Music Video
The music video for this song was shot at the Minneapolis Armory in 1998 and was directed by Francis Lawrence. It features the band playing the song intertwined with scenes from the film Armageddon. It features an appearance by Steven Tyler's daughter Liv, who plays Grace Stamper in the film. Steven Tyler hurt his knee the day before the shoot, so they used a lot of close-ups because his movement was limited.
The video begins with shots of the moon in orbit and several meteorites passing by and then a view of earth before zooming in to show Steven Tyler singing. The shots interchange between the band and Mission Control viewing the band singing via their monitors. As the video progresses it reveals that the band is playing in front of what appears to be the fictional Space Shuttle Freedom. Along with Aerosmith, a full hand orchestra plays in sync with the melody. Smoke surrounds the orchestra and Aerosmith as Freedom takes off from the launch pad. Finally, the screen goes out as a tearful Grace touches one of the monitors to reach out to her father (real life father Steven Tyler in the video; on-screen father Harry Stamper, played by Bruce Willis, in the film).
The video won awards for MTV Video Music Award for Best Video from a Film, and Best Video at Boston Music Awards.
Read more about this topic: I Don't Want To Miss A Thing
Famous quotes containing the words music and/or video:
“The average educated man in America has about as much knowledge of what a political idea is as he has of the principles of counterpoint. Each is a thing used in politics or music which those fellows who practise politics or music manipulate somehow. Show him one and he will deny that it is politics at all. It must be corrupt or he will not recognize it. He has only seen dried figs. He has only thought dried thoughts. A live thought or a real idea is against the rules of his mind.”
—John Jay Chapman (18621933)
“We attempt to remember our collective American childhood, the way it was, but what we often remember is a combination of real past, pieces reshaped by bitterness and love, and, of course, the video pastthe portrayals of family life on such television programs as Leave it to Beaver and Father Knows Best and all the rest.”
—Richard Louv (20th century)