
Affectionate, smart and very, very funny, sci-fi spoof Galaxy Quest has become a much-loved cult item. Sadly, it didn't garner the mainstream success at the box office which might have hastened an immediate sequel.
“They were going to do a sequel on Amazon,” Rockwell told Nerdist. “We were ready to sign up, and [then] Alan Rickman passed away and Tim Allen wasn’t available – he has a show – and everybody’s schedule was all weird. It was going to shoot, like, right now. And how do you fill that void of Alan Rickman? That’s a hard void to fill.”
This certainly »
The last we heard about a sequel to Galaxy Quest, one of the best sci-fi comedies of all time, Paramount Television was in the early stages of putting together a TV series based on the original movie. That news made no mention of who from the original's cast would be returning, but it was at least confirmation that something was happening. It was nice news, especially after years of Tim Allen saying a sequel had been written but was never able to get off the ground. Sadly it looks like that sequel may never happen, but apparently it got even closer than any of us realized. According to Galaxy Quest co-star Sam Rockwell, Amazon had stepped in to back the sequel. Everyone was working on the paperwork when Alan Rickman died, which then threw the whole project back into limbo. He...
- Peter Hall
By Grabthar's Hammer, we came really close to getting more Galaxy Quest. Finding a home at Amazon Studios late last year, a Galaxy Quest television series was in development with the hopes of bringing the crew of Nsea Protector to the streaming content provider. However, that project looks to have quietly faded away, following the death of Alan Rickman who played Alexander Dane/Dr.... Read More »
- Billy Donnelly
Before Alan Rickman passed away earlier this year, Amazon had plans to reunite the cast of Galaxy Quest for a sequel. Talk of a potential follow-up to the 1999 cult flick is, of course, nothing new. Rumors have been circulating for years, fuelled by fans eager to see another tale featuring the crew of the Protector. It turns out that Galaxy Quest 2 wasn’t just a pipe dream though – it was a real possibility.
Here’s what star Sam Rockwell revealed on a recent Nerdist podcast:
“They were going to do a sequel on Amazon. We were ready to sign up, and [then] Alan Rickman passed away and Tim Allen wasn’t available – he has a show – and everybody’s schedule was all weird. It was going to shoot, like, right now. And how do you fill that void of Alan Rickman? That’s a hard void to fill.”
He’s not wrong. »
- Gem Seddon
A few months ago, Alan Rickman passed away at the age of 69 and film fans the world over mourned the death of one of our finest actors. And today serves as another crushing reminder that we’re never going to see another performance from Rickman, since it has been revealed that his death led the cancellation of a planned sequel to the 199 comedy/science fiction classic Galaxy Quest. In a new interview, original cast member Sam Rockwell revealed that Galaxy Quest 2 almost happened, but Rickman’s death and other factors caused the whole thing to come undone. »
- Jacob Hall
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