Mission Impossible - “You Haven’t Seen Me Very Upset” Scene

Mission: Impossible (1996): De Palma’s Action Masterpiece! 

Join host Craig and guest Doug from Rocky Minute as they dive into Brian De Palma’s 1996 blockbuster Mission: Impossible, the film that launched Tom Cruise’s action hero legacy! We unpack the iconic “You haven’t seen me very upset” restaurant scene, where Ethan Hunt (Cruise) faces off against Kittridge in a tense, stylish showdown. 

We analyze the pivotal aquarium explosion scene in Mission: Impossible, highlighting De Palma’s masterful use of Dutch angles, music, and meticulous set design to ramp up suspense. From Cruise’s stunt work to the seamless blend of Prague and Pinewood Studios, we explore how this sequence defines Ethan Hunt’s character and De Palma’s action prowess. Plus, we discuss the film’s chaotic production and its lasting impact.

Creators and Guests

Host

Craig Cohen

Guest

Doug Greenberg

What is The Director's Chair Network?

Join Ryan and many featured guests and other hosts as they break down and review a variety of directors and their films!
So far, this podcast has featured films from Edward Zwick, John Hughes, Brian De Palma, and Michael Mann.
Soon, we will feature Edgar Wright, Sam Peckinpah, Paul Verhoeven, and David Fincher!

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[Music] [Applause] [Music]
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okay and here we are for another episode and uh I'm very excited for this one i
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know I'm excited for every episode but I love talking to these people so much and on this episode I am bringing on friend
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and fellow podcast brother Doug doug welcome thank you Craig it's a pleasure
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being here talking some diploma with you yeah yeah i know that sometimes our schedules don't gel well i know you
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never actually made it onto my Pulp Fiction podcast so uh I'm glad that we were able to make the connection here i
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know i that that one burned me i was really uh I was really hoping to kind of carve out some time but it just didn't
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our stars didn't align goodness hey life gets in the way sometimes and that's what it's all about um so it's funny i
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know that when I started putting out feelers for this show of course I talked to you and Ryan like were probably the
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first two people I talked to about this i think I actually talked about it on uh our show together the uh the show we do
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on the Last of the Action Heroes podcast network but I know you guys are both big fans of The Untouchables but I guess
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since Ryan had sort of already covered a scene from the Untouchables with me you you decided to pivot and we're going to
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be talking about Palama's 22nd film 1996's Mission Impossible so what kind
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of led you to do that pivot from Untouchables to Mission Impossible was untouchable is like your depama gateway
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and Mission Impossible was just sort of seemed like a logical movie to talk about um that's almost exactly the way I
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I kind of approached it i mean yes Untouchables was the first probably the I'm not as deep a Palma guy as you are
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right i there probably very few people that are but uh like so Untouchables
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yeah was probably my intro to the Palma great film you know and I've seen it
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quite a bit but after uh you know after Ryan kind of claimed his his slot on
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that I said you know I don't want to double up on you so I kind of went another direction i said "Well Mission
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Impossible." I said "That's a film that I've probably seen more than The Untouchable is a film that I know
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better." There was quite a few scenes that I could have choose from in that in
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that film yeah and you know what the one you picked when I went back and watched it I said "This is a perfect scene to
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pick." So we're going to be talking about the I guess for lack of a better way to describe it is the you haven't
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seen me very upset scene yes where it's after Tom Cruz's character Ethan Hunt's
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team has sort of been double crossed on a a mission and he's meeting with
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Kitridge who is I guess one of his handlers in the MI whatever they call
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their whatever they their group IMF yes yeah yeah do you know what that stands for by
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the way imf Impossible Mission Force right it's so stupid how cheesy is that
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well it it it is and and that's the funniest thing about this whole series is that the first one came out in 1996
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and they're still you know I think what last summer the the eighth movie came out or whatever and they're not done yet
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and they are just silly films so a little bit of history here is this was
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Tom Cruz's first film that he made when he got his sort of production deal and
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it's interesting to look at this film from a Tom Cruz perspective because he wasn't really Tom Cruz action guy yet
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right and this movie has a lot of firsts for him in terms of establishing him as
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action guy i'm going to do my own stunts guy and in particular this scene but
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Cruz is completely responsible for bringing on the Palama they originally were developing this movie with Sydney
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Lummet I believe and then uh Tom Cruz got Dep's name in his head and he went
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back and watched all Deama's previous films and said Brian Dealama's my guy he has to make this
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film and Doug I don't know if you know too much about the history of this film but they pretty much started filming
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this movie without a script so Deama had a couple of key action sequences that he had sort of come up with or designed and
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they kind of built a story around it yeah that's Yeah they they start that's
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like when does that ever happen where you start with the action scenes but that I mean that that goes to show you that he h he has because the action
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scenes how memorable are they in this film like he has an eye for that and then he hired a team of writers to kind
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of write the story around that and I think the the first team of writers they
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didn't like the story that they had built around it at first so they scrapped the whole thing kept the action
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scenes and wrote a whole another story around that yeah we could get into the whole history of the writing behind it
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but we don't really need to tonight before we dive into the scene I I don't know if you were going to mention the
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failed passing of the torch so to speak from the uh original show cast to the
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the new age Mission Impossible uh in terms of using the Phelps character or is there something else not the Phelps
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like all like everybody all the old the characters the actors from the original series they initially wanted them to
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come in for the opening for the opening scene that went wrong oh to be part of that team be part of that team he killed
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them all off as like a passing of the torch oh wow to the new age but the the
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old actors like when when they heard about that they were like "No." Every single one of them was like "No go screw
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yourself we're not we're not doing that." That's funny i hadn't read that but I do know that this movie from a a
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canle perspective is supposed to take place 6 years after the series six years
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and I do know that Peter Graves the original Jim Phelps was kind of a little upset with what they did to his
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character spoiler alert for almost 30-year-old movie but uh that's the John Voit character he
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returned as Jim Phelps so the great thing about talking about this movie Doug is I know on our Stallone show that
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we we do every five or six weeks or so or however long it is with Ryan is we
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always get caught up in in plot right trying to figure out the plot and the great thing about this movie is you
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don't need to figure out the plot because the more you think about the plot the more frustrated and confused
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you're going to get all we know is that there's this knock list which is supposed to be what the identity of undercover agents and all kinds of
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people want it right uh and basically there's a lot of different sequences in
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this movie that are built around that knock list moving around like a pingpong ball or something yeah well I mean
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there's a decoy list and there's the real list then there's his slight of hand trick where does he have the
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realist is it the decoy list like like who knows you know it is it is it does get convoluted in
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some respects but we actually you know my my main show that I've done is is
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Rocky Minute and part of the uh the minuteby-minute verse uh a buddy of mine
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did uh Mission Impossible Minute Minute Impossible they called it so they they dissected this movie minute by minute o
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and listening to that I mean all the the convoluted plot points and everything like it all comes out in the wash at the
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end where you know I mean minute by minute it's a little different when you're dissecting it that way but it
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comes together in the end oh oh yeah no absolutely it took me a few watches though you know but that's the other
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thing I really like about this movie is you don't have to think about it too much you just know that there's stakes
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involved and that Ethan's the good guy right the list is nothing more than a mcguffin no exactly exactly it's it's a
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way to get us from point A to point B or from action sequence A to action sequence B but the reason I kind of like
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that you picked this sequence Doug is that if we're looking at it as part of the greater whole of the Mission
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Impossible franchise this is really the sequence that the Ethan Hunt in all the other
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movies is built around is somebody who takes his responsibility for members of
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his team extremely personal right and when he loses somebody from his team he
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takes it as a failure on his part right and it's also I I I don't believe it's
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the last time in this series that he's also sort of accused of sort of going
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rogue mhm so the sequence uh it starts with Ethan meeting Kitridge at this
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restaurant and there's glass everywhere and as he's walking up the street you see that big huge tank full of water
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yeah above above their heads yes so I I think if as a movie go you they're
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setting the whole table for you right there and and I I mean I I'm pretty sure that the promotional materials for the film
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ruined or spoiled the sort of the surprise but it's hard not to see that sort of introduction and be like
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"Okay we know what's happening here." Yeah um it's it the background the the set
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piece not background the set piece is is a interesting story too because this
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scene takes place in Prague right so that like this whole the area is the old
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town square in Prague so when it's a a head-on shot of Ethan walking through
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the square towards the restaurant it's on location then when he's walking to the restaurant you see the restaurant
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and Ethan from the back it's at Pinewood Studios in London in London and but what
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they did was they they took that angle of the old town square and recreated it
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and built the aquarium restaurant right in the middle there beautiful so So they really went went all out to make sure
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that that they were accurate in that yeah and you know what that's not surprising to hear based on Brian Dealma
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in the type of filmmaker he is i was watching special features on another one
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of his movies and the practical location didn't work so they ended up doing it on a set and it involved recreating a lot
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of stuff i talked with Seco on our Carry episode about how once Dama gets an idea in his head
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to do something they're going to do it and then it's just a matter of figuring out how to do it whereas other
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filmmakers will say "Okay it's a cool idea but it's not going to work." But
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man he's stubborn enough to be like "No it is going to work and we're going to figure out how to make it work." And
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that's what I really really respect about him as a filmmaker how But it's to be that I don't want to say nitpicky but
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to be that you know headstrong about it about the like the finer details this
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movie still came in under budget and ahead of time like how crazy is that it
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is it's It's remarkable and um I'm surprised that more
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movies don't utilize or more action movies don't utilize filmmakers like uh
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a Brian de Palama if I mean if you really go back and look at it if you look at like some of the great action
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movies that we know and love like you look at Predator and Die Hard those are John
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McTin you know I mean I don't think at his core he was an action director but
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he made great action movies um another one would be
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Walter Hill who made the Warriors and uh uh what 48 Hours uh well McTurn
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was on the short list for this film as well oh that that doesn't surprise me i mean I'd imagine in 1996 there was a you
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know a bunch of different names but again kudos to Tom Cruz for for seeing
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the potential here and I'm trying to remember who I was talking to it might
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have been uh Scott on our Scarface episode
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where I talked about like how you know uh it was great to finally
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see uh him get utilized for his ability to create action sequences and that's
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definitely something that Tom Cruz keyed in on and knew that he would be the guy to execute this vision one other note
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about the sequence is the big tank was Cruz's idea mhm and I don't know if this
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is just legend making or mythmaking but apparently that they attempted the
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sequence uh that we're going to talk about in a little bit with a stunt person and it didn't look right and
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deama decided and Cruz decided that he would give it a shot i think with the amount of water involved they were
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worried that there would be potential to you know just get injured or or drown
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god forbid but this could be the start of you know sort of giving Tom Cruz the the courage and the the motivation to do
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his own sequences so the other thing I really like about this scene is we get sort of the best of both worlds here
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we've got the talking heads where you know there's two people having a conversation but then it culminates in a
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a cool bit of action and some highly stylized action which is a little bit more stylized than I think you know
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Deama normally gets but the thing I love about the sequence is it starts with Kitridge sort of we don't know this as a
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viewer but Kitridge sort of getting Hunt prepared for what's going to happen in
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terms of like him accusing Hunt of being a traitor but he approaches it very sensitively you know he says you know
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you know you've lost your team yeah uh and and the cool thing I love about this
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sequence though is you watch Ethan Hunt start to realize that he's been set up as the
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fall guy here and you see his brain working and he asks why there was another team there and Kitri plays dumb
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and says "What do you mean another team?" And we get those sort of quick cuts to all the different people that
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Hunt noticed yeah yeah and then it starts getting as the intensity level
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goes there's a lot going on the music first of all in this sequence is tremendous but then also as the
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intensity starts to ramp up we start getting those sort of sideways shots yeah the Dutch angle yep cruz tilted one
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way Kitridge tilted the other and it definitely helps ramp up that intensity
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and the suspense of the scene that's funny because I that was something that I noticed long before I ever knew what a
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Dutch angle was or you know I was like wow I mean it's it's disorienting you
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know what I mean when when you see it that way but it it starts I noticed that it starts right when Ethan starts to ask
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Kitrich about the other IMF team exactly why was this other pe other IMF team at
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the embassy and Kitri is like what are you talking about and then he starts to identify them and each time like as the
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scene progresses the the angle gets more and more steep it's like as the intensity ramps up so does like the
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disorientation it's like you're inside Ethan's mind as he's going crazy you
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know right right up until the moment yeah no exactly and I think that's a great tool in the filmmaker's sort of
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belt that that the Palama had in this sequence is he found a way to sort of make us get in the same headsp space as
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Ethan Hunt as opposed to just being an observer of a scene yes it got us
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involved and it started to show us sort of the the intensity of the scene yeah
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it could be like a you know a shot reverse shot or like a a two shot on that scene and a scene like intense like
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that could have could have easily been portrayed very very boringly mhm you know but I mean the way the way
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the music and the angles ramp up you know it's like you feel yourself kind of
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feeling a sense of unease as the scene goes along like it's crazy this is that's one of
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the main reasons why I picked this scene was like because of like the emotion that it like it invokes from the watcher
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oh yeah no no absolutely and and and that's the decision that a director makes is like
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what how do you want the viewer to experience this scene and uh that's the
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one of the main things I love about Dama is he always finds interesting ways to let viewers
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watch a scene and uh this sequence is no different and as Kitridge sort of
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presents evidence as to why he thinks Hunt might have turned what his his father recently died and they give that
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great line about you know it's it's not cheap to die in this country um he says you know your your mother's house was
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going to be foreclosed and there was an influx of cash so you know it's funny
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about that part too it's it's almost like like the uh announcement of Apollo
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Creed as the winner in the original Rocky it's like secondary to what the camera is focused on which is Ethan
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unwrapping that piece of bomb gum yep yep yep uh-huh
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yeah it's It's great it's It's sort of a a James Bond type moment where you know the gum was introduced earlier so u as
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soon as he takes it out of his pocket you know we know what's going to happen here and the funny thing about it too um
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Doug is every other agent in the restaurant knows what's going to happen too yeah they all they all they all saw
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they're like I've seen that gun before they know what's going to happen so yeah that's Ethan planning his escape and you
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know what uh before we move on like another thing I know I just noticed about that too is like he t he unwraps a
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dry piece of gum right yet when he throws it it sticks to the aquarium and
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I and I always like you know it was just like a fleeting thought like how the hell would a dry piece of gum stick like
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that but did you see when he runs his hand through the glasses he gets his hand wet which moistens the gum enough
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oh wow you know I did not but you know what that's a beautiful detail uh yeah he knocks over all those glasses of
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water wine whatever yeah which like I I I I thought maybe like that was just a a
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detail you know the Palma threw in there to explain what how the gum sticks well yeah and and that gets back to me saying
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that it was a little more stylized than I'm used to but the shot was so stylized
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and sort of almost slowed down I think to express that um if maybe if I watched
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the scene one more time I would have I would have picked up on that right it's But that I mean listen just to prepare
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for this I I watched the scene about four or five times okay you know especially like the slow motion parts
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because like when you slow down slow motion you really get to see the finer details you know when you're watching a
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slow motion scene frame by frame and um no that that was one of the things I picked up on i was like "Oh maybe that's
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how like he got that gum slick enough to stick to the aquarium." That's that's 100% it Doug because again um I can't
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wait to go back downstairs and put that scene on and watch that shot again because that shot bugged me
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you know I was like wow it's just it I was like it just seems too actiony and too obvious for the Palama mhm but now
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think you know thinking through it and the rationale for it it was him saying okay this is a detail I want you know
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viewers like Doug to pick up that's amazing oh that's that's so
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cool and that's another reason I love podcasting with people uh especially
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about movies is there's always going to be a perspective presented that you that
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you might not have gotten to for a long time or at all mhm very cool and I love
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the big action moment here um again the score you know fully erupts at that
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point the explosion is glorious yeah cruz jumping out of the the broken
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window with the the water behind him it's almost absurd the amount of water
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and that's another thing I really love about Dama is he knows that we know that we're
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watching a movie so there probably wouldn't have been that much water right
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you know but we get that much water because it looks cool it looks amazing
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it like everything from like the everybody you know Kitrich and and all
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the other members when they take shelter against the water you see the water like flowing over them like the the shot is
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it's in slow motion is spectacular how much detail they got and Hunt jumps over
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a body too yeah it was that guy that's yanked out the window when the explosion goes on he he was a stunt man so the way
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he's like high stepping out of the window which is it's an iconic action shot but there's a reason for it yeah
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because he's trying not to stomp the stunt man and then I love the way this
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sequence ends where we get the reverse shot and we see the water sort of spread
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out on the pavement with uh I think they were lobsters right yeah I think those
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were lobsters and the thing that that's cool about it is it doesn't seem like as much water once it hits the pavement
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yeah but the way it dissipates is it's like like a perfect half moon and that's
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again it it the explosion happens at Pinewood Studios he runs out and then as
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he's sprinting away they just threw like a couple of thousand gallons of water onto the square in Prague and watch him
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run away like it again it's a seamless transition from studio to location
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that's beautiful and then um at that point the movie is off and running and we have a lot more exciting action
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sequences to talk about within it but that's the sequence that we were going over and again I'm so glad we we talked
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about that scene is there any sort of highle thoughts you had that we didn't cover on this sequence
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uh I don't think so i think we uh we were able to kind of hit all all the points that I
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had jotted down that I wanted to cover i mean it's it's not a long scene but
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wallto-wall there's something to talk about oh yeah and that's like I I said when when you know you you kind of gave
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me the pick a scene obviously somebody's going to take the um the vault scene
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somebody's going to take the train the helicopter scene i said I wanted to do something that was like a little little
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more under the radar but still struck me the first time I saw it and and this this was I I was kind of between this
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and like the the opening um the uh the the heist that not the heist yeah the
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the mission gone bad yeah mission gone bad but that that was just way too long in detail i said we'll be talking about
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that for hours no I'm glad you chose this sequence and I'm glad we were finally able to uh sit
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down and chat this was also an interesting movie for Dealama because
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it's really sadly like kind of the beginning of the end for him as a a powerful
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Hollywood guy so he was coming off Caro's way uh which was critically held
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i don't remember how well it did commercially and then he did this which of course was a blockbuster created a
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franchise um he declined to come back for a sequel he wasn't interested in sequels i was going to ask you that was
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Was he ever approached yeah he was i think he was approached to do part two and I think he's the type of guy that
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he's like you know what I've been there done that not interested in doing it again um and then he went on to make
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Snake Eyes which we talked about on the first episode right and then Snake Eyes I I think I said on that episode was his
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like last good film yeah the last high-profile too right yeah i mean after
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that he would pro he made Mission to Mars which I I believe he He did not have a great experience on the Black
24:44
Dalia and that was that was the end um I that was his last American film he made
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some films overseas but it's interesting to see how quickly Deama sort of lost
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whatever power he had in Hollywood and this movie might have given him the
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financial comfort to do that and not play Hollywood's game i really don't know um I haven't done enough research
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behind the history yeah yeah but it wouldn't surprise me i mean I'm sure
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every year he gets a nice Mission Impossible check or every quarter he gets a nice Mission Impossible check
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because again this playing everywhere yeah i mean there's new movies still coming out it's It's on TV all the time
25:30
you know they're constantly repackaging and putting them out in sets when the new movies come out it's like "Oh you
25:36
have you know one through seven now they have to buy one through eight together we had talked our about our Rocky
25:41
collections you know oh yeah like how many different box sets they they've come out with those um Yeah but I you
25:48
know and not not that it was brave of him but you you knew you have your
25:55
diehard lovers of the original series that are going to lambase you if you
26:00
don't handle this movie with care mhm and that's exactly what people did because I mean you got purists out there
26:08
that that of course no no matter what this movie turned out to be they were going to landbased them yeah yeah uhhuh
26:13
and he got lambbased for this i don't know if the palm is the kind of guy that that would you know that would give a [ __ ] about that he doesn't but another
26:20
funny uh detail I I learned researching this is the original director of the the
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original series bruce Geller was it uh maybe not the director he was the creator bruce Geller yeah i I don't not
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not the creator i think it was the director some French French name or some foreign name um the studio wanted him to be on set
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just to like oversee the project so the Palma like allowed it on day one
26:48
to kind of like appease the studio but when he when he got there the Palama went up to the guy and was like "Listen
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this is going to be awkward for for all of us why don't you just scued?" And the guy was like "Thank you for your
27:00
honesty." and [ __ ] off oh that's great um I don't know too much
27:06
about it and I I always sort of love talking about Tom Cruz the filmmaker as
27:13
opposed to Tom Cruz the person because you don't want to really uh get
27:20
too in the weeds with that but two things I really like about Tom Cruz is I've never seen a movie he's made where
27:27
he didn't seem to give a [ __ ] he always gives a [ __ ] and he always
27:33
seems to give 100% of himself to the movie and he also advocates for filmmakers and I think probably a large
27:41
part of the reason that Dama had the flexibility he had on this movie was
27:46
Cruz and Wagner running interference for him but we got a great movie it birthed a franchise and it it brought eyes
27:55
um to uh to Dama as a filmmaker so uh yeah Doug before we wrap things up do
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you want to talk a little bit about what's going on in your podcasting world yeah you know I um
28:09
uh I mentioned before that I'm uh the host of Rocky Minute which is uh a series where we go through the Rocky
28:16
movies uh and analyze one minute of film uh each episode uh life and a global
28:23
pandemic really kind of screwed me during my uh production of Rocky 3 but
28:29
we got two seasons under our belt they're housed on the Last of the Action Heroes podcast network um you know three
28:36
three is still there uh I got some some episodes released some more recorded
28:42
some edited uh I just have to I have to get around to uh to really get
28:48
consistent behind the mic again and in the editing booth so uh well it's well
28:54
it's it's the thing about the minute format is you're for people that aren't really familiar you're taking one minute
29:00
of a a movie per episode and at your peak you were doing five episodes a week
29:06
right yeah for the first first two movies we we went Yeah we did release
29:12
Monday through Friday yeah i mean for people that don't podcast podcasting is a lot more than
29:17
just turning on a mic and talking there's the you know all the prep you have to do and then the post work you
29:24
have to do which includes editing so yeah it's it's it's time inensive i will
29:29
include a link to the to the um the existing seasons that are on the on the network and if you haven't listened
29:36
before uh myself Doug and Ryan who was a guest on episode two um like I said we
29:42
get together feels like every almost every month five or six weeks at the
29:48
most uh and we talk about a different Stallone movie and uh we're running out of movies
29:54
so uh I think that's why we've been taking longer between movies but it's always a good time i I love the
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chemistry we have together uh the three of us and I love podcasting with you guys and I'm so glad we were able to do
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this and Doug this does not have to be the last time we talked to PMA if and when you want to talk an untouchable
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scene I am there uh if you want to talk another sequence from this movie I'm there if you discover another movie and
30:20
want to talk a sequence from that we can do that i'm not sure if you're familiar with uh Casualties of War with Shawn
30:27
Penn and Michael J fox i saw it years ago when it first came out and never
30:32
since so that might be one I would uh like to revisit yeah same here um
30:37
there's a lot of the PMA movies that I' I've seen once or I've never seen another one that might be cool for the
30:43
two of us to do would be um Wise Guys with uh Joe Piscapo and Danny Deo okay
30:49
yeah yeah yeah that one's actually on YouTube there's a channel called the Depalama Archives
30:55
which has probably five or six of his films that are not commercially sort of
31:00
available to stream mhm and they're hard to find on home video and Wise Guys is one of them and I think for two Jersey
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guys uh Wise Guys might be a good movie to talk about that's what struck me about that that that would be a good uh
31:13
good one for us i don't know if you how much you remember about it but there's a whole end sequence that takes place in
31:19
Atlantic City at resorts oh it's at resorts yes i remember it being Atlantic
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City i remember I didn't even I'd probably never even
31:29
been to Atlantic City when I saw that movie yeah no same here it's so funny that and and I know we're at the end of
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the episode but it's so funny cuz every time we used to go down to Atlantic City we would stay um at a place right across
31:41
the street from resorts and to get to the showboat we would cut through the side door of resorts so we didn't have
31:48
to walk outside and then we'd come out on the boardwalk so when when they pull
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up in their limo in Wise Guys I'm like I know exactly where that door is so I
31:58
don't know like the Leonardo DiCaprio meme from uh Yeah exactly the point yeah so we'll definitely find another time to
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talk doug again I always love chatting with you and Yeah uh this was great i
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love talking the sequence that's one of my favorite aspects of the show is letting my guests determine what we're
32:16
going to talk about because um it keeps things fresh for me as well yeah yeah definitely man this was definitely fun
32:23
man i appreciate the uh appreciate the uh opportunity oh you got it and we'll talk again soon all right buddy
32:29
spielberg lived down the street from me and I would often go and have dinner just he and I you know uh as one does
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yeah as one does but I knew him since basically you know I was a kid also and I lived down
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the street and we would go and you know talk about movies which we did you know he would direct a film or you know and I
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would often get him to like screen one of his movies and then we'd talk about it you know I'd get him to walk me
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through every shot and I remember one night I went over and there was Brian Dealma and so we had dinner three of us
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had dinner in his place up the street and we were just talking about movies and there was Brian and I'd seen all of
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his films and I went home that night you know mission was on my mind i was actually preparing also i was prepping
33:15
Interview with the Vampire at that time and working on a few other things and I went home that night and I stayed up for
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about 14 hours and I just got all of his Palama's movies and I restudied all of his films for Jupalama movies we're
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talking about Carrie Blowout yes uh Dress to Kill untouchables untouchables
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okay and I just went "Oh my gosh that he's he's got a direct mission possible