Van calls the film horror: repeated deaths, mistaken removal and loss of memory could be torture by a devil rather than benevolent heaven. Another voice argues the lovers’ souls remain connected; Van doubts it. — Van Lathan
A new spontaneous take casts Joe as selfishly using bodies for one game; objections note he was taken early and his hosts would die. The selection montage is compared with Final Destination as hidden horror. — Van Lathan
Keeping memories would be kinder but weaken the ending. Possible Jarrett family obligations complicate possession. A horror sequel imagines competing souls, a broken saxophone and the title Heaven Will Not Wait/Get My Body Back; Mr. Jordan as devil remains speculation.
Mr. Jordan’s aphorism is said jokingly to invent Jim Rome’s contrarian take culture. — Van Lathan
A speaker calls Christie the most attractive British woman, with Hurley the other finalist. Mirren is an alternate; Eva Green’s assumed British identity is corrected to French. Christie remains the original choice. — Chris Ryan
Two quarterback deaths or near-deaths in months are offered as a plot weakness; another speaker says that is a nitpick and corrects that Jarrett apparently survives. A Tua/Blanda possession scenario is a joke.
Christie’s hair and vibe are selected despite the speaker considering her exceptionally beautiful. — Bill Simmons
Nina van Pallandt replacing Hutton is proposed as an older but striking woman plausibly intoxicated by Julian. — Sean Fennessey
Christie remains a preferred Michelle, with her age making the senator marriage more convincing. — Bill Simmons
Lange is favored if casting younger; Glenn Close is another appealing option for a desirous senator’s wife and future erotic-thriller skill. — Sean Fennessey
A current remake considers Bernthal but doubts his age, proposes Miles Teller, and raises Glenn Powell while questioning his smirky quality. — Sean Fennessey
Travolta was announced in 1978 and photographed in Armani, then withdrew shortly before filming; the official explanation involved his mother’s death and father’s illness. — Bill Simmons
Schrader’s alternative explanations invoke Scientology, discomfort with gay themes and a final-cut demand; the discussion explicitly calls these unverified speculation and notes his tendency to provoke. — Bill Simmons
Gere reportedly became the fourth choice two weeks before filming; his earlier Looking for Mr. Goodbar role had put him on the map before this breakthrough. — Bill Simmons
Travolta’s sexual charisma could work, but Gere is preferred for attractiveness and a convincing unknown past; ambiguity about the character’s sexuality is discussed as part of both actors’ potential appeal. — Mallory Rubin
Christopher Reeve reportedly declined a million dollars; Diller wanted him but Schrader opposed his all-American quality and undermined the choice. Suitability remains disputed, largely negative.
The internet claim that Chevy Chase declined is disbelieved, and a serious Chase performance is rejected despite Schrader’s later unconventional Harrelson casting in The Walker. — Sean Fennessey
Julie Christie was initially cast opposite Travolta and is strongly preferred by one voice, though another refuses to choose between her and Hutton. — Bill Simmons
Mia Farrow reportedly gave the best audition but overpowered Travolta; Sue Mengers arranged a Hutton test that suited him, and Schrader avoided another risky change after replacing the lead with Gere. — Bill Simmons
Farrow is defended as an underrated actor who could have played an unusually sexy role outside her familiar Allen-film image. — Bill Simmons
Reports that Streep and Lange declined remain unconfirmed or ambiguous about whether a firm offer existed; both are considered appealing alternatives. — Bill Simmons
