The Oral History of Necessary Roughness - Outkick the Coverage
Created by Elizabeth Kruger, Craig Shapiro. With Scott Cohen, Callie Thorne, Mehcad Brooks, Marc Blucas. A Long Island psychotherapist's personal life. Well, they just dove head first into the new relationship between Matt and Laura, didn't they? . Marc Blucas & Craig Shapiro Talk Necessary Roughness. Marc Blucas and Terrell Owens Talk 'Necessary Roughness' Finale . between Matt and TK and the relationship between Matt and Dani.
And let me tell you, folks… we were a big deal in the s. And if you know what that nickname is based on, you are going to love this article. It is sure to change your life. We spoke to the people that helped make the football comedy classic Necessary Roughness one of the most beloved sports movies of the past 30 years. So sit back, grab a beverage of choice and find out what happens when people stop being polite, and start looking for a vegetarian restaurant in the middle of Texas.
At the same time, two writers had a vision for a sports movie of their own. We went to Paramount in and met with studio executive Don Granger. I like your idea for a football movie, but I like my idea for a football movie better. Would you be interested in writing it? They wanted it quickly. We worked a story and pitched it before Thanksgiving.
We then wrote the script between Thanksgiving and Christmas and had a green light by January 1, We went to Texas in April, finished shooting in June.
And the movie was in theatres in September. So this movie was all done within one year, which is extremely unusual.
That aggressive timeline did present its share of challenges, including finding the right people to act as part of a large ensemble cast. Every football team needs a quarterback, and this movie had to find its leader. They sent me the script and I liked the script a lot that David and Rick had written. I was shooting Quantum Leap at the time so I had to audition and do a screen test after work. They wanted to do this whole big thing at Paramount.
I had short hair at the time and I thought the character should have long hair. I had a left over hair piece, like with an extension in the back. So I went from no hair in the back to like 4 inches around the shoulders. I remember putting that on, doing the audition, reading for it on camera and doing a screen test.
I pretended that I was behind the center… I threw footballs and they videotaped that. We did that for way too long in the bowels of a deserted lot at Paramount at night. I believe John Terry Dr. Biehn would have brought a darker element to it. The whole thing went away for a while. They had me on hold. I had an offer in place pending this audition. Usually a 3 or 5 day window… you exercise the option or it goes away.
Then they came back a while later and said now we like Scott. They had someone else on the fence or lost somebody and ended up back to me. The thing for me was that it cost them money. Of course, football is a team sport, and there was no shortage of actors wanting to be a part of the project as well.
In terms of casting, I think Necessary Roughness is the first movie to be a rainbow movie in terms of characters. We wanted the team to be representative of just about everybody, including female.
The casting took some of that away. It was supposed to be more rainbow than it was. I think we were the first picture to embrace that. Duane Davis — Featherstone Texas State Wide Receiver It was a football movie which I was excited about and the possibility of putting pads and everything on again. That part was really cool.
And it was with Paramount, which is a huge studio. Everything about it was exciting. I had an agent who would send me out on print or modeling jobs or the occasional industrial commercial, and this film came up. I can play football and can play better than most actors! I went to this workout… I made a couple of catches and probably looked like a better athlete than most. They called me back and said I made the cut. They had me read for a couple of roles. A few months later my agent said they have a new character.
I can play anything. I had just done Hudson Hawk and was getting good reviews. I was pounds and had to drop to to be a believable college student. She was surprised and happy and I got the job. They were looking for big guys as the extra staff for this movie. A friend of mine was an agent for the Kim Dawson Agency in Dallas. She said that I should go try for this. He was the guy kicked in the groin by Kathy Ireland.
The irony there was that I grew up in Lawrence, Kansas, so it was an opportunity to play for Kansas. Harley Jane Kozak — Dr. She said that she wanted me to do this movie. But all I remember was she said I have to do this movie. Do you want to do it? Mindy said she was going to talk me into it.
I have tickets, front row center for Phantom of the Opera. As a writer you have no control over casting, but you can make a suggestion here and there. They were almost certainly right to go with Loggia. I love Butkus but we had stars in our eyes. In terms of acting they were probably right to go with Loggia.
When I got into acting it was probably months before I booked Necessary Roughness. I got a call from my uncle, the legendary stunt man Bob Apisa. He was very good friends with Allan Graff who was stunt coordinator for Necessary Roughness. They needed a Samoan for this role! So I go to Paramount. I walk in with jean shorts and a black t-shirt, some Jordans and socks. We watch enough football movies so you know they need guys to just play.
That was the instruction I got. She pulls out the script. She says to take my time, I have an hour. I said great… remember my confidence is clear though. There was not one thought that I would even get called back or even considered. Monday comes and I do a test screening.
I test screen Tuesday too. I got the part. Pete wanted so much to play the part tough. He wanted to say all these tough things, kept wanting to change his lines. We did that on purpose. The two inexperienced actors provided some of the most memorable parts of the film.
That way you kept all the 12 year old boys from barking and you get a laugh out of it. Her introduction is upside down. And I think that helps her character because she becomes not a sex object but a character in the movie. So I was very happy with that. The production guys… I hear them talking. Remember me and Kathy were chummy all these weeks.
All the actors called me lucky. When I got back I forgot it was in my suitcase. I got home and she had it unpacked. That definitely broke the ice. She was cast very tender and cool to work with, which nobody thought she would be. We were worried the supermodel would be a queen bitch. Instead she was refreshing and funny as hell.
Most of the movie would be shot on the campus of North Texas University in Denton, about an hours drive northwest of Dallas. This required most of the cast to relocate for three months. For some, there would be an adjustment period. And some of the local people said I need to go to the local vegetarian restaurant. So Hawk Howard W. Well, they have a long list of vegetables and they are all deep fried.
There was nothing vegetarian about this restaurant except that they had a lot of vegetables. Actually, the long trip to the Lone Star State was almost for naught. We were already in Texas, prepping, had the cast there, and they were still on the fence about whether they were going to do it or not. They sent a comedy writer out. His name was Harvey Miller, who co-wrote and produced Private Benjamin. Harvey had been around forever.
A punch up guy… funny as hell and a sweet guy. Why is here re-writing us! I was upset he was re-writing. He was there to put in jokes so we could do a reading. They brought together the cast for a roundtable reading and they recorded it and Paramount executives came in to listen to it. After that, they decided to make the movie.
Some of best laugh lines of the movie. Ironically enough, Southwest Texas State, one of the teams that the Fighting Armadillos play in the movie, would change its name to Texas State in real life years later.
In some sports movies the athletic plays themselves leave something to be desired. Allan Graff took the football scenes seriously, and it showed on screen. Everyone did their part to make the football scenes look as real as possible. They were very specific about us looking like we knew what we were doing, but we also had some freedom because we were like The Bad News Bears.
Particularly my character… I tried to tell people that I dumbed down my athletic talent. They were very specific.
Necessary Roughness with Mimi Donaldson 10/05 by Diva Toolbox | Women Podcasts
Experts were on set very football specific making sure to work with Scott, the linemen, the guys playing a lot. I was impressed how specific they were. It was not a dictatorship. At that point, it was something I really wanted to have happen. Having an understanding of this world, were there things that you specifically wanted to explore with this character?
So, I signed up for the show and we got to the pilot and we had a week of rehearsals. I want to sit here with you and bring this guy to life. Tell me what you would like to see happen. It was such a creative, freeing, liberating, collaborative session.
We knew about their lives, we saw what their issues are and what their dreams are, and we saw what they do.
- Necessary Roughness
- Marc Blucas and Terrell Owens Talk ‘Necessary Roughness’ Finale
- Coming Soon
So, we got to craft out where we could see him going. With a movie, you have a beginning, middle and end. What if Matt gets into the front office and suddenly the people he answered to have to answer to him?
We see it in life. What if he can cut a player now? Those moments can be a really interesting thing. That, to me, is what real life is. His health was fine. The tough thing is that you get blindsided by a few things. We could accelerate it and get to that place.
We tried to explore that to create a separation between those two relationships. Was part of the appeal of this project the fact that it introduces you to an audience that may not have ever seen an episode of Buffy the Vampire Slayer?
It was different enough. We have a show where our audience gets to go on a journey with the central character and be a fish out of water in a million different worlds, be it NASCAR, poker, politics or journalism. Here we are in our precinct. Here we are on the beat. Here we are in our cop car.
The crime is solved. It is serialized enough. What makes the show well written is that whatever phobia, fear or issues that the guest star is having, all of our lead people are experiencing that, in some way. That makes a multi-layered show. We shot big, huge football sequences, and it was nice to have that feeling of complete trust and faith with the writers. We have hinted at him wanting to move somewhere else, in this organization hopefully, but not necessarily.
There are a couple things in the balance that make it interesting.
The Oral History of Necessary Roughness
Our sports coordinators are the best in the business. The guys that they bring in to shoot the sports are real athletes. They hit each other and they go for it. These are real players.
They really go for it.