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]
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
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.
2.TONY SCOTT WANTED TO DIRECT BOTH TRUE ROMANCE AND RESERVOIR DOGS.
Because he was still new to the business, Tarantino knew he couldn’t direct both movies. So he gave both scripts to Tony Scott and told him to pick one. Though Scott wanted both of the films, he ended up choosing True Romance, leaving Tarantino to make Reservoir Dogs.
7. TOM SIZEMORE GOT JAMES GANDOLFINI IN THE MOVIE.
Sizemore was initially cast as Gandolfini’s character, Virgil. But he wasn’t comfortable with a scene that required him to beat up Patricia Arquette, so he asked to play Cody Nicholson instead. When Scott asked Sizemore who should play Virgil instead, he suggested Gandolfini, a then-unknown actor whom he knew from the New York theater world.
16. SCOTT CHANGED TARANTINO’S ENDING.
Quentin had Clarence die; Scott decided that the movie deserved a happier ending. The only other difference between Tarantino’s script and Scott’s interpretation was presenting the movie linearly; Tarantino wrote True Romance as a nonlinear adventure, similar to the style ofReservoir Dogs and Pulp Fiction.
1. MAE WEST WAS BILLY WILDER’S FIRST CHOICE TO STAR.
Initially, writer-director Wilder envisioned the movie as a straightforward comedy, and the famously saucy West seemed like a perfect fit. But she wanted to rewrite her dialogue (as was her custom)—a nonstarter for Wilder, who seldom let his actors change their lines even slightly from what was on the page. It’s probably just as well, since the darker, more nuanced story that eventually emerged was quite different from West’s wheelhouse anyway. [I can’t imagine the movie having near the impact if done as a comedy. Although Mae West in a drama/tragedy would have been interesting. – Craig]
6. THE UNDERWATER SHOT WAS NOT FILMED UNDERWATER.
One of the few showy bits of camerawork in the film is near the beginning, when the corpse floating in Norma Desmond’s pool is seen from underneath. But it was too difficult to put a camera underwater to get the shot, so Wilder and cinematographer John Seitz came up with an ingenious solution: they put a mirror on the bottom of the pool and filmed the reflection from above.
9. HEDY LAMARR WANTED $25,000 TO DO A CAMEO.
When Norma visits DeMille at Paramount, he’s in the midst of shooting Samson and Delilah, which really is what he was up to at the time. For added meta-truthfulness, Wilder wanted to have that film’s lead actress, Hedy Lamarr, be there too, so that DeMille could ask her to let Norma sit in her chair (you know, those behind-the-scenes chairs that have the star’s name on them). For this Lamarr wanted $25,000 (which would be about $250,000 in 2015 dollars). Wilder changed the scene so that DeMille offered Lamarr’s chair to Norma without Lamarr being present. But even to show a chair with her name on it, Lamarr wanted $10,000. So Wilder gave up, and DeMille (who was already being compensated) gave Norma his own chair.
6. JOHN LANDIS’S FAVORITE MOMENT WHILE SHOOTING WAS AN ARGUMENT WITH CHEVY CHASE. Landis told Movies.com, “Probably the funniest moment for me when shooting was when I had the Three Amigos on horseback in the desert and I was shooting while they were wearing those ridiculous outfits and after having been shooting for three weeks, Chevy objected to a line of dialogue and he said, ‘I don’t think I should say this.’ And, remember, Chevy plays a character named Dusty Bottoms. So I said, ‘Well, why not?’ He said, ‘Because my character would have to be a moron to say this.’ All I could think was, What movie has Chevy been making? So I said, ‘OK, I’ll give it to Marty because it’s a laugh.’ Then Chevy said, ‘I’ll say it!’ It’s one of my favorite moments with an actor.”
7. SEVERAL FILMS THAT CAME OUT AFTER ¡THREE AMIGOS! SHARED ITS PREMISE. Like ¡Three Amigos!, films like Galaxy Quest (1999) and Tropic Thunder (2008) have featured movie stars accidentally ending up in real danger. Vulture outlined the many similaritiesbetween Tropic Thunder and ¡Three Amigos!, which include everything from similar catchphrases and movie star cameos (Tom Cruise plays Jewish film producer Les Grossman in Tropic Thunder while Joe Mantegna plays Jewish film producer Harry Flugleman in ¡Three Amigos!) to characters eating bats when they’re short on food. Galaxy Quest meanwhile featured a group of washed up sci-fi stars who end up cavorting with real aliens.
Referring to the spate of movies that borrow from the ¡Three Amigos! premise, John Landis said, “They completely ripped it off! The first Pixar movie about the ants, A Bug’s Life, took the same plot. It’s amazing how often the plot has been used. If Galaxy Quest weren’t so funny, it would probably bother me more.”
13. STEVEN SPIELBERG ALMOST DIRECTED THE FILM. Spielberg considered making the film in the early 1980s with Martin, Robin Williams, and Bill Murray as the leads. Ultimately, he decided to make E.T. the Extra-Terrestrial (1982) instead.
The poster above for Vin Diesel’s The Last Witch Hunteris the best thing I’ve seen promoting the movie. I like the poster. I still have big doubts about the movie though.
6. COPPOLA LITERALLY PUT EVERYTHING HE HAD INTO THE MOVIE.
The director invested $30 million of his own money into the project to get the budget to the amount required to execute his vision. That total included the valuations of his house and his winery, which he signed over to Chase Bank as collateral on the amount. The interest rate for the amount began at seven percent, but when production ended it was up to 29 percent. If the movie tanked, Coppola faced financial ruin, which understandably made the filming process fairly stressful. Coppola suffered an epileptic seizure while shooting, had a nervous breakdown, and allegedly threatened to commit suicide at least three times.
8. HARRISON FORD APPEARS IN A (TECHNICALLY) PRE-STAR WARS ROLE. Coppola hired a young actor named Harrison Ford to appear as Colonel Lucas (a nod to George), one of the military officers who gives Willard his orders to assassinate Kurtz. Ford had previously appeared in Lucas’ American Graffiti and Coppola’s The Conversation, but was still relatively unknown when the filming of Apocalypse Now began in 1976. He would later become a megastar after appearing as Han Solo in Star Wars when it was released in 1977.Apocalypse Now, which was shot before Star Wars, was released afterwards. Ford was apparently so nervous when shooting his scenes that Coppola added a story beat for his character to drop his dossier about Kurtz as a way to incorporate the then young actor’s anxiety into the scene.
5. HARVEY KEITEL WAS FIRST HIRED TO PLAY WILLARD.
Coppola held exhaustive audition sessions for his primary cast, but the part of Willard proved to be a problematic one for Coppola. He first offered the part to actor Steve McQueen, who turned down the role because he didn’t want to shoot in the jungle on location. Al Pacino, James Caan, and Jack Nicholson all turned down successive offers from Coppola until he gave the role to Harvey Keitel. Coppola fired Keitel six weeks into production because he thought the actor’s performance wasn’t as introspective as he needed for the character. So he called Martin Sheen, who had previously auditioned for the role of Michael Corleone in The Godfather and passed on Apocalypse Now because he was shooting The Cassandra Crossing in Rome.
1. PSYCHO (1960)
After Marion Crane (Janet Leigh) checks into the Bates Motel, she overhears the motel’s owner, Norman Bates (Anthony Perkins), get into an argument with his mother, who is emotionally abusive toward him. Nevertheless, Norman defends her when Marion suggests that their relationship might be toxic. Norman explains that his mother is “as harmless as one of those stuffed birds.” The line foreshadows the film’s twist when it is revealed that Norman killed and taxidermied his mother.
4. TOTAL RECALL (1990) Paul Verhoeven’s 1990 science fiction film Total Recall is full of clever clues that keep audiences guessing as to whether Doug Quaid’s (Arnold Schwarzenegger) adventure as a secret agent on Mars was real or merely a memory implanted into his brain. One of the biggest hints comes at the beginning of the film, when Quaid visits Rekall and one of the engineers tells him that he will experience “blue skies on Mars.” At the end of Total Recall, the Red Planet is terraformed and there is now a blue sky on Mars.
5. RESERVOIR DOGS (1992) Quentin Tarantino’s Reservoir Dogs follows a small group of criminals brought together to pull off a diamond heist. But when the police show up in the midst of the job, it’s clear that one of the men is an informant. The criminals are unknown to each other and are only referred to by colorful aliases (i.e. Mr. White). However, if you pay close attention to the opening scene, you can figure out that Mr. Orange (Tim Roth) is the police informant who set up the rest of the gang.
During the breakfast scene, when Joe (Lawrence Tierney) leaves the table to pay the bill, everyone contributes a dollar for the waitress’ tip—everyone except for Mr. Pink (Steve Buscemi), who refuses to tip based on principle. When Joe comes back to the table, he notices that the tip is short and asks who didn’t contribute. Without hesitation, Mr. Orange rats out Mr. Pink.
Additionally, when Nice Guy Eddie (Chris Penn) rushes to the hideout after the heist-gone-wrong, there’s an orange balloon following his car, which is a nod to the fact that Mr. Orange is after him.
3. Clint Eastwood, Harrison Ford, Paul Newman, and even Robert Redford were considered for the part of Red, who is a middle-aged Irishman in the original story… Darabont had Freeman in mind all along because of his presence, demeanor, and, of course, that voice.
16. When the cut-out hiding space for his digging tool was discovered in Andy’s Bible, it’s clear the book is open to Exodus.
Columbia Pictures
The word literally means “to escape or depart.”
5. The mugshot of Red attached to his parole papers looks just like a young Morgan Freeman for a reason: it’s Freeman’s son, Alfonso in the photos.
Columbia Pictures
Alfonso Freeman also appears in the film as a convict yelling, “Free fish! Free fish today!”
Sly Stallone will appear in Robert Rodriguez’s The Director’s Chair premiering on November 15th on the El Rey Network.Check your local listing for the channel and time!
2. IT’S BASED ON A REAL-LIFE GANGSTER.
Jack Nicholson’s character is based on infamous Boston mob boss Whitey Bulger. Before he was captured in 2011, he was second only to Osama bin Laden on the FBI’s Most Wanted List and had a reward of $1 million for his capture.
6. MARK WAHLBERG WASN’T THE FIRST CHOICE TO PLAY DIGNAM.
Ray Liotta (who was also in Scorsese’s Goodfellas) and Denis Leary were initially considered for the role, which eventually went to Wahlberg. Wahlberg was nominated for a Best Supporting Actor Oscar for his performance.
8. THE FILM TAKES A WHILE TO GET GOING.
The title card doesn’t appear until 18 minutes after the movie starts.
Hell’s Clubis the coolest thing on the net right now. The editing choices on this video are amazing. The idea is not unique, but the execution is flawless. Join me as we travel to…
… a place where all fictional characters meet. . Outside of time, Outside of all logic, This place is known as HELL’S CLUB, But this club is not safe…
