Category: Movies

9 Great Remake Cameos from the Original Movie’s Stars

Christopher Campbell and Film School Rejects present 9 Great Remake Cameos from the Original Movie’s Stars.

My favorite of those listed is the same as Christopher Campbell’sKevin McCarthy in Invasion of the Body Snatchers

McCarthy shows up near the start of the movie hysterically running through the street, just as he’d been seen doing at the end of the first version from 1956. It’s like a passing of the torch in a way.

Although Michael Caine’s appearance in the Get Carter remake didn’t make the list, it is also a favorite of mine.

15 Creepy Facts About “Carrie”

Jennifer M. Wood and Mental_Floss present 15 Creepy Facts About Carrie.  Here are three of my favorites… [Beware of Spoilers!]

5. THE STARS OF CARRIE COULD HAVE BEEN THE STARS OF STAR WARS.
Brian De Palma ended up casting for Carrie at the same time his good friend George Lucas was doing the same for a little sci-fi film he was making called Star Wars. So the two made the rather unorthodox decision to hold joint auditions, which ended up becoming a bit confusing. De Palma liked Amy Irving for the lead in Carrie, but she was also considered for Princess Leia in Star Wars. William Katt also auditioned for Star Wars, alongside Kurt Russell.

7. BRIAN DE PALMA DIDN’T SEE SISSY SPACEK AS CARRIE.
Though De Palma was a fan of Spacek’s work, he was convinced that he had already found his Carrie in another actress. His decision to let Spacek audition at all was mostly out of courtesy to her husband, Jack Fisk, the film’s art director. “He told me that if I wanted to, I could try out for the part of Carrie White,” Spacek recounted to Rolling Stone. “There was another girl that he was set on and unless he was really surprised, she was the one. I hung up and decided to go for it.”

Spacek showed up at her audition in an old dress she hadn’t worn since grade school and with her hair slicked back with Vaseline. When she was done, she waited in the parking lot while her husband reviewed her audition with the rest of the production team. After Fisk came out to tell her that the part was hers, “We sped off before anybody could change his mind,” Spacek said.

13. SPACEK LOVED TO WITNESS MOVIEGOERS’ REACTIONS TO THE ENDING.
“When I was in New York, and Carrie came out, I would go to theaters just for the last five minutes of the film to watch everyone jump out of their chairs,” Spacek recalled. “People are all relaxed. The music is really beautiful and relaxing, and all of a sudden that comes up, and people just go crazy.” [I saw Carrie at a midnight movie during the original theatrical release and had no  idea of the shocking ending.  I jumped out of my seat and probably scared others around me worse than the movie. – Craig]

10 Starry Facts About “Contact”

Marc Mancini and Mental_Floss present 10 Starry Facts About Contact.  Here are three of my favorites for a movie that I really like and feel is totally under-rated… [Beware of Spoilers!]

1. ITS OPENING SHOT SET AN INDUSTRY RECORD.

Contact begins with a close-up of our home planet. At first, a babel of ’90s radio broadcasts nearly deafens the audience. But as the camera pulls back and Earth grows smaller and smaller, iconic audio clips that were recorded 20, 30, and even 100 years ago greet our ears—only to fade seconds later. By the time our galaxy recedes into an endless cosmic backdrop, there’s nothing left but silence.

This is one of the most ambitious sequences in cinema history. The completely digital intro lasted for 4170 uninterrupted frames, making it the longest computer-generated shot that had ever appeared in a live-action film at the time. Great pains were taken to capture the look of deep space. On the special edition DVD commentary, visual effects supervisor Stephen Rosenbaum recalls getting started by gathering “absolutely incredible” Hubble snapshots of “distant galaxies and stars and other interstellar phenomenon … We laid out what we liked and said, ‘Okay, how can we pass through some of this? How can we combine it together into something [that’s] visually stunning?’”

Brilliant as it is, however, the moment ignores physical law. Just ask Neil deGrasse Tyson. If one could really overtake the radio signals, he argues, “you would hear them in reverse.” Still, the good doctor acknowledges that—for artistry’s sake—everything needed to sound intelligible. “[They] couldn’t have gotten it right and still had the scene work,” Tyson concedes, “so they had to do it the way they did.”

8. MATTHEW MCCONAUGHEY REFUSED TO DELIVER A CERTAIN LINE. 
Late in the final script, McConaughey’s character—a self-described “man of the cloth without the cloth” named Palmer Joss—says “My God was too small.” Though Druyan really liked this line, McConaughey called it sacrilegious and wouldn’t say it. Later on, the two talked at length about faith and became good friends (despite differences of opinion).

9. NASA FLATLY DENIES ONE OF THE FILM’S INSINUATIONS. 
In the movie’s third act, a stunned Arroway receives a cyanide pill before entering the pod. According to Zemeckis, Sagan swore that this just-in-case practice was observed “on every single [NASA] mission.” However, Apollo 13 veteran James Lovell has dismissed the idea, writing “many people have asked me ‘Did you have suicide pills on board?’ We didn’t, and I never heard of such a thing in the 11 years I spent as an astronaut and a NASA executive.”

12 High Stakes Facts About “Casino”

Eric D. Snider and Mental_Floss present 12 High Stakes Facts About Casino.  Here are three of my favorites… [Beware of Spoilers!]

1. IT ONLY EXISTS BECAUSE THE REAL GUY IT’S BASED ON WAS A BIG DE NIRO FAN.
The main character, Sam “Ace” Rothstein, is based on Frank “Lefty” Rosenthal, who was retired and living in Florida when writer Nicholas Pileggi came around wanting to write a book about his career. Rosenthal didn’t actively oppose the project, but he had no interest in helping, either—until he found out that Martin Scorsese planned to make Pileggi’s eventual book into a movie, and that Robert De Niro would probably be the star. Then he perked up, asking Pileggi (who also wrote GoodFellas) if he could arrange a meeting with De Niro. Next thing Pileggi knew, formerly reticent associates of Rosenthal’s were coming out of the woodwork, offering their cooperation.

5. JOE PESCI LOOKED SO MUCH LIKE THE REAL GUY THAT SOME CASINO PIT BOSSES DID DOUBLE-TAKES.
Pesci bore some natural resemblance to Tony “The Ant” Spilotro, the violent psychopath who busted heads for Rosenthal, and upon whom his character—Nicky Santoro—was based. In makeup, he looked even more like Spilotro—so much so that, according to Pileggi, when Pesci entered the casino where the movie was being shot, some pit bosses who’d had personal dealings with Spilotro “almost fainted.”

6. ACCORDING TO SCORSESE, THE FILM HAS “NO PLOT AT ALL.”
“There’s no plot at all,” Scorsese said in an interview included on the Blu-ray. “It’s three hours, no plot. So you know this going in. There’s a lot of action, a lot of story, but no plot.”

14 Crazy Facts About “Psycho”

Scott Weinberg and Mental_Floss present 14 Crazy Facts About Psycho.  Here are three of my favorites… [Beware of Spoilers!]

5. HITCHCOCK FINANCED THE FILM.
Paramount had all sorts of cold feet regarding the project, which prompted Hitchcock to both pay for the film out of his own pocket and forgo his (rather substantial) director’s fee in exchange for 60 percent ownership of the film. This highly uncommon arrangement put a whole lot of money in Hitchcock’s pocket. (Bad move, Paramount.) Plus the film doesn’t even belong to Paramount anymore; it’s been a Universal title since 1968.

12. LATE MOVIEGOERS WEREN’T ALLOWED IN.
Not only was Hitchcock intent on keeping the film under wraps until the last possible minute—he also instructed theaters to not allow anyone in once the film had started. And they did it!

14. THE MOVIE EARNED HITCHCOCK HIS FINAL OSCAR NOMINATION.
Psycho marked the fifth and final time that Hitchcock would earn an Oscar nomination for Best Director. (The Academy gave him the Irving G. Thalberg Memorial Award in 1968.) Yes, you read that right: Alfred Hitchcock never won an Oscar for directing. Let that sink in for a bit. [Hard to believe, isn’t it? – Craig]

13 Fascinating Facts About “The Thing”

James L. Menzies and Mental_Floss present 13 Fascinating Facts About The Thing.  Here are three of my favorites… [Beware of Spoilers!]

4. A DOUBLE AMPUTEE WAS USED TO CREATE THE FILM’S QUINTESSENTIAL SPECIAL EFFECT.
One of the most memorable scenes in the movie (often referred to as the “chest chomp”) occurs when Dr. Copper (Richard Dysart) attempts to revive Norris (Charles Hallahan) with a defibrillator. As he presses the paddles to his patient’s skin, Norris’ chest opens up and Copper’s forearms disappear into the cavity, where they are severed below the elbow by a set of jaws inside Norris’ chest.

In order to pull this off, special makeup effects designer Rob Bottin (known for his work onRobocop, Total Recall, Se7en, and Fight Club) found a man who had lost both of his arms below the elbow in an industrial accident. Bottin fit the man with two prosthetic forearms consisting of wax bones, rubber veins, and Jell-O. Then, for the wide-angle shot, he fit the man with a skin-like mask taken from a mold of Dysart’s face (à la Hannibal Lecter) and placed the ersatz arms into the chest cavity, where a set of mechanical jaws clamped down on them. As the actor pulled his arms away, the Jell-O arms severed below the elbows. The rest is practical effects history.

6. KURT RUSSELL ALMOST KILLED HIMSELF WITH A STICK OF DYNAMITE.
Russell threw an actual stick of dynamite during a scene toward the end of the film. He did not, however, anticipate it being so powerful. Russell was literally blown backwards after the device detonated; this take was left in the film.

13. AN ALTERNATE ENDING WAS FILMED, JUST IN CASE.
John Carpenter and editor Todd Ramsay shot and cut an alternate ending to the film that was never used. Ramsay was concerned that the bleak, ambiguous ending would not test well with audiences, so he suggested that Carpenter cover his bases and have a spare ending ready to go. They filmed an additional scene where lead character MacReady (Kurt Russell) is rescued and appears in a room where he is given a blood test to determine whether he has been assimilated, which he passes. Fortunately for fans of the film, this alternate finale was not needed as Carpenter stood firmly behind the movie he had made—ambiguous ending and all

17 Wonderful (and Not So Wonderful) Facts About “The Wizard of Oz”

Sareen Leeds and Mental_Floss present 17 Wonderful (and Not So Wonderful) Facts About The Wizard of Oz.   Here are three of my favorites… [Beware of Spoilers!]

2. GETTING DOROTHY HOME TO KANSAS WAS AN EASIER FEAT THAN MAINTAINING A DIRECTOR FOR THE WIZARD OF OZ.
Victor Fleming may be the one officially credited onscreen, but The Wizard of Oz can boast four directors. The first, Richard Thorpe, was fired after less than two weeks. George Cukor was brought in next, but he was summoned away to go work on—of all projects!—Gone With the Wind. Then Fleming stepped in, until he too was called over to assist with Gone With the Wind, and King Vidor was hired to complete the movie.

6. FRANK MORGAN PLAYED NOT ONE, NOT TWO, BUT FIVE CHARACTERS IN OZ.
Most of the main actors in The Wizard of Oz played two roles: A Kansas character and his or her Oz counterpart. This meant Ray Bolger (Scarecrow), Jack Haley (Tin Man), and Bert Lahr (Cowardly Lion) doubled as farmhands, and Margaret Hamilton got wicked in both Kansas (Miss Gulch) and Oz (the Witch). But Frank Morgan, who portrayed the shady Professor Marvel in the Kansas scenes (and was only billed for that role in the credits), not only showed up in Oz as the Wizard, but also as the uppity Doorman to the Emerald City, the Horse-of-a-Different-Color-owning Cabbie, and the snippy (later, sobbing) Wizard’s Guard.

12. MOVIE-MUSICAL VIRTUOSO BUSBY BERKELEY CHOREOGRAPHED AN EXTENDED (AND DELETED) VERSION OF “IF I ONLY HAD A BRAIN.”

Another casualty of the cutting room floor, this extended “If I Only Had a Brain” sequence showcased Ray Bolger’s deft control over his seemingly elastic body. It is also extremely trippy and gave the Scarecrow the inexplicable ability to fly—which wasn’t going to gel with the rest of the movie (if the Scarecrow could fly, then why didn’t he go one-on-one with the Wicked Witch?). Luckily for Berkeley, the decision to delete this part of the scene in no way hurt the legendary director-choreographer’s place in the annals of movie musical history.