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How do we not know that maybe in the future of the world of the movie, someone invented a treatment that was lathered over The Statue of Liberty thus preventing it from decay that it would have normally suffered? We only know what is told to us or shown on screen. Other things could have happened. Oh and, it's a silly movie about Monkeys taking over the world! Please pass the popcorn.
I love all of the films in the series for what they individually are. Like the STAR TREK Features, some our stupendous, while others are laughable, but I think all contain likable elements throughout. These are fun popcorn movies. Please pass the Pepsi and the Goobers.
And there could have been a scene that happens between BENEATH and ESCAPE showing Dr. Milo taking a team of Ape O Divers to the Great Lake where Taylor's ship sank. The Ape O Divers precede to deep dive, having with them, Floatation devices (inflated once secured under Taylor's ship) that bring up the Spacecraft ala the 747 in AIRPORT '77! Now there you go.
There has to be deleted scenes or at least lost stills of the Ape O Divers somewhere!
Okay... don't know why I'm going to put this out there.... but The Statue of Liberty might not have been that close to the shore 2,000 years before. There is this thing called EROSION, and the statue might have only been that close to the water for a relatively short time when Taylor came across it.
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Okay, just to clear up a couple of details about BENEATH from the APJAC files:
Scenes that were shot, in the first cut workprint and then subsequently deleted:
Some of Ursus' speech was cut, implying the ape population at large knew the history of the Forbidden Zone when they didn't.
The middle of the steam bath scene was cut because of the same thing.
Half of the scene between Zira, Cornelius and Dr. Zaius (with Brent eavesdropping) was cut. In this dialogue we learn there was a half-baked plea-bargain whereby Zaius admitted man came before the apes and Cornelius and Zira promised to keep it secret and thus stay out of jail. It was cut because it appeared that Zaius had no leverage over the chimps—which is bassackwards!
A scene with Brent and Nova being taken out of the wagon after the target practice sequence was cut, since Cornelius spoke to Brent in too close a proximity to some gorillas to be plausible.
The Ring-Around-The-Neutrons scene with the Mutant children was (as Rory pointed out) put into the "thought projection" images in the Interrogation Room.
Some of the Mutant interrogation of Brent was cut because it was deemed too repetitive.
The gorilla soldier that appears in the hole in the cell wall had originally stuck his rifle through and shot up the cell, though he saw nobody. Jacobs asked the question, “Why don't Taylor or Brent or both just grab the rifle barrel and rip it out of his hands?” And so, it was removed; however, after the close-up of the gorilla soldier to the wide shot as he walks away, the cell is full of smoke and dust.
The whole second half of the film was re-cut to move the ape army's invasion up. It was felt by Editor Marion Rothman and Director Ted Post that there wasn't a sense of urgency for the protagonists to escape, and thus less tension in the audience.
Written and tested:
The half-human, half-ape child was NOT a progeny of the mutants. He was a child of the evolved apes and the sub-humans (like Nova) much farther into the future than the 3978 (or 3955) timeframe. There were a few test shots filmed in front of the St. Patrick's Cathedral Exterior set and the boy was costumed in a Mutant child's garb for convenience sake. Idea dumped because of issues with studio and MPAA feeling it implied bestiality. This concept was written by Ben Maddow, who was brought on to do uncredited revisions to the script in April 1969 prior to shooting due to general unhappiness with the final Dehn draft (who's contract and expensive extension had run out).
A concept for some Mutated gorillas that survived the underground war.
Written and never filmed:
The whole film was conceived by Paul Dehn in a “frame” to be told by a narrator. At the end, the gorilla army, Ursus, Zaius and the Mutants would all be killed in an underground detonation of the nuclear bomb (not a doomsday device) and Taylor, Brent, Nova, Cornelius, Zira and all the peace loving citizens of the planet of the apes would try to learn from everyone's mistakes. The narrator turns out to be a teacher telling the story of Taylor, Brent and the Mutant war to school children.
As actor, budget and studio demands changed, the whole ending was re-written at least six times. The revised ending conceived by Maddow had the half-human/half-ape child as one of the school children in a decidedly far flung future from PLANET and BENEATH's 3978 (or 3955) where they have very high-tech 3D projection screens in their classroom.
When Heston demanded to be killed off (or not appear in the film after reading Dehn's more upbeat ending which Taylor survives just a few weeks prior to the start of shooting), the ending quickly devolved into the Alpha-Omega bomb storyline. All of these revision drafts were written by Ben Maddow. It was not ordered by Richard Zanuck because he was getting fired. That story is bogus. Zanuck didn't leave Fox until the end of 1970. He approved ESCAPE and was there during much of its production. He wasn't fired, his contract expired on December 31st and was not picked up. The same happened to Jerry Goldsmith shortly after that as well. So did Arthur Jacobs' deal after ESCAPE. It was all done to save money from the hemorrhaging Fox studio at the time—a studio Arthur Jacobs thought wouldn't be around to produce another APES sequel after ESCAPE.
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I'd love a kindle or epub version, or better yet release it on Smashwords so its DRM free and I can choose either format (or both)
I've explained on several other threads why there's no e-pub version of “Simians & Serialism.” The question does come up here and there so here's the detailed reasons (nothing's as simple or easy as it might seem!):
1, I would have had to pay double everything to release print and e-pub versions (i.e. music print licenses, quotation licenses, ISBNs, copyrights, Library of Congress control numbers, massive differences in the preparation of the book layout, etc.), that would have necessitated a huge cash layout. 2, These expenses would have forced me to price the e-pub version of the book virtually the same as the print version, save the shipping cost—and many would have found that a turn-off.
2, Some of the publishers I licensed material from were very hesitant about e-pub versions, particularly anything that might be DRM-free.
3, In the “Film Score World,” people have demonstrated a desire for physical media, so I made the choice to go with a physical print book.
4, Before the book was released, I counted up potential customers that e-mailed me and discussed it online. There was a greater than 40:1 physical vs. e-pub, so it kind of made the decision for me.
Looking back at the first print run, at a 40:1 ratio, I'm glad I did what I did: the e-pub version would still have been way in the red at this point.
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!