Cassandra predicts the future and no one believes her. Film directors work in the river called future and dip into this temporal waterway without regard to time. The use of the name Cassandra is a clue that someone understands the future. The number 217 gives clues about how we should feel about 237.
The Cassandra complex is the name given to a phenomenon where people who predict bad news or warnings are ignored or outright dismissed. The phrase "Cassandra complex" has entered the lexicon in 1949 when a French philosopher discussed the potential for someone to predict future events.
Film critic Roger Ebert found 12 Monkeys' depiction of the future similar to Blade Runner (1982; also scripted by David Peoples) and Brazil (1985; also directed by Terry Gilliam). "The film is a celebration of madness and doom, with a hero who tries to prevail against the chaos of his condition, and is inadequate," Ebert wrote. "This vision is a cold, dark, damp one, and even the romance between [Bruce] Willis and [Madeline] Stowe feels desperate rather than joyous."
The [12 Monkeys'] use of time travel provides a vehicle to illustrate the Cassandra Complex, and the storyline takes full advantage of the opportunity. James Cole, being from the future, is well aware of the impending catastrophe and further understands that the result cannot be averted. In his reality, the virus has already wiped out most of humanity—it is a “fait accompli.” His obvious diagnosis in 1996 is the Cassandra Complex, and he is treated by Dr. Railly who is one of the leading experts in the field. Her credentials in this area are prominently displayed in the film as she gives a lecture dedicated to the subject at a book signing. Ironically, later in the film when she finally starts to believe that James is not insane, she becomes the prototypical example of the Cassandra Complex herself; she knows almost everyone is going to die, and there is nothing she can do to prevent it. Source
The Willis charactor (James Cole) and Stowe's (Dr. Kathryn Railly) watch Vertigo while on the run, in 12 Monkeys.
“I think I’ve seen this movie before,” he says to her as it becomes apparent that he’s living in a world that is a literal echo of Hitchcock’s Boileau-Narcejac-adapted narrative. At this point, they are finally getting closer to the airport of Cole’s dreaming from childhood. Kathryn has donned a blonde wig as a disguise, giving Cole his own echo of Judy Barton’s final transformation back into Madeleine Elster. Kathryn even uses the name Judy as an alias once at the airport. Source.
"Mr. Sandman" (sometimes rendered as "Mister Sandman") is a popular song written by Pat Ballard which was published in 1954 and first recorded in May of that year by Vaughn Monroe & His Orchestra and later that same year by The Chordettes and The Four Aces. The movie Back to the Future II (1989) uses The Four Aces' version of "The Sandman" in, at least, two parts of that film. Intriguingly, Kubrick's 1999 movie Eyes Wide Shut, in essence, is a variation of employing the name "Sandman." The song's lyrics convey a request to "Mr. Sandman" to "bring me a dream" – the traditional association with the folkloric figure, the Sandman.
Besides Fast Company (1979) and its "Sandman Inn Room 237," Cronenberg quite prominently features "237" in Scanners (1981). Scanners is a Canadian science-fiction horror film written and directed by David Cronenberg and starring Stephen Lack, Jennifer O'Neill, Michael Ironside, and Patrick McGoohan. In the film, "scanners" are people with unusual telepathic and telekinetic powers.
During the filming of the "Time Out" segment [of Twilight Zone: The Movie] directed by [John] Landis on July 23, 1982, at around 2:30 a.m., actor Vic Morrow and child actors Myca Dinh Le (age 7) and Renee Shin-Yi Chen (Chén Xīnyí, age 6) died in an accident involving a helicopter being used on the set. The two child actors were hired in violation of California law, which prohibits child actors from working at night or in proximity to explosions, and requires the presence of a teacher or social worker. During the subsequent trial, the illegality of the children's hiring was admitted by the defense, with Landis admitting culpability for that (but not the accident), and admitting that their hiring was "wrong".
Producer and co-director Steven Spielberg was so disgusted by Landis's handling of the situation, he ended their friendship and publicly called for the end of the New Hollywood Era, where directors had almost complete control over film. When approached by the press about the accident, he stated "No movie is worth dying for. I think people are standing up much more now, than ever before, to producers and directors who ask too much. If something isn't safe, it's the right and responsibility of every actor or crew member to yell, 'Cut!'
In the scene that served as the original ending, Morrow's character was to have traveled back through time again and stumbled into a deserted Vietnamese village where he finds two young Vietnamese children left behind when a U.S. Army helicopter appears and begins shooting at them. Morrow was to take both children under his arms and escape out of the village as the hovering helicopter destroyed the village with multiple explosions which would have led to his character's redemption. The helicopter pilot had trouble navigating through the fireballs created by pyrotechnic effects for the sequence. A technician on the ground did not know this and detonated two of the pyrotechnic charges close together. The flash-force of the two explosions caused the low-flying helicopter to spin out of control and crash land on top of Morrow and the two children as they were crossing a small pond away from the village mock-up. All three were killed instantly; Morrow and Le were decapitated by the helicopter's top rotor blades while Chen was crushed to death by one of the struts. A report released in May 1984 by the National Transportation Safety Board stated:
"The probable cause of the accident was the detonation of debris-laden high-temperature special effects explosions too near a low-flying helicopter leading to foreign object damage to one rotor blade and delamination due to heat to the other rotor blade, the separation of the helicopter's tail rotor assembly, and the uncontrolled descent of the helicopter. The proximity of the helicopter (around 25 feet off the ground) to the special effects explosions was due to the failure to establish direct communications and coordination between the pilot, who was in command of the helicopter operation, and the film director, who was in charge of the filming operation."
The deaths were recorded on film from at least three different camera angles. As a result of Morrow's death, the remaining few scenes of the segment could not be filmed and all of the scenes that were filmed involving the two Vietnamese children, portrayed by Myca and Renee, were deleted from the final cut of the segment.
Myca and Renee were being paid under the table to circumvent California's child labor laws. California did not allow children to work at night. Landis opted not to seek a waiver. The casting agents were unaware that the children would be involved in the scene. Associate producer George Folsey, Jr. told the children's parents not to tell any firefighters on set that the children were part of the scene, and also hid them from a fire safety officer who also worked as a welfare worker. A fire safety officer was concerned the blasts would cause a crash, but did not tell Landis of his concerns.
The accident led to civil and criminal action against the filmmakers which lasted nearly a decade. Landis, Folsey, production manager Dan Allingham, pilot Dorcey Wingo and explosives specialist Paul Stewart were tried and acquitted on charges of manslaughter in a nine-month trial in 1986 and 1987. As a result of the accident, second assistant director Andy House had his name removed from the credits and replaced with the pseudonym Alan Smithee.
The probable cause of the accident was the detonation of debris-laden high-temperature special effects explosions too near a low-flying helicopter leading to foreign object damage to one rotor blade and delamination due to heat to the other rotor blade, the separation of the helicopter's tail rotor assembly, and the uncontrolled descent of the helicopter. The proximity of the helicopter (around 25 feet off the ground) to the special effects explosions was due to the failure to establish direct communications and coordination between the pilot, who was in command of the helicopter operation, and the film director, who was in charge of the filming operation. Source.