Movie |
Hostage | Hacker
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Outstanding Actress in a Motion Picture | 2002 | Halle
2002 | Paul
Best TA of the Year | 2001 | Halle
Best Specialty Stunt | 2002 | Chris
Best Stunt Coordinator andor nd Unit Director Sequence | 2002 | Dan
Best Driving | 2002 | Troy
Worst Actor of the Decade For and | 2010
Worst Actor of the Decade | 2010 | John
Worst Actor | 2002 | John
Worst Actor For | 2002
Film Choice Movie Your Parents Didnt Want You to See | 2001
Film Choice Movie of the Summer | 2001
Budget 102,000,000 USD
Box Office Collection 147,080,413 USD
Vinnie Jones was going to do a stunt, but John Travolta stopped him, and a stuntman did it instead. The wire broke, and the stuntman fell sixty to seventy feet onto a concrete floor, breaking his spine.
The dramatic explosion at the start of the film was captured using 135 synchronized still cameras.
Thomas Jefferson did NOT shoot a man on the White house lawn for treason. This movie is the source of that rumor.
When Stanley and Agent Roberts are reviewing their past dealings, Roberts accuses Stanley of hacking into the U.S. government's Carnivore system, and Stanley claims he did it because the government was illegally spying on U.S. citizens' e-mails. This plot line was likely considered a far-fetched notion to viewers of a movie that was released three months before the September 11, 2001 attacks, and more than a year before real-life government spying, of the kind described in the movie, was exposed.
The opening scene of Swordfish was the most complicated visual effect in Warner Brothers history. It was shot using Matrix-like effects (The Matrix (1999)) by Frantic Films of Winnipeg, Manitoba. The effect has so many composites in it that the producers and director of the film could not determine what was real and what was created by computer.
"[first lines] Gabriel: You know what the problem with Hollywood is? They make shit. Unbelievable, unremarkable shit. Now I'm not some grungy wannabe filmmaker that's searching for existentialism through a haze of bong smoke or something. No, it's easy to pick apart bad acting, short-sighted directing, and a purely moronic stringing together of words that many of the studios term as "prose". No, I'm talking about the lack of realism. Realism; not a pervasive element in today's modern American cinematic vision. Take Dog Day Afternoon, for example. Arguably Pacino's best work, short of Scarface and Godfather Part 1, of course. Masterpiece of directing, easily Lumet's best. The cinematography, the acting, the screenplay, all top-notch. But... they didn't push the envelope. Now what if in Dog Day, Sonny wanted to get away with it, REALLY wanted to get away with it? What if - now here's the tricky part - what if he started killing hostages right away? No mercy, no quarter. "Meet our demands or the pretty blonde in the bellbottoms gets it the back of the head." Bam, splat! What, still no bus? Come on! How many innocent victims splattered across a window would it take to have the city reverse its policy on hostage situations? And this is 1976; there's no CNN, there's no CNBC, there's no internet! Now fast forward to today, present time, same situation. How quickly would the modern media make a frenzy over this? In a matter of hours, it'd be biggest story from Boston to Budapest! Ten hostages die, twenty, thirty; bam bam, right after another, all caught in high-def, computer-enhanced, color corrected. You can practically taste the brain matter. All for what? A bus, a plane? A couple of million dollars that's federally insured? I don't think so. Just a thought. I mean, it's not within the realm of conventional cinema... but what if?"
"Gabriel: Have you ever heard of Harry Houdini? Well he wasn't like today's magicians who are only interested in television ratings. He was an artist. He could make an elephant disappear in the middle of a theater filled with people, and do you know how he did that? Misdirection. Stanley: What the fuck are you talking about? Gabriel: Misdirection. What the eyes see and the ears hear, the mind believes."
