A first list of four favorite kidnapping movies: Man on Fire, Taken, Misery (argued to count even though people do not think of it as a kidnap movie) and Proof of Life, which was already covered on the podcast. — Bill Simmons
Three more on the bubble: Ransom, Fargo, and Without a Trace from around 1982 with Kate Nelligan, whose son is taken and found in the end. — Bill Simmons
A second four-film Mount Rushmore puts Taken first and Man on Fire second, then two kidnapping comedies from childhood: Who's Harry Crum with John Candy and, after trying to recall the title, Ruthless People with Danny DeVito. — Van Lathan
Kidnapping comedies are preferred for the levity because kidnapping movies can get grim, and Ransom gets about as grim as it gets. — Van Lathan
Philip Kaufman was initially to direct, while Deborah Winger declined Marion, Amy Irving was unavailable, Barbara Hershey was considered, and Sean Young screen-tested opposite Indy candidates. — Bill Simmons
Jeff Bridges was liked and auditioned but apparently was not formally offered Indy; the hosts think he would be good but less physically hard-nosed than Ford.
Tom Selleck was fitted and nearly cast until CBS retained him for Magnum P.I.; a strike later would have freed him, but Ford had already been chosen.
Lucas resisted overusing Ford, Spielberg pushed for him, and Ford accepted salary, gross participation, and dialogue-rewrite rights while actively questioning production choices.
Danny DeVito could not play Sallah because of Taxi, Klaus Kinski rejected Toht for better pay on Venom, and Jonathan Pryce was considered for Belloq.
The Selleck/Ford choice is ranked among the most consequential movie sliding doors because it affects both Indiana Jones and Ford’s later career. — Bill Simmons
Sandra Bullock was supposed to play Karen Sisko; a quote from the director says she and Clooney had great chemistry but for the wrong movie, not Elmore Leonard energy, so they landed on Lopez; the pair later made Gravity. — Bill Simmons
The film was offered to Barry Sonafield first; he dropped out to do Men in Black, and his Get Shorty shows how different the tone would have been. — Bill Lawrence
Luck matters: a different director can make a movie great, and Eddie Murphy almost got fired from 48 Hours. — Bill Simmons
Chemistry screen tests are explained as a last hurdle in couple-driven romantic comedies; rumor says Lopez's test was shot at Clooney's house, and TV shows sometimes rewrite when leads lack chemistry. — Bill Lawrence
Danny Davidow and Garris Shandling were considered for Ripley; Shandling as Ripley is an intriguing what-if, though he might have glanced at the camera and needed a different edge for the office scene.
Shandling never found the right movie part; his Mike Nichols movie was a legendary disaster. — Bill Simmons
