![]() ![]() Maybe it shows that my character is that fucking tough. The actors came, and they said “I’ll take that one,” like they were really going to go into battle. Another was just a board with a circular saw. Rebenkoff: Some of it was stupid stuff, like a baseball bat with a nail sticking out of it. It was like a playing field with all these toys. Scott Maginnis (propmaster): At the place where we shot this, I laid out a big tarp with all the weapons on it - ones that were scripted and others that I had or just seemed funny to me - and everyone just kind of “shopped” for their weapon, if it wasn’t scripted. I basically wanted a highlight reel of the most horrible weapons you could have, a mixture of the Middle Age weapons with modern-day gang weapons. McKay: Our prop guy, Scott Maginnis, kept coming to me with weapons. And everybody was tensing up for these actors, because we had to get them out on time. Rebenkoff: We had all these big actors there, and they were all doing it for scale. Jay Johnston (Eyewitness News Member, part of Wes Mantooth’s crew): It was kind of a circus, because they had all these pyrotechnic guys and stunt people and cameos. You can do fake graffiti on the walls.”ĭavid Koechner (Champ Kind): It was somewhere near an overpass, and there were no lookie-loos whatsoever. ![]() McKay: Householter was like, “No one is going to bug you here. in this warehouse district by the Sixth Street bridge. Householter: We shot it down in a parking lot in L.A. McKay: I think the final tally was 110 setups. Householter: I don’t remember how many, but close to 70, probably. But it was pretty tight, and the only way we could pull it off was to be that tight.įerrell: I think it was, like, 30 or 40 set-ups in one day. McKay: We knew exactly what shots we were getting. It was a scramble right up until the finish. Matt Rebenkoff (first assistant director): We were still picking guys up through the week prior. And then of course we started getting cameos - Ben Stiller, Tim Robbins, Luke Wilson - and everything just kept growing. But our line producer said, “We can do this.”ĭavid Householter (line producer): The question was, Can we do it in one day? Because that’s all the time we had allotted for it. McKay: Judd read it and he’s like, “This is awesome.” But we didn’t have a ton of money. People on horses with nets, à la Planet of the Apes, guys smashing through car windows, a guy on fire. Steve Carell (Brick Tamland): It was all-out mayhem. McKay: Then Judd was like, “Guys, you should just try taking a pass where you go further.” And we were like, “What do you mean?” And he said, “Well, what happens if they do get into a fight?” So we started rewriting it and I realized, “Oh, this town would probably have four news stations, and I don’t know if they had Spanish-language news back then, but we can certainly cheat and chuck that in there.” And then we were like, “Wait a minute - are we going to do this? Are we going to have a gang fight? I think we are.” Will Ferrell (Ron Burgundy): The studio said, “This doesn’t make sense. “It’s 40 percent legit, 40 percent melodramatic, and 20 percent just ridiculous.” As part of our ongoing micro oral histories week, Vulture asked McKay, Will Ferrell, Paul Rudd, Steve Carell, and other participants to reflect on the whirlwind day they shot the out-of-control scene, which earns a callback in the 2004 comedy’s sequel, Anchorman 2: The Legend Continues.Īdam McKay (writer, director): Will and I had written the script and we kept putting these scenes in that were sort of in the vein of The Blackboard Jungle and The Warriors, with these tense eye-to-eye standoffs with Vince Vaughn and his Channel 9 news crew. “That scene, more than any other scene in the movie, points to the tone of Anchorman,” director and co-writer Adam McKay tells Vulture. Bookended by the immensely quotable Ron Burgundy lines, “Uh-oh, here comes trouble” and “Boy, that escalated quickly,” the scene summed up the film’s essence in five mock-action-packed minutes. The one scene from the original Anchorman that everyone remembers - more than the flute solo, more than the Baxter kick, more than the depressive milk-drinking - is the newscaster battle.
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