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In 1994, while Waterworld was still in preproduction, the interstellar teleportation saga Stargate became the first movie to have a dedicated promotional website. Of course, the internet was already in the process of drastically altering the future. the Yankees), and Newsweek ran a feature on why the internet would not drastically alter the future.
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And in the digital world, Javascript was invented, went live as a free beta offering, the first pro sports game streamed online (the Mariners vs.
On TV, Seinfeld aired its infamous Soup Nazi episode and Drew Barrymore flashed David Letterman. The first Pixar movie, Toy Story, bowed in theaters, competing with Pierce Brosnan’s first appearance as James Bond, in GoldenEye. “Creep” by TLC was booming from every Jeep speaker. How much do you remember about 1995? Here’s a primer if you weren’t there. More importantly for Waterworld’s reputation, it arrived at the demarcating moment when the world entered the information age. They couldn’t look away from the predestined trainwreck-to-be. Everyday folks who didn’t read trade mags like Variety observed the protracted spectacle the way they had O.J.’s white Bronco chase the previous summer. It was the popcorn-worthy event the film itself wanted to be. Unlike the historic bombs Waterworld was nicknamed after, the film’s slow journey to the big screen was like a public shame-parade. Schadenfreude consumed the general moviegoing public. Waterworld hadn’t even come out yet, but already a narrative coalesced around its inevitable failure. By that time, the press had already dubbed the film “Fishtar” and “Kevin’s Gate,” references to earlier bombs, Ishtar and Heaven’s Gate, the latter of which was long thought to have bankrupted an entire movie studio.
Finally, over the course of this horrendous process, Costner endured both a divorce from his wife of 16 years, and a second falling out with director Reynolds, who left the project during the editing stage. Hurricane season weather around the Hawaiian location eventually sank a $5 million floating set, while local vendors reportedly price-gouged much of the equipment. Majorino, only 10 years old at the time, got stung by jellyfish so often that Costner nicknamed her “jellyfish candy.” (He didn’t come up with any cute nicknames, however, for his stunt double, who nearly died from an embolism after surfacing too quickly from a deep-sea dive.) At one point, medics were treating 40 or 50 cast and crew members per day. Nearly everyone suffered frequent seasickness, or some other malady. But really, the production encompassed every flavor of the disaster rainbow. Much has been said about the budget-which started off at $100 million, and topped out at a then-record $175 million-as well as the marathon shooting schedule, which started at 96 days and ballooned to 166. There is no way to overstate how troubled a production Waterworld ended up, as voraciously reported by the entertainment press. In the summer of 1993, a crew of 500-plus people began building Waterworld‘s sets, kicking off what designer Dennis Gassner later called “18 months of hell.”
The two creatives, who had a major falling out during postproduction on Prince of Thieves, begrudgingly agreed to re-team, and rounded out their film with the extremely 1995 casting of Basic Instinct‘s Jeanne Tripplehorn, a Speed-resurgent Dennis Hopper, and future Napoleon Dynamite costar Tina Majorino. Rader sold his screenplay in 1989, at which point it bounced around Hollywood for a few years until Robin Hood: Prince of Thieves duo Kevin Costner and director Kevin Reynolds separately expressed interest.
A mysterious young girl has what may be a map to that mythical dry land tattooed on her back, and a mutated fish-man must guard her from a floating fleet of sea-bikers. Aquaworld, where dry land is but a myth sold by dirt merchants. The film would be set in the year 2500, long after global warming had melted the polar ice caps, turning the whole planet into some kind of. It was a sci-fi epic with a sociopolitical undercurrent.
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