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The Favorite Movies of 42 Famous People

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Presidents & Politicians

What's with presidents and High Noon?

1. Barack Obama -- The Godfather (1972) and The Godfather: Part II (1974)
When Katie Couric asked then-presidential-candidate Barack Obama what his favorite movie is, he replied, "Oh, I think it would have to be The Godfather. One and Two. Three not so much. That saga -- I love that movie. ...I think my favorite has to be, the opening scene of the first Godfather... It sets the tone for the whole movie."

2. Ronald Reagan -- High Noon (1952)
Reagan appreciated Will Kane's dedication to duty and law. (Reagan's also rumored to have been a fan of the 1946 film It's a Wonderful Life.)

3. Richard Nixon -- Patton (1970)
Nixon's preference for Patton was mentioned in a 1960 1970 TIME article: "The martial epic Patton so stirs Richard Nixon that he has seen the film at least twice." According to American Experience: Nixon on PBS, "Richard Nixon loved the movie Patton and watched it again and again in the White House." The Telegraph reported that Nixon "urged aides to see the film and became, in the words of Secretary of State William Rogers, a 'walking ad' for it. He screened it three times in the weeks before the US invasion of Cambodia in April 1970..." Nixon's love for Patton was also mentioned in Woodward and Bernstein's 2005 book, The Final Days.

4. Bill Clinton -- High Noon (1952)
Clinton was such a fan of the Western that he apparently screened the film a record 17 times at the White House.

5. George W. Bush -- Field of Dreams (1989)
According to a May 2001 article in The Atlantic, "Bush's favorite movie is Field of Dreams, which made him cry, he once said, because it reminded him of playing catch in the back yard with his father—a pretty fair ballplayer himself once."

6. Dwight Eisenhower -- High Noon (1952)
Eisenhower was reportedly a big fan of the movie, screening it several times at the White House (though not quite as many times as Clinton).

7. John McCain -- Viva Zapata! (1952)
During his presidential campaign, John McCain was asked about his favorite film by Katie Couric. His response: "Viva Zapata. ...It's a heroic tale of a person who sacrificed everything for what he believed in and there's some of the most moving scenes in that movie that I've ever seen."

8. Mitt Romney -- Raiders of the Lost Ark (1981) and O Brother, Where Art Thou? (2000)
Romney lists these two films as his favorites on his Facebook page, followed by Star Wars and Henry V.

9. Dan Quayle -- Ferris Bueller's Day Off (1986)
During the 1990 presidential campaign, Quayle declared Ferris Bueller his favorite movie, with the explanation, "It reminded me of my time in school."

10. Newt Gingrich -- Casablanca (1943)
When asked his favorite movie, Gingrich told the Washington Times, "Probably Casablanca."

11. Rick Santorum -- Field of Dreams (1989)
Apparently Santorum has many favorites, but, when put on the spot by the Washington Times in 2011, he named the baseball classic his favorite.

Singers & Musicians

12. Justin Bieber -- Step Brothers (2008)
In 2010, Bieber provided US Weekly with a list of "25 Things You Don't Know About Me." #17: "Step Brothers is my favorite movie."

13. Jennifer Lopez -- West Side Story (1961)
During a West Side Story-themed photo shoot for Vanity Fair in 2009, Lopez revealed that she watched the classic musical "37 times" growing up. She identifies with Anita, explaining: "I never wanted to be that wimpy Maria... I wanted to be Anita, who danced her way to the top."

14. George Harrison -- The Producers (1968)
Harrison reportedly liked the film so much that it inspired him to become a producer himself.

Actors & Actresses

Interestingly, I have never met or heard of an actor or actress choosing one of their own films as their all-time favorite.

15. Johnny Depp -- The Wizard of Oz (1939)
Explained Depp: "I wanted to have a tornado sweep me up and take me away from the life I was living as a teenager."

16. John Travolta -- A Man And A Woman (1966)
IMDb.com lists Travolta's favorite movie as A Man And A Woman, also noting that he was partial to Yankee Doodle Dandy (1946) as a child.

17. Heath Ledger -- The Wizard of Oz (1939)
Ledger favored the classic film because, he stated, "It was the only film my parents allowed me to see as a kid."

18. Tom Hanks -- 2001: A Space Odyssey (1968)
Hanks has frequently discussed his love for Kubrick's classic, including at a forum for the film's 40th anniversary, where he said of the movie, "You can look at it over and over and ponder its meaning." According to a Tom Hanks fan site, the actor has seen 2001 approximately 40 times.

19. Bill Paxton -- Splendor in the Grass (1961) and Harold and Maude (1971)
In a 2006 interview with TV Guide, Paxton said, "You've got to understand something about me and my career: I'm a romantic in life philosophy, in how I look at the world, the beauty of nature, of relationships. But I never got to do those roles. In my twenties, I wanted to be in a Splendor in the Grass." Paxton listed both Splendor in the Grass and Harold and Maude for Cindy Pearlman's 2007 book You Gotta See This.

20. Salma Hayek -- Willy Wonka & the Chocolate Factory (1971)
The "Times Topics" page for Hayek at The New York Times website reports: "At 6, she was smitten with acting after seeing Willie [sic] Wonka and the Chocolate Factory."

21. Vin Diesel -- Gone With The Wind (1939)
In 2006, ELLE asked Diesel, "Have you ever watched a movie and identified with a character romantically?" The actor replied, "Clark Gable in Gone With the Wind. Here's this guy saying, 'I may be rough around the edges, but I'm the better man for you, and you're still locked over there with pretty boy.'" He also listed it as his favorite movie for Pearlman's You Gotta See This.

22. Tim Allen -- The Seven Samurai (1954)
AFI interviewed celebrities about their films in a lead-up to their "100 Years, 100 Movies" event in 2007. In his interview, Allen named The Seven Samurai as his favorite.

23. Lindsey Lohan -- Kitten With a Whip (1964) and Bye Bye Birdie (1963)
In 2008, Lindsay told PAPERMAG, "[Marilyn Monroe] had something that captured people. That’s the part that I love about her... I look to her in The Seven Year Itch, just like I look to Ann-Margret in Kitten With a Whip, which is one of my favorite movies, and which I’m actually trying to remake." For Pearlman's You Gotta See This, Lohan reiterated her love of Kitten With a Whip and added, "And I also love Bye Bye Birdie."

24. Owen Wilson -- Punch Drunk Love (2002) and The Insider (1999)
Wilson reportedly stated, "I loved Punch-Drunk Love. It revved me up to write something. It's a simple story, but it proves it's all in the details." He also told Glen Whipp of the Los Angeles Daily News, "I loved Punch-Drunk Love, The Insider and United 93."

25. Antonio Banderas -- Touch of Evil (1958) and The Magnificent Ambersons (1942)
Banderas is an Orson Welles fan. He listed Touch of Evil as one of his 5 favorite films (as well as the ever-popular Lawrence of Arabia and The Godfather) for Rotten Tomatoes, and he listed it again for Pearlman's You Gotta See This, along with another Welles film, The Magnificent Ambersons.

26. Julianne Moore -- Rosemary's Baby (1968)
For the New York Times' "Watching the Movies With" feature, Moore picked Rosemary's Baby, stating, "This is the first movie that came to mind when I thought of what I wanted to watch," and "Wow, I love the beginning of this movie."

27. Charlize Theron -- I Could Go On Singing (1963)
For You Gotta See This, Theron told Pearlman that I Could Go On Singing is "the best movie I've ever seen," and then said--twice--"It's my favorite film of all time."

28. Shia Lebouf -- Saving Silverman (2001) and Dumb & Dumber (1994)
IMDb.com lists the two comedies as Lebouf's favorite films.

29. Richard Gere -- The Passenger (1975)
For You Gotta See This, Gere told Pearlman that The Passenger "has always been" one of his favorites.

30. Dennis Miller -- A Man For All Seasons (1966)
Miller has discussed A Man For All Seasons on "The Dennis Miller Show." He also mentioned it in an appearance on "The O'Reilly Factor" in 2008 -- "My favorite film of all time is probably A Man for All Seasons."

31. Uma Thurman -- Pillow Talk (1959)
For Pearlman's You Gotta See This, Thurman revealed her favorite, explaining: "All my life I wanted to be Doris Day. One of my favorites is Pillow Talk. It’s a light, breezy romp of a film that’s so much fun to watch. I love that Doris didn’t play anyone but herself in her movies."

32. Morgan Freeman -- Moulin Rouge (2001)
In 2005, Freeman was quizzed on his favorites by IGN. For movie, he responded: "My favorite movie that I didn't work on? Moulin Rouge. I just think that movie is fabulous." Six years later, he repeated the favorite to the Rotten Tomatoes staff, stating, "I think one of the best movies ever made was Baz Luhrmann's Moulin Rouge! It was just an extraordinarily well done film. Editing, directing, costuming -- just everything about it was perfect." He also listed King Kong (1933), High Noon (1952), The Outlaw Josey Wales (1976), and Moby Dick (1956).

33. David Duchovny -- Chinatown (1974)
The Rotten Tomatoes staff interviewed Duchovny about his favorite films in April; he replied, "I'm gonna say Chinatown. That's just great storytelling, acting, directing. I think Polanski's an amazing director." He also listed The Godfather (1972), The Godfather: Part II (1974), Annie Hall (1977), and Oldboy (2003).

34. Reese Witherspoon -- Overboard (1987)
Witherspoon disclosed this factoid during the 84th Annual Academy Awards telecast earlier this year.

35. Dennis Quaid -- Lawrence of Arabia (1962)
Discussing David Lean, the director of Lawrence of Arabia, Quaid said, "He's always been my favourite director. Lawrence of Arabia is my favourite movie of all time."

36. Vince Vaughn -- Tender Mercies (1983) and The Bad News Bears (1976)
For Pearlman's You Gotta See This, Vaughn disclosed these two favorites, stating: "Tender Mercies is a film that I love very much because it's very simple storytelling," and "The Bad News Bears is my favorite comedy. I saw that movie as a child, and there was something very real about that movie in that it seemed to be an honest portrayal of people." He also reportedly once told Premiere magazine that Little Darlings (1980) was also a favorite.

37. Seth MacFarlane -- The Sound of Music (1964)
When interviewed by IGN in 2003, MacFarlane was asked what his favorite film is. His answer: "I gotta give it to The Sound of Music. I'm sorry. I know that's, like, a lame answer, but I f***in' love The Sound of Music. It's The Sound of Music... It's not like it's some obscure independent film. There are those who would be expecting me to say Caddyshack – which is number two..."

38. Orson Welles -- City Lights (1931)
Of the Chaplin film, Welles once said, "...but you must see City Lights... You’ll see Chaplin in City Lights."

& More...

39. Steven Spielberg -- Lawrence of Arabia (1962)
Spielberg helped restore the film for a 2000 DVD release; in the accompanying documentary, "A Conversation with Steven Spielberg," the director discusses the impact the movie had on his life and why it's his favorite film.

40. Thomas Edison -- Birth of a Nation (1915)
When asked about his favorite movie in a February 1930 interview with American Magazine, Edison replied, "Let’s see now–what’s the name of it? Oh yes, I remember–The Birth of a Nation, that great picture Griffith made. But who cares?"

41. Roger Ebert -- La Dolce Vita (1960)
In a 2008 column for The Chicago Sun-Times, the critic asked himself, "What is my favorite film?" The answer: "Right now, this moment, the answer that would spring most quickly to mind is Fellini's La Dolce Vita (1960). I've seen it, oh, at least 25 times, maybe more. It doesn't get old for me. ...I've grown so worked up just writing this paragraph that I want to slide in the DVD and start watching immediately. "

42. Michael Phelps -- Austin Powers: International Man of Mystery (1997)
Of Austin Powers, Phelps has said, "It’s still as funny as it was when it was released."
* * *
So, what's your favorite?

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12 Sharp Facts About Hellraiser
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Image Entertainment

Thirty years ago, on September 18, 1987, New World Pictures released Hellraiser, a horror film about a family who opens a puzzle box and invites hell in their lives in the form of pleasure-pain creatures known as Cenobites, who are lead by Pinhead (played by Doug Bradley). Unlike many other horror films at the time, Hellraiser wasn’t a slasher film, and Pinhead wasn’t a boogeyman.

British novelist, playwright, and screenwriter Clive Barker wanted to direct a feature film, so he adapted his 1986 horror novella, The Hellbound Heart, into Hellraiser. Despite the graphic nature of the film, it’s really a love story between Julia Cotton and her demented—and skinless—lover Frank  ... whose relationship just so happens to revolve around sadistic torture.

Hellraiser was produced for around a $1 million and grossed $14 million, making it lucrative enough to spawn nine sequels, including this year’s Hellraiser: Judgment. (Bradley hasn’t starred in a Hellraiser film since 2011’s Hellraiser: Revelations, and Barker didn’t direct or write any of the sequels, most of which were direct-to-DVD releases.) On the 30th anniversary of its release, let's take a look back at this horror classic.

1. THE ORIGINS OF PINHEAD CAME FROM A 1973 PLAY.

Before Doug Bradley uttered the catchphrase “We’ll tear your soul apart,” Clive Barker directed him in a 1973 play called Hunters in the Snow, in which Bradley played the Dutchman, a torturer who would become the basis for Pinhead.

“The character I played in Hunters, the Dutchman, I can see echoes of later... Pinhead in Hellraiser," Bradley said. "This strange, strange character whose head was kind of empty but who conveyed all kinds of things.”

Barker’s mid-1980s short story “The Forbidden”—which was adapted into Candyman—from his "Books of Blood" series, featured the first incarnation of Pinhead’s nails. “One image I remember very strongly from 'The Forbidden' was that Clive had built what he called his nail-board, which was basically a block of wood which he’d squared off and then he’d banged six-inch nails in at the intersections of the squares,” Bradley said. “Of course, when I saw the first illustrations for [Pinhead], it rang a bell with me that here was Clive putting the ideas that he’d been playing around with the nail-board in 'The Forbidden,' now 10, 15 years later. He’d now put the image all over a human being’s face.”

2. CLIVE BARKER CAST “REAL ACTORS.”

Unlike many other horror movies of the time, which were more concerned with gore than great acting, Barker insisted that they look for real talent in the casting. “I’m not just taking the 12 most beautiful youths in California and murdering them,” Barker told The Washington Post in 1987. “I’ve got real actors, real performers—and then I’m murdering them.” The “real” refers to British theater actors like Bradley, Clare Higgins, and Andrew Robinson.

3. PINHEAD WASN’T SUPPOSED TO BE ON THE POSTER.

New World Pictures

Bradley said the filmmakers wanted skinned Frank to be on the poster, but the studio said no to the grotesque imagery, so Pinhead was used on the poster instead. “Maybe that came from Clive, because what we get in that image of Pinhead with the box is the heart of the Hellraiser mythology,” Bradley said. “If you put The Engineer or the skinned man on the poster, it’s an amazing image but it’s just an image, and it could come from any movie.” Bradley thought using Pinhead’s face made more sense. “The big success of Pinhead is because the image is so original, so startling. It is just an incredible image to look at, and that made a big difference in terms of the public's perception of the movie.”

4. NO ONE KNEW THAT DOUG BRADLEY WAS PINHEAD.

Bradley’s Pinhead mug was everywhere—on the cover of magazines and on the movie’s poster—but no one mentioned his name. “It was great to be so heavily featured, but there was no way to prove to anyone that it was actually me,” Bradley said. “Those who were following Hellraiser at the time were wondering where the guy with the pins was! Well I can tell you where I was—I was sitting at home in England, watching it all happen from the sidelines.”

5. THE CENOBITES' DESIGN WAS INSPIRED BY S&M CLUBS.

In the box set’s liner notes, Barker wrote that the Cenobites's “design was influenced amongst other things by punk, by Catholicism, and by the visits I would take to S&M clubs in New York and Amsterdam.” Costume designer Jane Wildgoose created the costumes, based on Barker’s instruction of “repulsive glamour.”

“The other notes that I made about what he wanted was that they should be ‘magnificent super-butchers,’” Wildgoose said.

As for Pinhead, Barker said he “had seen a book containing photographs of African fetishes: sculptures of human heads crudely carved from wood and then pierced with dozens, sometimes hundreds, of nails and spikes. They were images of rage, the text instructed.”

6. IT'S REALLY A LOVE STORY.

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Julia is forced to bring men back to her house and murder them for Frank so that he can replenish his flesh. Barker looked at Hellraiser as more of a love story, with Julia committing these heinous acts in the name of love, not just to be brutal for no reason.

“She’s not committing murder in the way that Jason in the Friday the 13th films commits murder—just for the sake of blood-letting —she’s doing it for love,” Barker told Samhain. “So there is a sympathetic quality about her, enhanced hugely in my estimation by the fact that Clare Higgins does it so well.”

7. BARKER’S GRANDFATHER INSPIRED THE PUZZLE BOX.

When a person twists the box, known as the Lament Configuration, it summons the Cenobites from the gates of hell into the individual's world. “I wanted to have access to hell in the book and in the first movie, explored by something rather different than drawing a circle on the floor with magical symbols around it,” Barker told WIRED. “That seemed rather stale and rather old.”

Barker explained his grandfather was a cook on ship and brought back a puzzle box from the Far East. “So when I went back to the problem of how to open the doors of hell, the idea of [using] a puzzle box seemed interesting to me. You know, the image of a cube is everywhere in world culture, whether it’s the Rubik’s Cube or the idea of the [Tesseract] in The Avengers movies. There’s a lot of places where the image of a cube as a thing of power is pertinent. I don’t know why that is, I don’t have any mythic explanation for it, but it seems to work for people.”

8. ROGER EBERT WASN'T A FAN OF THE FILM.

Roger Ebert gave Hellraiser just a half star when he reviewed it in 1987. “Who goes to see movies like this? This is a movie without wit, style, or reason,” he wrote, adding that, “I have seen the future of implausible plotting, and his name is Clive Barker.”

9. SOMEONE HAD THE JOB OF MAGGOT AND COCKROACH WRANGLER.

In England, there was a law in which cockroaches of both sexes weren’t allowed on set, because they could have mated and caused an infestation. So Barker had to hire someone to oversee the situation. “The wrangler, this is the honest truth, had to sex the roaches,” Barker told an audience at a Hellraiser screening. “They were all male. And we had a fridge. They move very fast, so the only way to slow them down was to chill them. We chilled the maggots and the roaches. We'd open it up and it was all reassuring. It was fun.”

10. BARKER PREFERS "HELL PRIEST" TO "PINHEAD."

In The Hellbound Heart, the Cenobite with pins sticking out of his head is called The Hell Priest. One of the special effects guys who worked on the movie gave the character his nickname. “I thought it was a rather undignified thing to call the monster, but once it stuck, it stuck,” Barker told Grantland.

In 2015, Barker published a sequel to The Hellbound Heart, The Scarlet Gospels, which features Pinhead getting annoyed when people call him that—as well as Pinhead’s demise. “He will not be coming back, by the way," Barker said. "That I promise you."

11. A HELLRAISER VS. HALLOWEEN MOVIE ALMOST HAPPENED.

In an interview with Game Radar, Bradley said the success of Freddy vs. Jason led Hellraiser distributor Dimension Films to flirt with a Hellraiser vs. Halloween film. “I was actually getting excited by the prospect of this because Clive said he would write it and John Carpenter said he would direct it,” Bradley said. “I actually spoke to Clive about it a couple of times and he was interested in finding the places where the Halloween and Hellraiser worlds intermeshed.” But Moustapha Akkad, who owned the rights to Halloween, extinguished the idea.

12. THE BRITISH BOARD OF FILM CLASSIFICATION HAD TO CHECK THAT NO RATS WERE HARMED IN THE MAKING OF THE MOVIE.

While the MPAA requested that a spanking scene be cut for its American release, England's BBFC agreed to release the movie as it was, if they were assured that the rats used in the film weren’t hurt. “I had to bring three remote-control rats into the censor’s office and make them wriggle about on the floor,” producer Christopher Figg told The Telegraph. “They wanted to be sure we hadn’t been cruel to them.”

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11 Surprising Facts About Fatal Attraction
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Paramount Pictures

Written by James Dearden and directed by Adrian Lyne, 1987’s Fatal Attraction showed audiences just how dangerous sex could be. Michael Douglas plays Dan Gallagher, a married man who has a weekend-long affair with single career woman Alex Forrest, played by Glenn Close. When he breaks off their affair, Alex goes a little nuts. Despite drawing the ire of feminists and frightening men everywhere, the film grossed an impressive $320 million worldwide, earned six Oscar nominations (including one for Close), and ranks number one in the “Psycho/Stalker/Blank from Hell” genre. Here are 11 scintillating facts about the movie, which was released 30 years ago today.

1. THE MOVIE IS BASED ON THE SCREENWRITER’S SHORT FILM.

In 1980, Fatal Attraction screenwriter James Dearden wrote and directed a short film called Diversion. “I was sitting at home thinking, ‘What is a minimalist story that I can do?’ My wife was out of town for the weekend, and I thought what would happen if a man who has just dropped his wife at the railroad station rings this girl who he's met at a party and says, ‘Would you like to have dinner?’” he told The New York Times. “It’s a little fable about the perils of adultery. It is something that men and women get away with 99 percent of the time, and I just thought, ‘Why not explore the one time out of 100 when it goes wrong?’”

Fatal Attraction producers Sherry Lansing and Stanley Jaffe saw the short and asked Dearden to elaborate on the story. “To turn it into a mass-audience film, I knew there would have to be an escalation of the psychological violence, which in the end becomes physical,” Dearden explained. He says he wasn’t trying to make a social statement about AIDS, but he was trying to say “we can have the most intimate sexual relationships with somebody we know nothing about.”

2. GLENN CLOSE WANTED TO PLAY AGAINST TYPE.

By the time Fatal Attraction came around, Glenn Close was a three-time Oscar nominee who had never been asked to play a sexy role. “When Glenn made it known she was prepared to test, I became fascinated with the idea of using her,” Adrian Lyne told People. “She’s a person you’d least expect to have this passion and irrational obsession. When she and Michael tested, an extraordinary erotic transformation took place. She was this tragic, bewildering mix of sexuality and rage—I watched Alex come to life.” 

Close recalled her nerve-racking audition to Entertainment Weekly: “My hair was long and crazy. I’m very bad at doing my hair. I got so nervous, I took a little bit of a Valium. I walked in and the first thing I saw was a video camera, which is terrifying, and behind the video camera in the corner was Michael Douglas. I just said, ‘Well, just let it all go wild.”’

A year after Fatal Attraction’s release, Close kept the sexiness going in Dangerous Liaisons, which garnered her yet another Oscar nod.

3. ADRIAN LYNE WANTED TO DO A DIFFERENT TYPE OF SEX SCENE.

According to Lyne, the only thing audiences remember about the movie is the spontaneous and somewhat goofy kitchen sink sex scene. “But what people take away from the movie is not Glenn Close putting acid on the car or even the last 10 minutes when they are flailing around in the bathroom,” he told MovieMaker Magazine. “What they remember is Michael f*cking her over the sink early on—which was like 30 seconds—and another 30 seconds of them making out in the elevator … but there’s another two hours and five minutes! And I guess it worked or they wouldn’t have gone to the movie.”

In John Andrew Gallagher’s book Film Directors on Directing, Lyne said he didn’t want the love scene to take place in a bed “because it’s so dreary, and I thought about the sink because I remembered I had once had sex with a girl over a sink, way back. The plates clank around and you’ll have a laugh. You always need to have a laugh in a sex scene.” During filming he yelled at the couple, praising them. “If they know that they’re turning you on, it builds their confidence.” He used a handheld camera to film it “so there was no problem with the heat going out of the scene.”

4. CLOSE HAD A HUGE PROBLEM WITH THE NEW ENDING.

Paramount Pictures

Two endings of the film were shot: The first had Alex planting Dan’s fingerprints on a knife and then killing herself while Madama Butterfly played in the background. Test audiences felt unsatisfied, so Paramount decided to re-shoot the ending and make it more violent. They had Dan’s wife, Beth (Anne Archer)—the only untainted character—shockingly shoot and kill Alex as a statement on preserving the American family.

“When I heard that they wanted to make me into basically a psychopath, where I go after someone with a knife rather than somebody who was self-destructive and basically tragic, it was a profound problem for me because I did a lot of research about the character,” Close told Oprah. “So to be brought back six months later and told, ‘You’re going to totally change that character,’ it was very hard. I think I fought against it for three weeks. I remember we had meetings. I was so mad.”

In Entertainment Weekly, Close said she thought Alex was a deeply disturbed woman, but not a psychopath. “Once you put a knife in somebody’s hand, I thought that was a betrayal of the character,” she explained. The main reason the ending was changed was because moviegoers wanted revenge. “The audience wanted somebody to kill her,” Michael Douglas told Entertainment Weekly. “Otherwise the picture was left—for lack of a better expression—with blue balls.” Though audiences wanted Alex dead, Douglas saw that as a compliment. “You were so good in the part that everybody wanted you to be killed,” he told Close on Oprah.

In hindsight, Close thinks they did the right thing in changing the ending. “Bloodshed in a dramatic sense brings catharsis,” she told Entertainment Weekly. “Shakespeare did it. The Greeks did it. That’s what we did. We gave the audience my blood. It worked.”

5. THE MOVIE CAUSED THE PHRASE “BUNNY BOILER” TO BECOME A PART OF THE LEXICON.

In probably the most disturbing scene in the movie, Alex boils Dan’s kid’s pet bunny. The phrase is listed in Urban Dictionary and on the U.K. site Phrases.org. Urban defines it as “after a relationship break-up, the person who wants some kind of revenge, like stalking, or harassment,” and Phrases says, “an obsessive and dangerous female, in pursuit of a lover who has spurned her.” Close herself was uneasy about the scene. “The only thing that bothered me was the rabbit,” she said on Oprah. “I thought it was over the top.”

6. CLOSE HAD THE KNIFE SHE TRIED TO KILL MICHAEL DOUGLAS WITH FRAMED.

In the theatrical ending of the movie, Alex comes after Dan with a knife but doesn’t succeed in getting away with murder. Close told Vanity Fair that she framed the fake knife, and that it’s hanging in her kitchen. “It’s all an illusion. It’s a cardboard prop!” she said. It’s also a rather creepy reminder of the film.

7. THE MOVIE SAVED MORE THAN A FEW MARRIAGES.

The film shows what happens when a married man lets his guard down and embarks on an affair, only to have it destroy his life. “That movie struck a very, very raw nerve,” Close told Daily Mail. “Feminists hated the movie and that was shocking to me. They felt they'd been betrayed because it was a single, working woman who was supposed to be the source of all evil. But now Alex is considered a heroine. Men still come up to me and say, ‘You scared the s**t outta me.’ Sometimes they say, ‘You saved my marriage.’”

8. CLOSE WOULD PLAY ALEX DIFFERENTLY TODAY.

One of the reasons the film was so controversial is the negative way it depicted mental illness. Psychiatrists have said Alex suffered from erotomania, a condition in which a person wrongly believes a person is in love with them. Close spoke to two psychiatrists in preparation for her role, and neither said Alex’s behavior—especially the bunny-boiling—was because of mental illness. “Never did a mental disorder come up. Never did the possibility of that come up,” Close told CBS News. “That, of course, would be the first thing I would think of now.” She also said, “I would have a different outlook on that character. I would read that script totally differently.”

9. DEARDEN ADAPTED FATAL ATTRACTION INTO A PLAY, WITH THE ORIGINAL ENDING INTACT.

In 2014 a stage version of the movie went up in London, starring Natascha McElhone as Alex and Kristin Davis as the long-suffering wife, Beth. Dearden reimagined the script in making Alex more sympathetic, Dan more blameworthy, and returning to the original ending.

“[I] wanted to return to my original conception of the characters in a sense to set the record straight,” Dearden told The Atlantic. “Because while Alex is undeniably borderline psychotic, she is also a tragic figure, worn down by a series of disappointments in love and the sheer brutality of living in New York as a single woman in a demanding career. So whilst remaining faithful to the storyline, I have introduced the ambivalence of my earlier drafts … nobody is entirely right and nobody entirely wrong.”

10. DEARDEN AND CLOSE DON’T BELIEVE ALEX IS A MONSTER.

“Alex is emphatically not a monster,” Dearden wrote in The Guardian. “She is a sad, tragic, lonely woman, holding down a tough job in an unforgiving city. Alex is not a study in madness. She is a study in loneliness and desperation.” He goes on to write that he regrets “that audiences shouted ‘Kill the bitch!’ at the screen … Did Fatal Attraction really set back feminism and career women? I honestly don’t believe so. I think that, arguably, it encouraged a vigorous debate from which feminism emerged, if anything, far stronger.”

Close doesn’t see Alex as monstrous either. “I never thought of her as the villain, ever,” she said on Oprah.

11. A TV VERSION OF FATAL ATTRACTION WAS KILLED.

In 2015 it was reported that Paramount would be bringing the film to the small screen in what was described as “a one-hour event TV series.” Mad Men producers Maria and André Jacquemetton were set to write and executive produce the show, with Deadline writing that the TV version would show how “a married man’s indiscretion comes back to haunt him,” just like in the movie. The show was set to air on Fox. But in early 2017, it was announced that the project was being killed—at least by Fox—after the producers encountered troubles with both the title and casting (The Hollywood Reporter wrote that both Megan Fox and Jenna Dewan Tatum were said to have passed on the project).

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