Armageddon - crew, film crew
The entire team, the film crew of the film "Armageddon"
Armageddon (1998)
Timing:
2:31 (151 min)
6.83/10
8472
8472
7.78/10
242661
242661
6.7/10
477000
477000
Film crew
Director
Producer
Executive Producer
Jim Van Wyck
Executive Producer
Casting
Editor
Glen Scantlebury
Editor
Special Effects Supervisor
John Frazier
Special Effects Supervisor
Art Direction
Lawrence A. Hubbs
Art Direction
Bruton Jones
Art Direction
Supervising Art Director
Geoff Hubbard
Supervising Art Director
Costume Design
Magali Guidasci
Costume Design
Stunts
Gilbert B. Combs
Stunts
Tabby Hanson
Stunts
Alan Oliney
Stunts
Jennifer Tung
Stunts
Kurt Bryant
Stunts
Terry Jackson
Stunts
Marvin Walters
Stunts
Steve Hulin
Stunts
Chris Durand
Stunts
Victor Paul
Stunts
Gary Price
Stunts
Frank Torres
Stunts
Cazimir Milostan
Stunts
Anthony Cecere
Stunts
Jay Krueger
Stunts
Bennie Moore
Stunts
Richard Epper
Stunts
Janet Brady
Stunts
Ivan Bates
Stunts
Astrid Walti
Stunts
Tom Harper
Stunts
Ryan Christopher Keys
Stunts
Robert Powell
Stunts
Danny Costa
Stunts
Theresa Pink
Stunts
Steve Wooten
Stunts
Danny Rogers
Stunts
Production Design
Michael White
Production Design
Stunt Coordinator
Kenny Bates
Stunt Coordinator
Second Unit Director
Kenny Bates
Second Unit Director
Set Decoration
Rick Simpson
Set Decoration
Makeup Artist
Fred C. Blau Jr.
Makeup Artist
Rick Stratton
Makeup Artist
Kathy Jeung
Makeup Artist
Sound Re-Recording Mixer
Greg P. Russell
Sound Re-Recording Mixer
Original Music Composer
Unit Production Manager
Barry H. Waldman
Unit Production Manager
Production Supervisor
Nancy Jane King
Production Supervisor
Diane L. Sabatini
Production Supervisor
Associate Producer
Barry H. Waldman
Associate Producer
Pat Sandston
Associate Producer
Kenny Bates
Associate Producer
Set Dresser
William S. Maxwell III
Set Dresser
Luigi Mugavero
Set Dresser
Greg Nestor
Set Dresser
Matt Furginson
Set Dresser
J.D. Smith
Set Dresser
Benton E. Tedlie
Set Dresser
Glen Kennedy
Set Dresser
Second Assistant Director
Jeff Okabayashi
Second Assistant Director
Director of Photography
John Schwartzman
Director of Photography
Camera Operator
Tom Fraser
Camera Operator
David Emmerichs
Camera Operator
Steadicam Operator
David Emmerichs
Steadicam Operator
Costumer
Rhona Meyers
Costumer
Lizz Wolf
Costumer
Nancy Ceo
Costumer
Jennifer Long
Costumer
Daniel Dirks
Costumer
Susan Lichtman
Costumer
Mark J. Weitzman
Costumer
Karo Vartanian
Costumer
Kathleen A. Wildman
Costumer
Marie Kaperbeck
Costumer
Annalisa Strickland
Costumer
William R. Traetta
Costumer
William R. Traetta
Costumer
Costume Supervisor
Sue Moore
Costume Supervisor
Makeup Department Head
Edouard F. Henriques
Makeup Department Head
Key Costumer
Robert Chase
Key Costumer
Sound Effects Editor
Steve Boeddeker
Sound Effects Editor
Ed Callahan
Sound Effects Editor
Midge Costin
Sound Effects Editor
Robert L. Sephton
Sound Effects Editor
Assistant Art Director
Doug J. Meerdink
Assistant Art Director
Ron Mendell
Assistant Art Director
Visual Effects Supervisor
Richard E. Hollander
Visual Effects Supervisor
Craig Barron
Visual Effects Supervisor
Erik Nash
Visual Effects Supervisor
Bruce Nicholson
Visual Effects Supervisor
Richard R. Hoover
Visual Effects Supervisor
Robert Legato
Visual Effects Supervisor
Supervising Sound Editor
George Watters II
Supervising Sound Editor
Script Supervisor
Karen Golden
Script Supervisor
Hair Department Head
Yolanda Toussieng
Hair Department Head
Electrician
Patrick Hoeschen
Electrician
Set Costumer
Beau Desmond
Set Costumer
Marci R. Johnson
Set Costumer
Aerial Director of Photography
Larry Blanford
Aerial Director of Photography
Kurt E. Soderling
Aerial Director of Photography
David B. Nowell
Aerial Director of Photography
Supervising ADR Editor
Juno J. Ellis
Supervising ADR Editor
Supervising Dialogue Editor
Teri E. Dorman
Supervising Dialogue Editor
Hairstylist
Bunny Parker
Hairstylist
Special Effects Coordinator
William H. Schirmer
Special Effects Coordinator
Still Photographer
Frank Masi
Still Photographer
Digital Effects Supervisor
Rob Hodgson
Digital Effects Supervisor
Bryan Grill
Digital Effects Supervisor
Dan DeLeeuw
Digital Effects Supervisor
Carlos Arguello
Digital Effects Supervisor
Darin Hollings
Digital Effects Supervisor
Peter Sternlicht
Digital Effects Supervisor
Tommy Williamson
Digital Effects Supervisor
Associate Editor
Todd E. Miller
Associate Editor
Animation Supervisor
Blair Clark
Animation Supervisor
Visual Effects Producer
Ken Kokka
Visual Effects Producer
Cari Thomas
Visual Effects Producer
Josh R. Jaggars
Visual Effects Producer
Rae Griffith
Visual Effects Producer
Krystyna Demkowicz
Visual Effects Producer
First Assistant Director
K.C. Hodenfield
First Assistant Director
Animation
Brett Paton
Animation
Chief Lighting Technician
Bill O'Leary
Chief Lighting Technician
James M. McEwen
Chief Lighting Technician
Driver
Angelo J. Orefice
Driver
Production Manager
Crys Forsyth-Smith
Production Manager
Ali Akdeniz
Production Manager
Graphic Designer
Glenn Hiramatsu
Graphic Designer
Screenplay
Robert Roy Pool
Screenplay
Set Designer
Kevin Ishioka
Set Designer
John P. Bruce
Set Designer
Domenic Silvestri
Set Designer
Todd Cherniawsky
Set Designer
Patricia Klawonn
Set Designer
Bill Taliaferro
Set Designer
Steven M. Saylor
Set Designer
Mindy R. Toback
Set Designer
George Lee
Set Designer
First Assistant Editor
Monica Anderson
First Assistant Editor
Additional Editor
Michael R. Miller
Additional Editor
Foley Artist
Sound Designer
Construction Coordinator
Byron K. Autrey
Construction Coordinator
Greg John Callas
Construction Coordinator
Art Department Coordinator
Stacey Byers
Art Department Coordinator
Dialogue Editor
Gloria D'Alessandro
Dialogue Editor
Carin Rogers
Dialogue Editor
Karen Spangenberg
Dialogue Editor
Alison Fisher
Dialogue Editor
Assistant Editor
Paul M. Wagner
Assistant Editor
Christopher Marino
Assistant Editor
Nathan R. Fitzgerald
Assistant Editor
Karen Dimmig
Assistant Editor
Greg Thompson
Assistant Editor
Elisa Cohen
Assistant Editor
Tucker Stilley
Assistant Editor
Best Boy Grip
Charlie Marroquin
Best Boy Grip
Audie Aragon
Best Boy Grip
Michael T. Travers
Best Boy Grip
Foley Editor
Matthew Harrison
Foley Editor
Mark Pappas
Foley Editor
Jonathan Klein
Foley Editor
Jim Likowski
Foley Editor
First Assistant "B" Camera
Heather Page
First Assistant "B" Camera
Props
Cagri Aydin
Props
First Assistant "A" Camera
Richard Mosier
First Assistant "A" Camera
Rigging Grip
William T. Jones
Rigging Grip
Transportation Coordinator
Bryce Guy Williams
Transportation Coordinator
Joe D. Anderson
Transportation Coordinator
Compositing Supervisor
Zoe Peck-Eyler
Compositing Supervisor
Key Grip
Les T. Tomita
Key Grip
Mitchell Andrew Lillian
Key Grip
George W. Borthwick
Key Grip
Location Manager
Richard Klotz
Location Manager
Dolly Grip
Jeff Case
Dolly Grip
Brad Rea
Dolly Grip
Miles Strassner
Dolly Grip
Assistant Property Master
Jennine Rimer
Assistant Property Master
David Hopkins
Assistant Property Master
Selmer Kora
Assistant Property Master
Key Hair Stylist
Lee Ann Brittenham
Key Hair Stylist
Leadman
Mike Higelmire
Leadman
John A. Scott III
Leadman
Second Second Assistant Director
Nick Satriano
Second Second Assistant Director
Story
Robert Roy Pool
Story
3D Artist
Morgan Trotter
3D Artist
Special Effects Technician
William Dawson
Special Effects Technician
Brandon K. McLaughlin
Special Effects Technician
Steve Austin
Special Effects Technician
Ken Mieding
Special Effects Technician
Foley Mixer
James Ashwill
Foley Mixer
Production Controller
Julie Jones
Production Controller
Production Accountant
Jason Bogard
Production Accountant
Songs
Casting Associate
Lisa Fields
Casting Associate
Alison E. McBryde
Casting Associate
Sculptor
Val Drake
Sculptor
Yarek Alfer
Sculptor
Grey Hill
Sculptor
Gaffer
Ali Salim Yaşar
Gaffer
Andy Ryan
Gaffer
Music Editor
Will Kaplan
Music Editor
ADR Mixer
Thomas J. O'Connell
ADR Mixer
Video Assist Operator
Josh Levy
Video Assist Operator
Richard Scarpone
Video Assist Operator
Second Unit Director of Photography
Mark Plummer
Second Unit Director of Photography
Storyboard Artist
Robert Consing
Storyboard Artist
Second Assistant "B" Camera
Charles B. Katz
Second Assistant "B" Camera
Digital Compositor
Steven Meyer
Digital Compositor
Ronnie E. Williams Jr.
Digital Compositor
Unit Publicist
Gabriela Gutentag
Unit Publicist
Production Coordinator
Jennifer Campbell
Production Coordinator
Leslie Stevens
Production Coordinator
Sandra K. Jantzen
Production Coordinator
Lonnie Kandel
Production Coordinator
Visual Effects Coordinator
Molly Lynch
Visual Effects Coordinator
Richard Kaylor
Visual Effects Coordinator
Jennifer Califano
Visual Effects Coordinator
Visual Effects Editor
Amy Pawlowski
Visual Effects Editor
Debra Wolff
Visual Effects Editor
David Bartholomew
Visual Effects Editor
Mary E. Walter
Visual Effects Editor
Kevin Clark
Visual Effects Editor
Production Secretary
Stacy Foot
Production Secretary
Cecily Gambrell
Production Secretary
Second Assistant "A" Camera
Thomas D. Lairson Jr.
Second Assistant "A" Camera
Visual Effects Compositor
Mark Alan Loso
Visual Effects Compositor
Brigitte Bourque
Visual Effects Compositor
Modelling Supervisor
William Clause III
Modelling Supervisor
CG Supervisor
Sean Dever
CG Supervisor
ADR Editor
Denise Horta
ADR Editor
Mary Andrews
ADR Editor
Andrea Horta
ADR Editor
Nicholas Korda
ADR Editor
Stephen Janisz
ADR Editor
Denise Whiting
ADR Editor
Prop Maker
Kevin Wasner
Prop Maker
Extras Casting
Karen E. Etcoff
Extras Casting
Liz Keigley
Extras Casting
Greg Farley
Extras Casting
Chris Hutchins
Extras Casting
Patricia Robinson
Extras Casting
Rigging Gaffer
Jeffrey P. Soderberg
Rigging Gaffer
Camera Loader
Daniel C. McFadden
Camera Loader
Wardrobe Supervisor
Suzanne Pettit
Wardrobe Supervisor
Libra Head Technician
Chad Rivetti
Libra Head Technician
Assistant Sound Editor
Maggie Ostroff
Assistant Sound Editor
Visual Effects Art Director
George Trimmer
Visual Effects Art Director
Michael Stuart
Visual Effects Art Director
Publicist
Gabriela Gutentag
Publicist
Title Designer
Robert Dawson
Title Designer
Foley Recordist
Linda Lew
Foley Recordist
Adaptation
Color Timer
Bob Kaiser
Color Timer
Negative Cutter
Mary Beth Smith
Negative Cutter
Cynthia Feyrer
Negative Cutter
3D Supervisor
Matthew E. Butler
3D Supervisor
Aerial Coordinator
Alan D. Purwin
Aerial Coordinator
Frédéric North
Aerial Coordinator
Assistant Chief Lighting Technician
Brian Evans
Assistant Chief Lighting Technician
Script Coordinator
Karin Anderson
Script Coordinator
Kevin Cooper
Script Coordinator
Additional Sound Re-Recording Mixer
Gregory H. Watkins
Additional Sound Re-Recording Mixer
Bill W. Benton
Additional Sound Re-Recording Mixer
Marine Coordinator
Ed Nyerick
Marine Coordinator
Technical Supervisor
CG Animator
Bryan Hirota
CG Animator
Bob Mercier
CG Animator
Joshua I. Kolden
CG Animator
Tomás Rosenfeldt
CG Animator
Bill Dietrich
CG Animator
Robert Chapin
CG Animator
Robert Chapin
CG Animator
Technical Advisor
Underwater Camera
Pete Romano
Underwater Camera
Underwater Gaffer
What's left behind the scenes
- Liv Tyler auditioned for the film twice, but was only cast after a third attempt. The film was released on Liv Tyler's birthday (she turned 21).
- The musical theme for the film—"I Don’t Want to Miss a Thing"—was performed by Liv Tyler’s father, Steven, as part of the Aerosmith band. This song held the number one spot on the Billboard Hot 100 for four weeks.
- Michael Bay played a cameo role in the film – he played one of the operators of the Hubble telescope at NASA.
- Excerpts from the initial scenes of the film, showing small meteorites falling on New York and a panorama of destroyed Paris, were used in "Alien" (2001) for scenes depicting the bombardment of Earth from space by aliens (the meteorites "transform" into rockets).
- The gravity on the asteroid is almost Earth-like, which is impossible given its small mass.
- During the launch of the Space Shuttles in the film, the solid rocket boosters separate simultaneously with the external fuel tank – in reality, this tank should continue to fuel the three main oxygen-hydrogen engines on the Shuttle for another seven minutes.
- According to the filmmakers, the Space Shuttles are fueled by oxygen, to obtain which they flew to the Russian station "Mir." Strictly speaking, the fuel is both oxygen (oxidizer) and kerosene or hydrogen (fuel), so formally it is correct. However, liquid oxygen was never and could never have been on "Mir." And storing it in orbit for a long time is technically extremely difficult, especially in quantities sufficient to refuel the Shuttles.
- The astronauts stay on the asteroid thanks to some "low-thrust engines" which are shown in the film as propellers that cannot work in a vacuum. All drilling equipment is also equipped with such engines.
- There cannot be an atmosphere suitable for breathing on the asteroid. But an atmosphere sometimes appears: the drillers almost always drill in spacesuits with helmets. But in one scene, Harry is next to the drill with his helmet visor open. Furthermore, after the crash of the second shuttle, the remnants of the equipment burn quite normally, which cannot happen in the absence of an atmosphere.
- To catch up with the asteroid, the shuttles "Freedom" and "Independence" perform a gravity assist maneuver around the Moon, accelerating to 11.5 km/s (22500 miles per hour). However, according to the pilot, it becomes clear that the initial speed before the maneuver is about 14000 miles per hour (first cosmic velocity). This makes it unclear how the shuttles even reached the Moon, because to enter a flight path to it and break free from Earth orbit, they would have needed to develop the second cosmic velocity in advance, meaning essentially the same 11.5 km/s.
- Filming took place from August 27, 1997 to January 29, 1998.
- The film's musical theme – "I Don't Want to Miss a Thing" – was performed by Liv Tyler's father, Steven, as part of the Aerosmith band. This song held the number one spot on the Billboard Hot 100 for four weeks.
- The film's producers managed to convince NASA management to allow Michael Bay and his crew access to locations usually closed to filmmakers. These included, in particular, the Neutral Buoyancy Laboratory with a huge indoor pool where astronauts practice operations in zero gravity, the launch pad that was discontinued after the Apollo 1 disaster in February 1967, and Edwards Air Force Base in California. The crew was even allowed to use two spacesuits worth $10 million each.
- According to Steve Buscemi, when he was offered the role he ultimately played, his character was described as a heroic geologist, and he immediately agreed because he was tired of playing scoundrels and villains. As soon as he agreed to the role, the character was changed, with alterations written into the script that made his character appear less noble and heroic.
- The launch of the shuttle was filmed on location. Filmmakers were allowed to place approximately sixteen cameras on site. The camera located on the launch pad was subjected to such external forces that all the bolts fell out of the lens holder, and the camera had to be returned to 'Panavision' as a box of parts (which they were able to reassemble).
- Bruce Willis joined the cast of the film, leaving the shooting of Lee Grant's romantic comedy 'Broadway Brawler' (which remained unfinished). The deal he made with Joe Roth, then head of 'Disney', included filming in 'Armageddon' and two subsequent films. These turned out to be M. Night Shyamalan's science fiction thrillers 'The Sixth Sense' (1999) and 'Unbreakable' (2000).
- Billy Bob Thornton told Michael Bay that he saw his character in this light: he himself once dreamed of becoming an astronaut, but due to health problems, he was only suitable for some purely administrative position. Bay liked the idea, and the character played by Thornton was given a metal brace on his leg.
- Filmmakers were allowed to shoot directly on the launchpad where the Space Shuttle was already located. Permission was granted on the condition that no one would attempt to enter the Shuttle itself. Ben Affleck later admitted that he did briefly peek inside the spacecraft, after which he was chased away by a member of the maintenance crew.
- The film contains numerous errors, and the filmmakers were aware of some of them even during production. However, according to director Michael Bay, they deliberately chose not to correct them – for the sake of spectacle or for other reasons.
- The dog at the beginning of the film was specifically trained to tear apart toy Godzillas. Its filming cost $20,000 per day. The dolls were covered with a cardboard box to prevent the dog from attacking them prematurely.
- Michael Clarke Duncan was nearly replaced by another actor on the very first day of filming. He was overjoyed when he was cast in the role, but soon lost confidence, which affected his performance. Michael Bay and Bruce Willis had to pull him aside and tell him that they wanted to see the magnificent performance he had demonstrated during the auditions, which ultimately secured him the role; otherwise, they would have to find a replacement. After that, Duncan pulled himself together.
- The scenes on the offshore oil platform were filmed on a real oil rig near the coast of Texas. According to Michael Bay, filming on an oil rig is rare, but the 'Armageddon' crew was granted permission because they were filming a movie about oil rig workers saving the world.
- Early in the film's production, Michael Bay noticed that Ben Affleck's teeth looked like baby teeth in the already shot footage. Producer Jerry Bruckheimer once told him that while working on a certain film, he had done the teeth for "a certain well-known star." Following this, at Bay's direction, Affleck spent a week in the dentist's chair for 8 hours a day, resulting in teeth that look as they do in the film. The new teeth cost approximately $20,000.
- The original script lacked a romantic storyline between Ben Affleck and Liv Tyler's characters, instead focusing on Billy Bob Thornton's character's storyline. The romantic line was added to the script after the resounding success of James Cameron's 1997 blockbuster "Titanic" and its popularity with teenage girls. Scott Rosenberg wrote almost all of the romantic scenes, and they were filmed towards the end of the shooting period.
- The scene of the "Independence" shuttle's destruction was filmed on the very first evening of shooting. Ben Affleck, Peter Stormare, and Michael Clarke Duncan, who were involved in the scene, were already on set and checking their spacesuits when Bruce Willis appeared, very nervous about having to put on a spacesuit. According to Bay, everything went wrong that night. While filming Affleck from a distance, he noticed the actor constantly bending down, as if looking for something on the ground. Eventually, Bay couldn't stand it and asked what Affleck had lost. It turned out that the actor's spacesuit had some problems with oxygen supply, and he was looking for a rock to break the helmet.
- The scene with William Fichtner holding a gun was added to add drama to the film. According to Michael Bay, it was not in the original script, and the Armed Forces would have objected to seeing a U.S. Air Force colonel threatening other characters with a weapon. After the scene was filmed and inserted into the film, Bay was ready to cut it if required by representatives of the Armed Forces after previews, but they did not request it and even expressed approval.
- The film was shot simultaneously with Mimi Leder's science fiction action film "Deep Impact" (1998). Michael Bay openly expressed disdain for the star status of Tea Leoni from Leder's film in comparison to Willis's status, as well as the plot of the rival film, claiming that "no gunfire compares to an asteroid."
- According to Ben Affleck, the enormous NASA building is the largest open-air building (without a roof) in the world. It is so large that the air inside has to be cooled to prevent cloud formation and rainfall within the building. According to Michael Bay and Jerry Bruckheimer, it wasn't easy to convince NASA management to allow filmmakers to shoot and use real equipment and a test facility, but when they received approval from the US Air Force, many doors opened for them at NASA. For example, the film crew initially received a refusal in response to a request to use the pool where astronauts practice operations in zero gravity, but then permission was granted, but only to Willis and Affleck and only for 20 minutes in the pool.
- Filming inside the Lincoln Memorial in Washington was conducted without official permission. The police were somehow distracted, and Bay and the cinematographer slipped inside.
- When filming the destruction of Shanghai, it was originally planned to use models. Michael Bay envisioned that all of this would be shown from the perspective of a father and son on a boat. For the filming, the largest pavilion in Hollywood was built, the lake inside it was filled with water, a pier and other necessary scenery were constructed. And only after all this did Michael Bay, with his typical unpredictability, change his mind and decide to destroy the city with an explosion.
- The Gatling guns on each "Armadillo" vehicle were authentic, from World War II. The rate of fire of the guns is approximately 1,000 shots in 15 seconds.
- The scene with Ben Affleck and Liv Tyler before he hides in the shuttle hatch was filmed in two versions – one where Affleck's character sings to her, and one where he simply says goodbye. The first version of the farewell was used in the film. Screenwriter Scott Rosenberg (whose name is not listed in the credits) told Michael Bay that this scene would either win over the audience or completely lose them. He came up with the idea of Affleck singing. Willis said he also liked the idea, but at the time of filming he was absolutely sure the scene would be cut during editing.
- Ben Affleck agreed to participate in the filming with a firm intention to perform all the stunts himself. This desire waned early in the shooting process, when filming the space station, specifically when Affleck's character climbed up the ladder while a fireball rushed past him. The actor decided he wasn't that cool and preferred to leave the stunts to the stuntmen. However, Michael Bay occasionally managed to persuade Affleck to perform a stunt himself.
- According to Michael Bay, the most unsettling episode was about three weeks before filming began, when he was working with designers and costume artists on the spacesuits. When he saw what they had come up with, he described it as an 'Adidas tracksuit.' The spacesuit gloves turned out to be gardening gloves bought in a store, repainted gray. It turned out that the costume designer was French and had previously worked on films by Luc Besson.
- When Steve Buscemi’s character ‘loses it,’ the rest of the crew immobilizes him with tape, which is actually what NASA instructs astronauts to do in such cases.
- The idea to film the wedding of Ben Affleck and Liv Tyler’s characters with a handheld ‘Super 8’ camera came from Affleck, and it was his own camera. The episode with the cake throwing was improvised on the spot, and a significant portion of the cakes were thrown at director Michael Bay.
- The scene in which Bruce Willis’s character remotely says goodbye to Liv Tyler (who played his daughter) was filmed on the first day of shooting. While speaking to the camera, the actor was looking at pictures of his own daughters.
- The film's musical theme – "I Don’t Want to Miss a Thing" – was performed by Liv Tyler's father, Steven, as part of Aerosmith. This song held the number one spot on the Billboard Hot 100 for four weeks.
- Bruce Willis joined the cast of the film after leaving the shooting of Lee Grant's romantic comedy "Broadway Brawler" (the film remained unfinished). The deal he made with Joe Roth, then head of "Disney", involved filming "Armageddon" and two subsequent films. These turned out to be M. Night Shyamalan's sci-fi thrillers "The Sixth Sense" (1999) and "Unbreakable" (2000).
- Early in the film's production, Michael Bay noticed that Ben Affleck's teeth looked like baby teeth in the already shot footage. Producer Jerry Bruckheimer once told him that during work on a certain film, he had given "one well-known star" new teeth. Following this, at Bay's direction, Affleck spent a week in the dentist's chair for 8 hours a day, resulting in his teeth looking as they do in the film. The new teeth cost approximately $20,000.
- The scene depicting the destruction of the "Independence" shuttle was filmed on the very first evening of shooting. Ben Affleck, Peter Stormare, and Michael Clarke Duncan, who were involved in the scene, were already on set and checking their spacesuits when Bruce Willis appeared, very nervous about having to put on a spacesuit. According to Bay, everything went wrong that night. While filming Affleck from a distance, he noticed the actor constantly bending over, as if looking for something on the ground. Finally, Bay couldn't take it anymore and asked what Affleck had lost. It turned out that the actor's spacesuit had some problems with oxygen supply, and he was looking for a rock to break the helmet.
- The film was shot simultaneously with Mimi Leder's sci-fi action film "Deep Impact" (1998). Michael Bay openly expressed disdain for the star status of Tea Leoni from Leder's film compared to Willis's status, as well as the plot of the rival film, claiming that "no gunfire compares to an asteroid."
- To catch up with the asteroid, the "Freedom" and "Independence" shuttles perform a gravity assist maneuver around the Moon, accelerating to 11.5 km/s (22500 miles per hour). However, according to the pilot, it becomes clear that the initial speed before the maneuver is about 14000 miles per hour (first cosmic velocity). This raises the question of how the shuttles even reached the Moon, as reaching a flight trajectory to it and escaping Earth orbit would have required them to initially develop a second cosmic velocity, meaning the same 11.5 km/s.
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