Shelton, Ron. The Church of Baseball: The Making of Bull Durham: Home Runs, Bad Calls, Crazy Fights, Big Swings, and a Hit. New York: Knopf. 2022. Print
Bible stories were a big part of my growing up. The dramatic tales of Moses parting the Red Sea and coming down from the mountain and Jesus routing the money changers in the temple and the whole fantastic narrative still live loudly in my DNA.
Description:
If you have never seen the minor league baseball movie, Bull Durham, stop reading this right now and find that film somewhere ... NOW! And don't come back until you have watched this cinematic gem, certainly one of the best sports movie of all time.
Ron Shelton, the screenwriter and first-time director of Bull Durham, walks us through the process of making his film in his delightfully entertaining The Church of Baseball: The Making of Bull Durham: Home Runs, Bad Calls, Crazy Fights, Big Swings, and a Hit.
The book is divided into four parts: "Development" where Shelton discusses his personal history playing professional baseball and his experiences as the seeds to create the original script; "Preproduction" that details the interviewing and hiring of actors, identifying shooting locations, etc.; "Production" with the ups and downs of the actually filming, along with the challenges of costumes, lighting, and weather; and "Postproduction" when the movie actually hits the public screens and the response by reviewers (lukewarm) and public (wildly enthusiastic).
Each stage has its unique nerve-wracking pitfalls, missteps, and obstacles which threaten to stop production. The ballpark had to be re-painted to a preferred color, the frosty breath of actors during the Durham cold weather had to camouflaged, and hundreds of extras had to be found (without pay) to fill the stands. But each trial has its own humorous moments (taken in hindsight by Shelton who probably did not find them funny at the time). He walks us through scene by scene, decision by decision, to really help us understand the entire film-making process. I only have room to present a few interesting items to whet your interest.
- "Crash" Davis, the film's main character, was actually a real person whom Shelton read about while looking through minor league records. Davis had hit the most doubles (50) in a minor league season. Ebby Calvin LaRoosh was a bright-eyed waiter who served Shelton at a restaurant with the introductory words, "Call me Nuke" (but he didn't know how to spell it when asked by Shelton). "Annie" is a generic name given by players to female groupies. "Savoy," Annie's last name, was on a matchbook that Shelton found in his pocket from a dive bar in Los Angeles.
- Costner wanted to audition for the part by demonstrating his throwing and hitting. Both he and Shelton found that they each "kept a glove and ball in the trunk of our car for reasons neither of us questioned.' Turned out Cosner was a switch-hitter with a beautiful swing;
- Throughout the shooting, the studio heads did not like Tim Robbins as Nuke and repeatedly tried to replace him. One unnamed head felt Susan Sarandon was completely wrong as well. About half way through shooting, Shelton received a phone call from the studio saying they were unhappy with Cosner's performance and they were immediately sending Kurt Russell down to replace Cosner and re-shoot everything fresh. (Turned out to be Russell on the phone making a prank call.)
- Studio producers tried, right up to the film's release, to remove the pitcher's mound scene where the players discuss the curse on a player's glove, what to get Millie and Jimmy for a wedding present, and how to align Nuke's chakras. (Preview audiences, however, on comment cards consistently rated that scene as their favorite);
- When they needed to fill the stands with extras, a production assistant contacted a friend working with the Pink Floyd concert nearby at the University of North Carolina. The band then announced to their fans that there would be a great after-concert party at the ball park, so concert-goers all trooped over to sit in the stands, waiting for Pink Floyd to show up (which they never did), and were unknowingly briefly filmed as background;
- Paula Abdul did the choreography for Nuke's bar dancing scene in exchange for a promised speaking role, a deal which Shelton did not know about and was not added to the film;
- After the film was public, Shelton met the pitcher Milt Pappas, who held a grudge for being included in Annie's speech about the worst trade ever in baseball ("Who can forget Frank Robinson for Milt Pappas, for God's sake?");
- [Shelton recalled]: When I signed off on the final cost of the movie, I believe we were ten cents under budget.
- When Bull Durham opened, it faced competition from current movies including Big, Die Hard, Coming to America, Cocktail, Midnight Run, Rambo III, and Who Framed Roger Rabbit. It grossed $5 million the opening weekend, then shockingly grossed more the next weekend and the third as well. After 28 weeks that summer, the film grossed the equivalent of $120 million in today's dollars.
What's not to love about a well-written memoir full if eobderful stories about likeable people, while gently walking us through the steps and decisions around constructing a delightful movie? I loved it and gobbled it up in only a few reading session. Can't wait to see the movie again and remember the process, choices, fights, and joy behind each portion.
[Writer/Director Shelton]: My interest in baseball isn't analytical, romantic, or even patriotic. I like the game -- it's nuanced and difficult and physical-- but it has a appealing vulgarity, an earthiness...
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Recollections from the star of the wonderful adventure comedy, The Princess Bride, about the making of the movie, from ad-libbed comments by Billy Crystal that made Mandy Patinkin laugh so hard he broke a rib, to the weeks of sword fighting instruction, to Andre the Giant plowing around the landscape on a motorcycle, breaking Elwes toe in the process. Delightful.
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