Ebert’s criticism of Madden and Summerall is rejected as an aged-worst take. — Bill Simmons
The earlier review calling Favreau’s performance career-ending is retracted; his later success and this performance are now appreciated. — Bill Simmons
The Gary Glitter song is an aged-worst choice because of the performer’s history. — Bill Simmons
The hosts discuss Michael Jace’s murder conviction as a disturbing contrast with his character’s fear of returning to prison. — Van Lathan
A host recalls recognizing Jace while he was serving as an usher at an Oasis church on Wilshire. — Van Lathan
The host recalls having spoken with Jace and then learning of his arrest while working at TMZ. The segment’s proposed fun-fact title is rejected as inappropriate to its subject. — Van Lathan
Coaches wearing suits is added as an aged-worst observation, with Mike Nolan's unsuccessful revival blamed for ending the look. — Van Lathan
Gooding reportedly auditioned early and remained the benchmark despite later auditions including Jamie Foxx. His voluntary decision to undress for an audition scene is corrected after a misunderstanding that he was required to. — Bill Simmons
Gooding receiving his Oscar from Mira Sorvino is noted because she reportedly lost Dorothy when her agents requested too much money. — Bill Simmons
Crowe reportedly wrote for Hanks and Winona Ryder; Hanks passed after the long writing process to make That Thing You Do!, and Ryder with Cruise seemed too sibling-like. Woody Harrelson reportedly rejected an offer because audiences would not care about an agent; his hypothetical casting is considered inferior to Cruise. — Bill Simmons
Jennifer Lopez auditioned, but Connie Britton was reportedly the final alternative to Zellweger. Britton's height theory and reportedly disastrous screen test are discussed without settling the reason. — Bill Simmons
Jamie Foxx's Rod audition is revisited as a plausible different version of the role, with Willie Beamen later giving him a sports-film showcase. — Bill Simmons
Janet Jackson reportedly auditioned and accepted Marcee before the deal fell through; Regina King replaced her and the film helped move her toward major Hollywood roles. — Bill Simmons
Diane Lane as Avery is an uncorroborated casting rumor that excites interest; Preston's death is distinguished from Lane, who is alive.
The renamed Teddy KGB category considers Liotta, Stallone, Patrick and Moriarty, but Garofalo is the only sustained mismatch choice; the others fit the ensemble.
The studio wanted Matt Damon or Sean Penn for the narrator while Fincher wanted Norton; Norton was also up for The Talented Mr. Ripley, Man on the Moon and Runaway Jury in a casting merry-go-round. — Bill Simmons
An alternate universe where Damon does Fight Club and Norton does The Talented Mr. Ripley is fun to imagine, though Damon's Ripley is one of his best roles. — Bill Simmons
Norton and Damon competed for The Rainmaker, Coppola steered Norton to American History X, and Damon has said he was devastated to miss Primal Fear; Scent of a Woman went to Chris O'Donnell. — Chris Ryan
Damon brings relatability and Norton a cerebral quality; Damon could have played either part, Pitt only Tyler, and Norton not Tyler. — Chris Ryan
Leo was a little young post-Titanic but this would have been his dream part a few years later; Pitt's casting works because he is who guys daydreamed of being. — Chris Ryan
Crowe was about to go on his Gladiator-Insider-Beautiful Mind run and would have crushed the part with an Aussie hooligan authenticity, though Pitt is still preferred. — Bill Simmons
Fincher's first choice for Marla was Janine Garofalo; she reportedly accepted, then was dropped as not right for the role at Norton's urging, framed as the birth of the behind-the-scenes Norton monster. — Bill Simmons
Per Variety, Sarah Michelle Geller was sought but was doing Buffy; the studio wanted Reese Witherspoon, whom Fincher thought too young, and then Courtney Love, who was dating Norton, before landing on Bonham Carter. — Bill Simmons
Marla is said to have Courtney Love meets Joan Crawford energy, leading to a tangent about loving the band's 90s songs. — Bill Simmons
Fincher wanted Radiohead to score the film; it would have been eerier and more somber than the Dust Brothers' electronic score, not necessarily better, though the movie needs the Dust Brothers' energy. — Chris Ryan
Winona Ryder receives a positive verdict, with Heathers raised as the strongest competing film.
A pro-Reality Bites argument points to the shot from this film used in an eventual Oscar memorial montage.
Ethan Hawke is rejected here because Training Day brought an Oscar nomination and broader career choice.
A competing suggestion places Hawke’s apex in the present and speculates that The Purge may have given him unusual financial leverage, while explicitly admitting that claim is not known as fact. — Chris Ryan
A Brooklyn pasta-shop anecdote about Hawke debating whether a character was Nick Cave or Jeff Tweedy is jokingly proposed as his apex.
After the transcript form “You too,” the response calls another title the movie about them and thanks Ben Stiller, but gives no clear yes or no. — Chris Ryan
Lisa Loeb receives an unqualified positive verdict.
The Super Big Gulp is rejected as too forced a script device.
Garofalo was fired over her attitude and then rehired after Ryder intervened; Garofalo later described her own poor work ethic and dislike of rehearsal.
The ensemble is judged so well matched that changing any of the four principal performers would create a substantially different movie.
Vicki’s room, the AIDS context, Good Morning Grant, Winona Ryder, Janeane Garofalo, Ethan Hawke’s music, Rolling Rock, the soundtrack, the band name, and Lisa Loeb
