Somme Bombardment Begins

Erik Sass is covering the events of the war exactly 100 years after they happened. This is the 241st installment in the series. 

June 24, 1916: Somme Bombardment Begins

Britain and France had agreed to mount a major offensive on the River Somme as far back as December 1915, but the timing remained vague, in part due to Douglas Haig’s replacement of Sir John French as overall commander of the British Expeditionary Force around the same time, with further confusion generated by unexpected events including the Easter Rising in April and the  death of War Secretary Lord Kitchener in early June. 

But as spring gave way to summer and the German assault on Verdun continued, mounting French desperation left the British little choice but to commit: following the French failure to retake Fort Douaumont, on May 26 French chief of the general staff Joseph Joffre warned the British that the French Army would “cease to exist” if they delayed much longer. Then on June 11, following the German conquest of Fort Vaux, Philippe Pétain, the savior of Verdun, asked Joffre to urge the British to move up the date for their attack. Finally, as the Germans unleashed a new attack even closer to Verdun in late June (see below), in an unusual deviation from the usual civil-military protocol French Premier Aristide Briand personally urged Haig to act swiftly, warning of dire consequences for their alliance if the British failed to attack.

Preparations for the massive Anglo-French assault on the Somme had been underway for months, and went forward on an awesome scale, reflecting the Allies’ hopes that the “big push” would deliver a decisive blow to the German military and maybe even end the war. Most of the work was focused on equipping the area around the Somme with infrastructure to support the British Fourth Army, numbering 400,000 men and 100,000 horses, all of whom had to be supplied with food, water, and ammunition. The British had also accumulated over 1,500 artillery pieces to deliver one of the heaviest bombardments in history, requiring millions of shells to break up the enemy’s defenses. These figures don’t even count the contribution from the neighboring French Sixth Army, which would carry out a simultaneous push to the south. 

In the first half of 1916 the British and French built two new railroads connecting the supply hub at Albert and the Somme, later complemented by dozens of new narrow-gauge “trench railways” connecting the bigger rail hubs to supply depots near the front. The Allies also repaired roads and bridges, erected vast camps with tents and barracks for hundreds of thousands of men, dug new wells and laid out dozens of miles of water pipelines, and built electric generators and a network of hundreds of miles of telephone wire to serve as a nervous system connecting it all.  Edward Liveing, a British subaltern, recalled the final weeks before the assault: 

The roads were packed with traffic. Column after column of lorries came pounding along, bearing their freight of shells, trench-mortar bombs, wire, stakes, sandbags, pipes, and a thousand other articles essential for the offensive, so that great dumps of explosives and other material arose in the green wayside places. Staff cars and signallers on motor-bikes went busily on their way… Horse transport and new batteries hurried to their destinations. “Caterpillars” rumbled up, towing the heavier guns. Infantrymen and sappers marched to their tasks round and about the line. Roads were repaired, telephone wires placed deep in the ground, trees felled for dug-outs and gun emplacements, water-pipes laid up to the trenches ready to be extended across conquered territory, while small-gauge and large-gauge railways seemed to spring to being in the night.

However the sheer scale of the preparations also meant there was no chance of surprise, as the Germans were bound to see these efforts and draw the obvious conclusion. On that note Lieutenant Own William Steele, a Canadians soldier from Newfoundland serving in the BEF, wrote in his diary on June 21, 1916: 

The Hun certainly appears to be expecting our visit, for they are, according to reports all along the front, hard at work. There is an immense amount of traffic everywhere. Opposite our own particular position, he is seen working by day and night… Only last night, he could be plainly heard strengthening his wire work, and even adding to it, etc. 

On paper at least, it shouldn’t have mattered that Germans knew what was coming, because the plan was simply to annihilate them with a “creeping barrage” of artillery and the explosion of nineteen giant mines tunneled under the German positions – and in truth, even the Germans were surprised by the unparalleled ferocity of the Allied attack. But British planners didn’t reckon with German engineering skill, which allowed tens of thousands of German troops to wait out the bombardment in deep concrete dugouts burrowed 40 feet underground; the Germans also built a second and third line of trenches for defense in depth. Furthermore bad weather prevented British planes from directing artillery fire against German artillery and strongholds. 

Nonetheless the initial bombardment, which began on June 24 – a full a week before the infantry attack on July 1 (delayed from June 28) – was by all accounts an awe-inspiring and terrifying spectacle, as a thousand British guns saturated the German trenches with over 1.7 million shells in eight days. Like the German maelstrom at Verdun, the rumbling of the great guns was heard over a hundred miles away, and was even said to be audible in London when the winds were favorable. 

Many observers compared the incredible downpour of steel to natural phenomena. Stanley Spencer, an officer with the Royal Fusiliers stationed further north on the Western Front, recalled: 

… night and morning, we hear the peculiar roll and thunder of hundreds of guns farther south in preparation for the Somme offensive. The sky was continuously lighted up by innumerable flashes, the earth shook and the air seemed to quiver with the restless rumbling and muttering that constantly rose and fell, and rose and fell again, like the rising, breaking, and subsiding of enormous waves. 

The shelling continued relentlessly through the night into day and then night again, when the dark sky turned into a nightmarish carnival of blinking, stuttering lights. Frederick Palmer, an American war correspondent, left a vivid description of the preparatory bombardment at night:

After dark the scene from a hill, as you rode toward the horizon of flashes, was one of incredible grandeur. Behind you, as you looked toward the German lines, was the blanket of night pierced and slashed by the flashes of gun blasts; overhead the bloodcurdling, hoarse sweep of their projectiles; and beyond the darkness had been turned into a chaotic, uncanny day by the jumping, leaping, spreading blaze of explosives which made all objects on the landscape stand out in flickering silhouette. Spurts of flame from the great shells rose out of the bowels of the earth, softening with their glow the sharp, concentrated, vicious snaps of light from shrapnel. Little flashes played among big flashes and flashes laid over flashes shingle fashion in a riot of lurid competition, while along the line of the German trenches at some places lay a haze of shimmering flame from the rapid fire of the trench mortars. 

Incredibly enough, men from the artillery crews were apparently able to rest during the shelling, according to Palmer, who noted that in many places the guns seemed to fire in shifts: 

It seemed that all the guns in the world must be firing as you listened from a distance, although when you came into the area where the guns were in tiers behind the cover of a favorable slope you found that many were silent. The men of one battery might be asleep while its neighbor was sending shells with a one-two-three deliberation. Any sleep or rest that the men got must be there in the midst of this crashing babel from steel throats. 

Palmer also noted the stupendous cost of the bombardment:

The flow of ammunition for all came up steadily, its expenditure regulated on charts by officers who kept watch for extravagance and aimed to make every shell count. A fortune was being fired away every hour; a sum which would send a youth for a year to college or bring up a child went into a single large shell which might not have the luck to kill one human being as excuse for its existence; an endowment for a maternity hospital was represented in a day’s belch of destruction from a single acre of trodden wheat land. 

The effect on the German troops subjected to this shelling was predictable enough, as they were forced to remain in their cramped concrete dugouts day and night for eight days, often cut off from supplies and unable to sleep amid the explosions pounding the earth above them. Above all, they wondered when the other shoe would drop. The German private Eversmann of the 26th Reserve Division wrote in his diary on June 26:

The barrage has now lasted thirty-six hours. How long will it go on? Nine o’clock: a short pause of which we avail ourselves to bring up coffee, each man got a portion of bread. Ten o’clock: veritable drum fire. In twelve hours shelling they estimate that 60,000 shells have fallen on our battalion sector. Every communication with the rear has been cut, only the telephone is working. When will they attack – tomorrow or the day after? Who knows?

However the important thing from the German soldiers’ personal perspective – and from a strategic perspective as well – was that most of them were still alive as the British infantry prepared to attack on July 1. An officer in the 26th Reserve Division, Lieutenant Cassel, noted with satisfaction: “On the whole we had very few casualties: some sentries were wounded and in one dugout that was partly squashed there were some deaths and seriously wounded. But the company on the whole, and my platoon in particular, kept its battle strength, thanks to the superior quality of our construction in the position.”

The failure of the bombardment, compounded by a number of mistakes on the day of the attack, would result in one of the worst debacles of the war – making July 1 the bloodiest day in British history.

Germans Unleash Phosgene Gas At Verdun 

On June 22, 1916 the Germans unleashed a terrible new chemical weapon, phosgene gas, as part of another massive assault intended to finally capture the hills above the Meuse overlooking the citadel of Verdun – their main objective during the months-long battle, which would force the French to abandon Verdun or send untold numbers of men to their deaths in an effort to eject the Germans. In the end, the Germans achieved neither aim – but only after a nightmarish struggle for Fort Souville, one of the last French strongholds protecting the citadel of Verdun. 

The shells containing phosgene, called “Green Cross” gas by German soldiers because of the special markings on the shells, began falling on the evening of June 22, and soon thousands of men were screaming and gasping for breath – their panic only deepening as they discovered that their gas masks didn’t protect them from the new weapon, developed by German chemists for exactly that purpose. Men and horses died by the scores, with many of the former supposedly turning a shocking green color.

The German gas attack targeted French artillery all along the line, forcing gun crews to flee and so leaving the infantry in the trenches unprotected. At 5 a.m. the German infantry advanced in dense masses, soon overrunning French defensive works and entering the village of Fleury – more than half way to Fort Souville. By now, however, the phosgene gas was starting to dissipate and French gun crews were returning to their positions. As the fighting continued Joffre sent four fresh divisions to shore up the defenses before Verdun. The German attack had been blunted – but just barely.

For ordinary soldiers on both sides, conditions at Verdun somehow become even worse. Henri Desegneaux, a French officer, described the German gas attack in his diary entry on June 22: 

At 9 p.m. an avalanche of fire bursts on the ridge, the relief has to be delayed, it would be impossible to pass. Is it an attack? There is gas as well as shells, we can’t breathe and are forced to put on our masks… My company is placed in one line, without any trench, in shell craters. It’s a plateau, swept continuously by machine-gunfire and flares… The terrain is littered with corpses! What an advance! It’s dark, one feels something soft beneath one’s feet, it’s a stomach. One falls down flat and it’s a corpse.

Amid continuing fighting, Desegneaux wrote on June 26: 

Our 220 mortars bombard Thiaumont: we must recapture some terrain to give ourselves some room and to drive the enemy back in its advance on Fleury. We attack incessantly. It’s four days since we have been in the front line and the relieving troops have been annihilated this morning during the attacks. Rain replaces the sun; filthy mud. We can’t sit down any more. We are covered in slime and yet we have to lie flat. I haven’t washed for ten days, my beard is growing. I am unrecognizable, frighteningly dirty.

In a later diary entry Desegneaux described one of the most awful, and tragically common, scenarios of the war: grievously wounded men dying slowly in front of their comrades because no stretcher bearers could make it to the frontline positions under heavy fire. On June 30, 1916 he wrote: 

Numb and dazed, without saying a word, and with our hearts pounding, we await the shell that will destroy us. The wounded are increasing in numbers around us. These poor devils not knowing where to go come to us, believing that they will be helped. What can we do? There are clouds of smoke, the air is unbreathable. There’s death everywhere. At our feet, the wounded groan in a pool of blood… One, a machine-gunner, has been blinded, with one eye hanging out of its socket and the other torn out: in addition he has lost a leg. The second has no face, an arm blown off, and a horrible wound in the stomach. Moaning and suffering atrociously one begs me, ‘Lieutenant, don’t let me die, Lieutenant, I’m suffering, help me.’ The other, perhaps more gravely wounded and nearer to death, implores me to kill him with these words, ‘Lieutenant, if you don’t want to, give me the revolver!’ Frightful, terrible moments, while the cannons harry us and we are splattered with mud and earth by the shells. For hours, these groans and supplications continue until, at 6 p.m., they die before our eyes without anyone being able to help them. 

Not long afterwards an anonymous soldier from the French 65th Division, stationed on the west bank of the Meuse, painted a similar picture in a letter home: 

Anyone who has not seen these fields of carnage will never be able to imagine it. When one arrives here the shells are raining down everywhere with each step one takes but in spite of this it is necessary for everyone to go forward. One has to go out of one’s way not to pass over a corpse lying at the bottom of the communication trench. Farther on, there are many wounded to tend, others who are carried back on stretchers to the rear. Some are screaming, others are pleading. One sees some who don't have legs, others without any heads, who have been left for several weeks on the ground...

See the previous installment or all entries.

17 Things to Look for the Next Time You Watch Office Space

20th Century Fox Home Entertainment
20th Century Fox Home Entertainment

Twenty years ago (yes, you’re really that old) Office Space forever changed how we look at cubicle life. Like a much funnier Dilbert meets Beavis and Butt-head meets the then-largely misunderstood world of Silicon Valley, the comedy movie from Beavis creator Mike Judge ably skewered everything from didactic middle-management bosses to chain restaurant uniforms. And it gave us a charming Jennifer Aniston love story plus a rap mini-music video dedicated to the destruction of malfunctioning printers.

For all that and more, the 1999 film that originally performed poorly at the box office has become a widely quoted cult sensation. Here are the interesting facts and references to look for the next time you watch Office Space.

1. It was shot very, very far from Silicon Valley.

A still from 'Office Space' (1999)
20th Century Fox Home Entertainment

Office Space keeps its setting purposefully vague, but the opening driving shots clue a perceptive viewer into the location: Notice the sign for Preston Road on Highway 289 in the background, which indicates that we’ve been dropped around Plano, Texas. The movie was shot in and around Austin, where Mike Judge lives, making him something of a Hollywood outsider. But Office Space is clearly attuned to the rituals and lingo of Silicon Valley’s tech scene. In fact, Judge worked as an engineer in the California area in the 1980s, which would go on to inform much of his satire, especially his popular HBO show Silicon Valley.

2. It was Mike Judge's first foray into movies ... and it didn't work out as planned.

A still from 'Office Space' (1999)
20th Century Fox Home Entertainment

Starting out as a self-taught animator in Texas, Judge made his name in entertainment with cartoons that aired on Saturday Night Live and, eventually, turned into his own MTV show. Beavis and Butt-head premiered in 1993, when the cable network’s scripted offerings were still in their infancy, and quickly became both a commercial hit and a cause of nationwide controversy. He went on to co-create Fox’s slightly more family-friendly King of the Hill, but Office Space marked his live-action directorial debut in film (he previously helmed the movie adaptation Beavis and Butt-head Do America). Made on an estimated $10 million budget, it earned only slightly more than that at U.S. theaters. Sadly, that failure has become something of a pattern for Judge’s movie work: Future efforts Idiocracy and Extract failed to catch on with initial audiences, though the former has also grown into a cult hit.

3. It didn't exactly make Ron Livingston a household name.

A still from 'Office Space' (1999)
20th Century Fox Home Entertainment

Office Space had all the makings of a breakout for its handsome, top-billed star, who was coming off a smaller part in the comedy phenomenon Swingers. But given its early commercial disappointment, he continued to seek out smaller parts and interesting, left-field projects like Adaptation. and The Cooler. He finally got his mainstream cred as the boyfriend of Carrie Bradshaw on Sex and the City (he's the one who broke up with her via Post-it note) with the massively popular horror flick The Conjuring. He's currently starring in two series: A Million Little Things and Loudermilk.

4. Initech has a very symbolic statue.

A still from 'Office Space' (1999)
20th Century Fox Home Entertainment

The statue outside the Initech office shows a square peg in a round hole. No coincidence, it’s a reference to the common idiom referring to an individualist who doesn’t fit into a particular social mold. That could describe Livingston’s Peter, his co-worker friends, Jennifer Aniston’s Joanna—or, more self-referentially, Judge himself, who has always made movies and series about outsiders.

5. You can tell a lot about Bill Lumbergh from his vanity plate.

A still from 'Office Space' (1999)
20th Century Fox Home Entertainment

Everything you need to know about Division V.P. Bill Lumbergh (Gary Cole) is established in an early shot of him pulling into his reserved parking space at Initech in a blue Porsche with a customized license plate that reads, “MY PRSHE.” Low-key. (Also notice the lack of any regional designation on the license plates in the film.)

6. "TPS" has a real meaning.

A still from 'Office Space' (1999)
20th Century Fox Home Entertainment

Lumbergh’s single-minded obsession with the details of “TPS reports” drives much of the cubicle-set humor, but what exactly is a TPS report? Potential meanings abound, especially given that companies love an abbreviation, but Judge revealed that TPS refers to Test Program Set reports, which dated back to his engineering days.

7. The food at Chotchkie's sounds less than appetizing.

A still from 'Office Space' (1999)
20th Century Fox Home Entertainment

A sign at the restaurant promotes its “shrimp poppers,” a food name that leaves a lot to the imagination. Later, chipper server Brian highlights “pizza shooters” and “extreme fajitas.” Whatever a pizza shooter is, it can’t be good.

8. Diedrich Bader had a very specific look in mind for Lawrence.

A still from 'Office Space' (1999)
20th Century Fox Home Entertainment

Diedrich Bader, who plays everyone’s favorite beer-guzzling neighbor Lawrence, came to his Office Space role with clear inspiration. “What I really wanted to look like was somebody who loved the Allman Brothers,” he told The A.V. Club in 2012. Sounds about right.

9. There's a real Milton out there.

A still from 'Office Space' (1999)
20th Century Fox Home Entertainment

Judge based the vengeful staffer, also the focus of several of his animated shorts, on one of his real-life co-workers when he was an engineer. Judge asked the man how he was doing, and he responded that he was going to quit his job because his desk had been moved around too many times.

10. Jennifer Aniston helped the movie get made.

A still from 'Office Space' (1999)
20th Century Fox Home Entertainment

The cast of Office Space has one instantly recognizable name: Jennifer Aniston, who was by then of course already a superstar for playing Rachel on NBC’s Friends. In a reunion for the film, Judge thanked Aniston just for signing on (though he added that she was great in the part), saying, “It helped us put the studio at ease a little bit—at least they had one famous person."

11. Michael Bolton has embraced the punchlines about him.

A still from 'Office Space' (1999)
20th Century Fox Home Entertainment

Peter’s co-worker Michael Bolton (played by David Herman) hates the fact that he shares a name with a musician who is, in his words, a “no-talent ass-clown." While the real-life Bolton initially seemed peeved about the mockery, he now signs Office Space DVDs for fans.

12. Chotchkie's is a thinly veiled TGI Fridays.

A still from 'Office Space' (1999)
20th Century Fox Home Entertainment

The chain restaurant by the office is notable not just for its fried food but for its emphasis on “flair” worn by the servers (15 pieces of flair is the minimum). Office Space is clearly mocking TGI Fridays, whose staff used to dress with seemingly endless buttons and ornamentation. TGI Fridays actually phased out flair by 2005, supposedly as a result of the movie.

13. Y2K makes a cameo.

A still from 'Office Space' (1999)
20th Century Fox Home Entertainment

Peter tells Joanna while having lunch that in his job he updates software for the “2000 switch.” In 1999, the impending change of the millennium was in fact a massive headache for tech companies and their programming of dates, a phenomenon that became known as Y2K.

14. The movie reintroduced red Swingline staplers.

A still from 'Office Space' (1999)
20th Century Fox Home Entertainment

Milton’s beloved red stapler was actually painted that color by the prop department, so that it would pop on the screen. As it was one of the more hilarious throughlines in Office Space, viewers started to seek it out in real life. The brand Swingline, which had phased out red staplers, decided to bring the product back. Design-minded executive assistants everywhere can thank Judge.

15. Mike Judge is hiding in plain sight.

A still from 'Office Space' (1999)
20th Century Fox Home Entertainment

In an uncredited role, the writer and director plays Joanna’s boss at Chotchkie's, reprimanding her about her lack of flair. (Though it’s hard to recognize him under the mustache and wig.)

16. Judge is a not-so-secret hip-hop head.

A still from 'Office Space' (1999)
20th Century Fox Home Entertainment

Hip-hop is repeatedly played and referenced throughout Office Space, particularly gangsta rap, which was ascendant in the '90s. The famous printer-smashing sequence is set to the Geto Boys’ “Damn It Feels Good to Be a Gangsta.” Also notice Michael Bolton rapping along to Scarface while driving in the movie’s opening. Judge has cleverly curated hip-hop in much of his work, from rap videos in Beavis and Butt-head to a collaboration with Danny Brown for Silicon Valley.

17. Milton foreshadows the climax a lot.

A still from 'Office Space' (1999)
20th Century Fox Home Entertainment

Milton mentions the possibility of burning down the Initech office several times before actually doing it, making it perhaps the least surprising act of arson depicted in film.

15 Facts About Bill & Ted’s Excellent Adventure on Its 30th Anniversary

MGM
MGM

In 1989, a couple of slackers from San Dimas, California hopped inside a time-traveling phone booth and gathered a gaggle of key figures from the past so they wouldn’t fail their high school history class. In 1991, they were at it again. Now, 30 years after Keanu Reeves and Alex Winter first cemented their place in sci-fi history as the lovable duo, the long-awaited threequel—Bill & Ted Face the Music—has been officially confirmed. Here are 15 things you might not know about the most excellent original film.

1. Bill and Ted were born in an improv class.

The idea for the characters of Bill and Ted came about in 1983, when UCLA classmates Ed Solomon and Chris Matheson formed a student improv workshop with a few of their peers. “One day, we decided to do a couple of guys who knew nothing about history, talking about history,” Solomon recalled to Cinemafantastique in a 1991 interview. “The initial improv was them studying history, while Ted’s father kept coming up to ask them to turn their music down.” (Solomon played Ted, Matheson was Bill.)

2. Originally, it was Bill & Ted & Bob.

When the skit originated, there was a third character, Bob. But “Bob” wasn’t as into it as Solomon and Matheson, so the trio became a duo.

3. Bill wanted to be Ted and Ted wanted to be Bill.

It’s hard to imagine anyone but Keanu Reeves playing Ted Logan, or another actor besides Alex Winter in the role of Bill S. Preston, Esq., but each actor actually auditioned for the opposite role. But when Solomon and Matheson saw their audition tapes, they thought the opposite would work better. In an online chat with Moviefone, Reeves claimed that he didn’t even know their roles had been switched until after he had been cast. “I got a call saying that I got the part,” Reeves recalled. “So I went to the wardrobe fitting… assuming I was playing Bill, and I get there and Alex Winter, who eventually played Bill, went to the wardrobe fitting thinking he was playing Ted. Then we were informed that that wasn't the case.”

4. Pauly Shore also wanted to be Ted.


Getty Images

Pauly Shore was among the hundreds of actors who auditioned for the role of Ted. In 1991, Shore hosted an MTV special, Bill & Ted’s Bogus Premiere Party, in which Shore corners Reeves in a back room to talk about his failed audition. Lucky for America, Shore did go on to find fame apart from Bill & Ted, and bring the phrase, “Hey, Bu-ddy!” into the popular lexicon.

5. No, Bio-Dome is not Bill & Ted's threequel.

Speaking of Pauly Shore ... For years, rumors circulated that the script for 1996’s Bio-Dome—starring Shore and Stephen Baldwin—was actually written as the third film in the Bill & Ted franchise. In 2011, Winter laid this rumor to rest when he told /Film that the story is “total urban legend as far as I know. No one involved in that movie had anything to do with Bill & Ted. So unless they were just going to try and reboot the franchise with that concept and different actors, I can’t see a connection.”

6. Keanu Reeves and Alex Winter weren't quite nerdy enough.

The casting of Reeves and Winter posed a problem for the script. “Bill and Ted were conceived in our minds as these 14-year-old skinny guys, with low-rider bellbottoms and heavy metal T-shirts,” Solomon told Cinefantastique. “We actually had a scene that was even shot, with Bill and Ted walking past a group of popular kids who hate them. But once you cast Alex and Keanu, who look like pretty cool guys, that was hard to believe.”

7. George Carlin was a happy accident.


Getty Images

In a 2013 Reddit AMA, Alex Winter called the casting of George Carlin (as Rufus, Bill and Ted’s mentor) “a very happy accident. They were going after serious people first. Like Sean Connery. And someone had the idea, way after we started shooting, of George. That whole movie was a happy accident. No one thought it would ever see the light of day.”

8. The time machine was originally a van.

In Solomon and Matheson’s original script, it was a 1969 Chevy van that served as Bill and Ted’s time machine. But in the course of rewriting the script for Warner Bros., who showed early interest in producing the project, there was concern that a motor vehicle as time machine would ring too closely as a rip-off of Back to the Future, which arrived in theaters in 1985. It was director Stephen Herek who suggested a phone booth, as he thought it could lend itself to something akin to a roller coaster in the visuals. (The phone booth’s similarity to Doctor Who’s TARDIS was apparently not a big concern to the studio.)

9. Some Nintendo lover has that phone booth.

As part of a promotion for 1991’s Bill & Ted's Excellent Video Game Adventure, Nintendo Power magazine gave away Bill & Ted’s phone booth as a contest prize. The lucky winner was one Kenneth Grayson, who Reddit tracked down for an AMA in 2011. Grayson spent much of the chat answering questions about whether or not any X-rated activities had ever taken place in the phone booth.

10. The script was written in four days. By hand.

In 1984, Solomon and Matheson wrote the script over the course of just four days. They wrote it by hand, on note paper, during a series of meetings at a couple of local coffee shops. The 2005 box set, Bill & Ted’s Most Excellent Collection, features some of their handwritten notes.

11. Sci-fi wasn't part of the plan.

Keanu Reeves, Dan Shor, and Alex Winter in Bill & Ted's Excellent Adventure (1989)
MGM

Though Matheson is the son of legendary sci-fi writer Richard Matheson, author of I Am Legend, he didn’t intend for Bill & Ted to be a science-fiction movie. “I try to consciously fight it, out of a desire to break away, but maybe I have a predilection toward that because of my dad,” Matheson told Starlog Magazine of the inevitable fantasy elements that emerged. “He’s a great writer and craftsman, and always has suggestions.” In fact, it was the elder Matheson’s idea that the time travel story be its own movie. “We were going to write a sketch film, with this as one of the skits, but my dad said, ‘That sounds like a whole movie,’” Matheson recalled, “And he was right!”

12. Bill and Ted almost traveled straight to television.

Shortly after principal photography on the film was completed in 1987, the film’s financiers, De Laurentiis Entertainment Group, went bankrupt. A straight-to-cable release was the most likely path for the time-traveling comedy until Orion Pictures and Nelson Entertainment bought the rights in 1988 for a 1989 release. Because of the delay to theaters, references to the year—which had been filmed as “1987”—had to be dubbed for 1988, resulting in a few scenes where the actors’ lips don’t quite match the sound.

13. Their journeys continued in a variety of media.

In addition to the 1991 sequel, Bill & Ted’s Bogus Journey, the Bill & Ted franchise includes 1990’s Bill & Ted’s Excellent Adventures, an animated series for which Reeves, Winter, and Carlin provided the voices. It lasted for one season. The title was revived as a live-action series in 1992, which included none of the original cast and ran for just seven episodes. In 1991, Marvel Comics launched Bill and Ted’s Excellent Comic Book, written by Evan Dorkin.

14. Back in the late 1980s, you could eat Bill and Ted.

As a tie-in to the animated series, you could—for a short while—actually start your morning with a bowl of Bill & Ted’s Excellent Cereal, which was touted as “A Most Awesome Breakfast Adventure.”

15. Bill and Ted will ride again.

Over the past several years there has been a lot of buzz about a third Bill & Ted movie coming to theaters. In 2011, Winter tweeted that the script had been completed and that he was getting ready to read it. When asked about the possibility of a threequel in 2013, Reeves told the Today Show, “I'm open to the idea of that. I think it’s pretty surreal, playing Bill and Ted at 50. But we have a good story in that. You can see the life and joy in those characters, and I think the world can always use some life and joy.” Several references to the possible project have been made since then, and it's now been confirmed that the third film, Bill and Ted Face the Music, is currently in pre-production.

According to The Hollywood Reporter, via a report from the Cannes Film Festival, Matheson and Solomon co-wrote the script and Dean Parisot (Galaxy Quest) is attached to direct. Reeves and Winter will, of course, be reprising their roles, which "will see the duo long past their days as time-traveling teenagers and now weighed down by middle age and the responsibilities of family. They’ve written thousands of tunes, but they have yet to write a good one, much less the greatest song ever written." Excellent!

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