Happy 30th birthday to "Independence Day," the sci-fi mega blockbuster that made Will Smith an instant Hollywood star, crushed the box office by becoming the fastest film to reach $100 million, and obliterated Washington, D.C, all in one fell swoop of pure popcorn movie entertainment.
We often talk about certain works of art ushering in or being ushered in by, but "Independence Day" ("ID4") truly broke the mold for how huge tentpole pictures were marketed three decades ago, something that still reverberates today. Is there any bigger money shot than a city-sized flying saucer poised over the White House delivering a lethal laser blast of searing coherent light?
So, to celebrate "Independence Day" on its 30th anniversary, we connected with the dynamic creative duo of director Roland Emmerich and screenwriter Dean Devlin ("Universal Soldier," "Stargate," "Godzilla") for a jog down memory lane to remember one of the greatest sci-fi movies in history.
"We’d just done 'Stargate', and it was this bizarre situation where MGM had no movies to release in the month of October, so they decided to release our film," Devlin tells Space. "Roland and I had a lot of frustrations in the process of the film marketing. So we were in a fortunate position when 'Independence Day's' script came out, we had nine studios bidding on it. We had a lot of leverage, and one of the things we said was that we want to have real control over the marketing. Roland had this idea of a trailer where in it you see the White House blow up."
Its first teaser on Super Bowl Sunday in January of 1996 was a potent 30-second shot across Hollywood’s bow to announce itself to the world. Rarely had marketing campaigns started six months early, something that’s become commonplace in the digital age. But back in 1996, when Bill Clinton was president, Michael Jordan's Chicago Bulls were flying high, and the Summer Olympic Games were about to ignite in Atlanta, it was a bold move that paid off.
"I'll never forget, after we made the deal, we had this big meeting with the studio, and we got in a room, and they said to Roland and I, 'Well, you know we can't really show the White House blowing up in a trailer with what happened recently with this terrorist attack on the Federal Building. It could cause a problem.' I said, 'Yeah, but this is aliens, it's not terrorists.' Then Roland goes, 'So wait, you're telling me that if we do this, it will cause an enormous amount of controversy and everybody will talk about our movie. And that’s wrong why?'"
Released by 20th Century Fox on July 3, 1996, "ID4" and its old-fashioned, flag-waving patriotic flair exploded into theaters with an epic alien invasion tale that was irresistible.
Yes, kids, audiences really did wait in long lines snaking around the block to see their favorite films when they opened. This sci-fi extravaganza was the perfect summertime escape that was appropriately launched over the festive Fourth of July week. The advertising sizzle paid off, and the film became the top-grossing of the year, raking in a whopping $817.4 million worldwide.
Emmerich recalls that the studio secretly tested "ID4" with and without the White House explosion, and there was no more discussion, leaving it as one of the highest-testing teaser trailers ever.
Starring Bill Pullman, Will Smith, Jeff Goldblum, Viveca Fox, Judd Hirsch, Margaret Colin, Brent Spiner, and Randy Quaid, it showcased terrifying extraterrestrial designs by Patrick Tatopoulos, a stirring score from David Arnold, enveloping soundscapes, and some of the best miniatures and model work ever captured on screen.
It's a spirited throwback to ‘50s-era science fiction thrillers like "The War of the Worlds" or "Earth vs. the Flying Saucers" and even won a well-deserved Academy Award for Volker Engel and his ace VFX team.
"The art of film has been lost," Emmerich notes. "When you look at 'Project Hail Mary' for example. It's meandering, and you don’t really know why this was $250 million. Because it's one actor and a stone puppet."So this is what got lost. That films got made for a price with great visual effects, and we had great visual effects and won an Oscar."
ID4's cast seems star-studded in hindsight, but Emmerich and his team took some big risks that earned them the ire of the studio.
"At that point, Will Smith was nobody, and we had to really fight for him," explains Emmerich. "The same thing with Jeff Goldblum. Nobody wanted to see him. At the very beginning, there was this idea of using up-and-coming stars and revisiting older stars, and they [the studio] didn’t like that. We had to fight for them. And it inspired a different marketing campaign. Like with helicopters flying around with 'The world ends July 4th.'"
When "Independence Day" opened wide in 2,977 venues, fans furiously flocked to theaters and multiplexes around the country, creating a once-in-a-decade demand for available seats. That week, Roland Emmerich was vacationing in sunny Puerto Vallarta, as far away from the rollout as possible.
"So I'm in a car with a bunch of people while he's in Puerto Vallarta," Devlin recalls. "And we’re videotaping for Roland to see the crowds at the theaters. We’re in Westwood, and the line goes for three blocks. We get to the front of the line, and the number three person in line was director Jon Turteltaub, whose movie ["Phenomenon"] was opening on the same day. I jumped out of the car and said, 'Jon, your movie is opening across the street. Why are you in the line for this one?' And he said, 'This is the one I want to see.' I thought at that moment that yeah, this is a cultural event."
Emmerich and Devlin admit to feeling a hint of this intense response a bit earlier during the final ID4 test screening in Las Vegas.
"Remember, this was before digital prints and digital projectors," says Devlin. "So the audience recruited for the test was not told what movie they get to watch. All they know is it's science fiction. The place was packed, and Roland and I were in the back. The little opening thing comes on and [...] it says 'Independence Day' and the place went insane. They were cheering and freaking out. Roland and I were looking at each other like, 'Oh my god, this is great.'
"In those days, you could still have a head of a studio roll the dice on a project he believes in," reminisces Devlin. "Tom Jacobson was the head of the studio at the time, and he had two lieutenants underneath him. One loved the script, and the other hated the script and didn't want to do it. He read it himself and said, 'No, we're going to make this film.'
"That can’t happen today," laments Devlin. "Now you've got these greenlight committees and algorithms that decide what gets made. And I think that's part of what pollutes the ability to do something that’s original and out of the box."
Few Hollywood partnerships in the ‘90s were as formidable as this prolific pair, and "ID4" might have been the zenith of their long collaboration and friendship.
"This was a really true partnership," Emmerich notes. "Everything that the success brought is 50-50. We wrote a script together, which was f***ing fantastic. Not much got changed. Only a little bit on the Randy Quaid character."
"We were under pressure because I learned that Warner Bros. was already in production of a Tim Burton movie called 'Mars Attacks.' I realized we have to do this very fast and we have to go write somewhere where we’re not disturbed," recalls Emmerich.
The White House wasn't the only casualty caught in ID4's wake, though, as another renowned filmmaker's sci-fi flick took a beating at the box office.
"After three or four weeks, we gave the script to our agent, and he said, 'Oh my god, this is the most commercial thing I've seen in years.' And that's how the auction came along. He sent it out on Wednesday, and they all had to cancel their lunches. We called this thing 'Independence Day' because that's where we wanted to have it, six weeks before 'Mars Attacks' was to come out."
"Larry Franco was producing 'Mars Attacks', and he said, 'You should have seen Tim's face.' He was just destroyed because he had such high hopes with this film because it was so quirky and cool. And it's actually a really good film, but it was destroyed by 'Independence Day.'"
As America salutes its 250th anniversary, relive the counterattack once more and see for yourselves just how well "Independence Day" holds up after 30 years!
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