The hosts are happy with the actress who played the younger sister; Uma Thurman is called too old after Dangerous Liaisons and Alicia Silverstone too young, and the role needs someone British. — Bill Simmons
Goldman’s novel and rights, Reiner and Lear’s support, Wright and Elwes’s careers, exact casting, Andre’s wrestling schedule and physical limits, and Goldman writing Fezzik with Andre in mind
Rob Reiner directed the film from William Goldman’s 1973 novel, and the grandfather framing preserves the book’s asides and genre commentary. — Juliet Litman
20th Century Fox paid Goldman $500,000 for the rights in 1973 but did not make the movie; Goldman later bought the rights back. — Juliet Litman
Norman Lear produced the film and is credited with signing off after Rob Reiner selected the lead actor. — Juliet Litman
Reiner wanted Carrie Elways after Lady Jane, while Robin Wright’s late audition is described through the story of her appearing backlit at Goldman’s door. — Juliet Litman
Andre the Giant was the first choice, but an apparent Tokyo wrestling commitment initially made him unavailable. — Juliet Litman
Andre’s back surgery required the production to rig Robin Wright, use a masked double for impact, and put Carrie Always on a box for close shots. — David Shoemaker
Kareem Abdul-Jibar, Lou Forigno, a Scottish strongman, and the actor known from Twin Peaks were considered while Andre was unavailable. — Juliet Litman
Robin Wright’s post-film career discussion highlights Forrest Gump, House of Cards, She’s So Lovely, the film rendered “white old Leander,” and Wonder Woman. — Juliet Litman
The actor rendered Carrie Always is described as an ideal fairy-tale lead whose later career moved through spoofs and villain roles. — David Shoemaker
Asked who won the movie, with a joke about Paul Rudd's eyes, the host says it is obviously Alicia Silverstone and wonders why they even asked; she is perfect, the ideal avatar for everything Amy Heckerling wanted to get across, and someone wound her up and she nailed it.
Much of what is memorable about the movie, even saying 'as if', would not be as memorable without the way she delivers it; the realization that 'as if' was left off the quote list is called almost criminal, 'whatever' with the W hands is added, and the hosts highly recommend rewatching the film.
The question is posed as who is at their best other than Alicia Silverstone and Amy Heckerling ('Hackerling' as transcribed); one host repeats that Paul Rudd is at his best here, and another jokes that his eyes are at their best in the film.
On a seventy-first viewing in HD one host finally noticed how much eyeliner Paul Rudd wears throughout, wondering if it is an emo move or part of his green-party, standing-in-front-of-the-fridge flannel persona; another doubts you are meant to see it and says this was the first film watched on a fancy TV, which revealed things about the aesthetic better left unseen.
The pick refers back to an earlier aside during the casting discussion: Clueless together with Paris in Romeo and Juliet is still the peak Paul Rudd run for one host, who says he will never be more important than he was then in that host's universe.
A tangent on the Arclight theater chain in Los Angeles, whose lobby displays film costumes that look like sewn-together tablecloths; cameras and lights do a lot of work, HD has ruined many illusions and is good only for reality TV, Game of Thrones production value and sports.
