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10 Fun Facts About Grauman's Chinese Theatre

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Grauman's Chinese Theatre is one of the world's most famous cinemas, and one of Los Angeles's best-known tourist traps. With the handprints, footprints, and signatures of Hollywood's biggest stars peppered across the forecourt of the theater—and everyone from Spider-man to SpongeBob standing by ready to pose for a photo with you—tourists can't really help themselves. But there's more to this theater than meets the eye. Here are 10 things you might not know about the world-famous cinema, which opened its doors on May 18, 1927.

1. IT WAS THE LAST OF SID GRAUMAN'S THEATERS TO BE BUILT.

It may (arguably) be the most well-known of Sid Grauman's theaters, but it was the last one to be built. After Grauman was unsuccessful at gold mining during the Klondike days, he decided to open up a chain of theaters in Alaska and Northern California before setting his sights on Los Angeles. The Million Dollar Theatre (which actually cost $800,000 to build, not $1 million) opened in 1918 and the Egyptian Theater opened in 1922. Hollywood quickly caught on to Grauman's movie theater vision and started booking his establishments for high-profile events. In fact, the first-ever film premiere, for an adaptation of Robin Hood starring Douglas Fairbanks, was held at the Egyptian the same year it opened. Grauman built the first two to appeal to the public, and once they were successful, he was able to build a theater in the style that he personally really wanted to see, and that ended up being the Chinese Theatre.

2. IT GOT ITS FIRST NAME CHANGE IN 1973.

If you're sitting there thinking to yourself, "Wait, wasn't it Mann's Chinese Theatre?" Well, you're right—it was. Ted Mann purchased the theater in 1973 (nearly 25 years after Sid Grauman's death) and renamed the historic landmark. He even had a wax likeness of his wife, actress Rhonda Fleming, created to sit in a chair in the middle of all the Chinese wax figures that stood in the lobby. They divorced in 2001, which was the year before Mann declared bankruptcy and sold the theater to Warner Bros. and Paramount Pictures. Though it reverted to its original name in 2001, that changed yet again in 2013, when the TCL Corporation, a Chinese television manufacturer, purchased the naming rights to the theater, which is now officially known as TCL Chinese Theatre (though no one will mind—or argue—if you still call it Grauman's).

3. THE FIRST FOOTPRINT WAS SUPPOSEDLY NORMA TALMADGE'S.

The story of how the idea to immortalize celebs in cement came about has been told in many a brochure about the place, though it may not necessarily be true. The story is that Norma Talmadge, a friend of Grauman's, stepped out of her car to check out Sid's new digs. The cement was still wet, and a light bulb went off in old Grauman's head. But the theater owner himself later said that yes, it was an accident—but that it was he, not Talmadge, was the one who stepped into the fresh sludge. The first "official" signature in the forecourt was Mary Pickford's. Mary and her then-husband Douglas Fairbanks were the theater's co-owners.

4. THE INSIDE OF THE THEATER IS DECORATED WITH PIECES HAND-SELECTED BY GRAUMAN HIMSELF.

The inside of the theater is decorated with authentic treasures hand-selected from China by Sid Grauman himself, but one of the things that draws the most attention is the Chinese wax figures. They were once considered to be so lifelike that people would actually try to talk to them, then turn away in embarrassment when their lack of response tipped the inquisitive conversationalist off to the fact that they were just wax. It used to be good luck for actors and film execs to come to the theater and touch the wax people for good luck before embarking upon a new project.

5. IF YOU EVER GET THE CHANCE TO PRESS YOUR PALMS INTO THE CEMENT AT GRAUMAN'S, DON'T BE AFRAID TO GET CREATIVE.

Marilyn Monroe's handprints at Grauman's Chinese Theatre
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Should you ever get the chance to press your palms into cement at Grauman's, feel free to think outside of the box and include more than just your hands, feet, and signature. Whoopi Goldberg pressed a dreadlock into the cement; Betty Grable did an imprint of her leg; George Burns left his cigar print; and John Wayne left his fist. Marilyn Monroe dotted the "I" in her name with a rhinestone but some souvenir-hunter chipped it out of the cement.

6. NOT ALL OF THE IMMORTALIZED NAMES ARE FAMILIAR ONES (AT LEAST NOT TODAY).

You might find a few unfamiliar names in the cement: Charles Nelson, the Talent Quest winner, for one. But there's also former Yahoo! chairman and CEO Terry Semel; Clarence Nash, the voice of Donald Duck; and opera singers Lauritz Melchior and Ezio Pinza. Any of the other unfamiliar names are probably older actors. Rosa Grauman is the only person in the forecourt with her own square who has nothing to do with the entertainment industry except for the fact that she gave birth to Sid. Also vying for the best son title: actor Donald O'Connor, who had his mom write her name in his square right next to his.

7. ONCE A SLAB OF CEMENT HAS BEEN SIGNED, IT STAYS IN THE FORECOURT FOREVER.

Once a slab of cement has been signed, it stays there. Yes, even the guy who won Talent Quest in 1949; though he ended up more like Ruben Studdard than Carrie Underwood, and could probably be removed without anyone protesting too much, he's still there today.

8. IT'S BEEN THE SITE OF A NUMBER OF MAJOR MOVIE PREMIERES.

Movies that premiered at Grauman's include A Farewell to Arms, The King and I, Shane, Giant, West Side Story, Breakfast at Tiffany's, Mary Poppins, A Funny Thing Happened on the Way to the Forum, Hello Dolly, Jungle Book, Butch Cassidy and the Sundance Kid, and Star Wars—and the hits keep coming. More recent premieres have included Solo: A Star Wars Story, Avengers: Infinity War, Call Me By Your Name, and It.

9. IT'S ALSO HOSTED THE OSCARS.

The theater has been home to Hollywood's biggest night on a few occasions; from 1944 to 1946, Grauman's Chinese Theatre was home to the Academy Awards.

10. THE EXTERIOR ARCHITECTURE HAS CHANGED A BIT OVER THE YEARS.

Right now, it's simply the theater and the forecourt. But there used to be marquees on either side of the pagoda-esque building announcing what movie was playing and who was starring in it. And at one point, a Cinemascope sign stood directly in the view of the pagoda. There also used to be a small ticket booth right in the middle, because the theater was (and still is) a real, working theater—not just a showcase for premieres and galas. The booth's gone now as well.

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Shout! Factory
10 Surprising Facts About Mr. Mom
Shout! Factory
Shout! Factory

John Hughes penned the script for 1983's Mr. Mom, a comedy about a family man named Jack Butler (Micheal Keaton) who loses his job. To ensure their three kids are taken care of, his wife, Caroline (Teri Garr), goes back to work—leaving Jack to fight off a vacuum cleaner and learn why it's never a good idea to feed chili to a baby.

In 1982, Keaton turned in a star-making role in Ron Howard’s Night Shift, but Mr. Mom marked the first time he headlined a movie, and it launched his career. Hughes had written National Lampoon's Vacation, which—oddly enough—was released in theaters the weekend after Mr. Mom. But Hughes himself was still a relative unknown, as it would be another year before he entered the teen flick phase of his career, which would make him iconic.

In the meantime, Mr. Mom hit home for a lot of viewers, as the economy was on the downturn and more and more women were entering (or reentering) the workforce. But some people think that the movie's ending—which sees the couple revert to traditional gender roles—sidelined the movie's message. Still, on the 35th anniversary of its release, Mr. Mom remains an ahead-of-its-time comedy classic.

1. IT'S BASED ON A TRUE STORY.

Mr. Mom producer Lauren Shuler Donner came across a funny article John Hughes had written for National Lampoon. Based on that, she contacted him and the two became friends. “One day, he was telling me that his wife had gone down to Arizona and he was in charge of the two boys and he didn’t know what he was doing,” Donner told IGN. “It was hilarious! I was on the floor laughing. He said, ‘Do you think this would make a good movie?’ And I said, ‘Yeah, this is really funny.’ So he said, ‘Well, I have about 80 pages in a drawer. Would you look at it?’ So I looked at it and I said, ‘This is great! Let’s do it!’ We kind of developed it ourselves.” In the book Movie Moguls Speak, Donner mentioned how Hughes “had never been to a grocery store, he had never operated a vacuum cleaner. John was so ignorant, that in his ignorance, he was hilarious.”

The players involved with the movie told Donner and Hughes they thought it should be a TV movie. Hughes had a TV deal with Aaron Spelling, who came aboard to executive produce. “Then the players involved were upset because John was writing out of Chicago instead of L.A.,” Donner said in Movie Moguls Speak. “They fired John and brought in a group of TV writers. In the end, John and I were muscled out. It was a good movie, but if you ever read John’s original script for Mr. Mom, it’s far better.”

2. JOHN HUGHES REJECTED THE IDEA OF DIRECTING MR. MOM.

Stan Dragoti ended up directing the film, but only after Hughes turned it down, because he preferred to make his movies in Chicago, not Hollywood. “I don’t like being around the people in the movie business,” Hughes told Roger Ebert. “In Hollywood, you spend all of your time having lunch and making deals. Everybody is trying to shoot you down. I like to get my actors out here where we can make our movies in privacy.” Hughes remained in Chicago and filmed his directorial debut, Sixteen Candles, there.

3. MICHAEL KEATON GOT THE ROLE BECAUSE OF NIGHT SHIFT.

In 1982’s Night Shift, Keaton’s character works at a morgue and starts a prostitution ring with co-worker Henry Winkler. Donner had an agent friend, Laurie Perlman, who represented the not-yet-famous actor. She contacted Donner and pitched Keaton to her. “’Look, I represent this guy who is really funny. Would you meet with him?’" Donner recalled of the conversation. "So I met with him. Usually I don’t like to do this unless we’re casting, but I met with him because she was my friend. And then she said, ‘You have to see this movie Night Shift that he’s in.’ So I went to see Night Shift, and midway through I couldn’t wait to get out of that theater to give Mr. Mom to Michael Keaton. Fortunately, he liked it."

Keaton told Grantland that he turned down one of the main roles in Splash to play Jack Butler. “I just remember at the time thinking I wanted to get away from what I’d just done on Night Shift,” he said. “I thought if I do it again, I might get myself stuck. So then Mr. Mom came along. So I said no [to Splash] so I could set up this framework right away where I could do different things.”

4. THE FILM BROKE NEW GROUND.

Teri Garr, Michael Keaton, Taliesin Jaffe, Frederick Koehler, and Martin Mull in Mr. Mom (1983)
Shout! Factory

In 1983, more women stayed at home than worked, so it was a novelty for a man to be a stay-at-home dad. Today, an estimated 1.4 million men are stay-at-home dads, and 7 million men are their children's primary caregiver. “Mr. Mom became part of the vernacular,” Donner told Newsweek. “Mr. Mom represented a segment of men who were at home dealing with the kids who, up until then, really hadn’t been heard from. That’s what really told me about the power of film, because it spoke for a lot of men. It also helped women, because I think that women sometimes, if you’re a housewife, you’re not really appreciated for what you do. This sort of made women feel better about what they did because they knew that men were understanding it.”

5. TODAY, “MR. MOM” IS CONSIDERED A PEJORATIVE TERM.

More than 30 years after the film’s release, stay-at-home dads feel the term “Mr. Mom” should die. The National At-Home Dad Network launched a campaign to terminate the phrase and instead have people refer to men as “Dad.” In 2014 Lake Superior State University voted to banish “Mr. Mom” from the lexicon.

“At least, the pop-culture image of the inept dad who wouldn’t know a diaper genie from a garbage disposal has begun to fade,” wrote The Wall Street Journal, after declaring “Mr. Mom is dead.”

6. TERI GARR DIDN’T KNOW IT WAS A MESSAGE MOVIE.

The movie redefined gender roles, but when the producers pitched the premise to Garr, they hid the plot reversal. “They just told me it was about a guy who does the work that a woman does, because it’s so easy,” she told The A.V. Club. “And I went, ‘Oh, yeah. Ha ha.’ It’s so easy. All the women I know who stay home and take care of their kids, they go, ‘Oh yeah, this is easy.’ Hmm.”

7. MARTIN MULL IMPROVISED THE “220, 221” LINE.

The quote everyone remembers from the movie comes from Jack, holding a chainsaw, standing next to Ron Richardson (Martin Mull) and discussing what kind of wiring Jack will use in renovating the house: “220, 221, whatever it takes,” Jack says.

“We’re doing the scene and it was okay,” Keaton told Esquire. “And I remember saying to the prop guy, ‘Go find me a chainsaw.’ When he comes back with it, he says, ‘You wanna wear these?’ And he holds up some goggles. I go, ‘Yeah.’ You know, they make me look crazy. And when Martin shows up, I know I should look under control, I’m not sweating it. I’m a dude. So we’re standing there, Martin pulls me aside and says, ‘You know what you ought to say? When I ask about the wiring, you oughta just deadpan: ‘220, 221.’ I died. It was perfect. I may have added ‘whatever it takes.’ But it was his.”

“That was a little ad-lib that we just threw in, but every carpenter or construction person I’ve ever worked with, they’re always quoting that line from Mr. Mom,” Mull told The A.V. Club.

8. MR. MOM OUTGROSSED HUGHES’S OTHER 1983 SUMMER MOVIE—VACATION.

Mr. Mom only opened on 126 screens on July 22, 1983, but managed to gross $947,197 during its opening weekend. Once the film went wide a month later to 1235 screens, it hit number one at the box office and spent five weeks at the top. By the end of its run, the film had grossed just shy of $65 million, making it the ninth highest-grossing film of 1983 (just between Staying Alive and Risky Business). National Lampoon’s Vacation, Hughes’s other film that summer, came out July 29 and ended its theatrical run with $61,399,552 (at its height, it showed on 1248 screens). Vacation finished the year in 11th place.

9. THE MOVIE LED TO HUGHES BEING CALLED “A PURVEYOR OF HORNY SEX COMEDIES.”

During a 1986 interview with Seventeen magazine, Molly Ringwald asked the writer-director why he never showed teen sex in Sixteen Candles or The Breakfast Club. “In Sixteen Candles, I figured it would only be gratuitous to show Samantha and Jake in anything more than a kiss,” he said. “The kiss is the most beautiful moment. I was really amused when someone once called me a ‘purveyor of horny sex comedies.’ He listed The Breakfast Club and Mr. Mom in parentheses. I thought, ‘What kind of sex?’ Yes, in Mr. Mom there’s a baby in a bathtub and you see its bare butt.”

10. MR. MOM WAS MADE INTO A TV MOVIE AFTER ALL.

In the beginning, producers wanted Mr. Mom to be a TV movie, not a feature film. But a year after the film came out in theaters, ABC produced a TV movie called Mr. Mom, with the same characters and premise. Barry Van Dyke played Jack and Rebecca York played Caroline. A People magazine review of the movie stated: “They and their three kids are immediately likable … But it goes downhill from there as the script lobotomizes all its characters. Here’s a textbook case in how TV takes a cute idea—and a script that does have some good lines—and leeches the wit out of it.”

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Hulton Archive/Getty Images
The Star Trek Theme Song Has Lyrics
Hulton Archive/Getty Images
Hulton Archive/Getty Images

The Star Trek theme song is familiar to pretty much anyone who lived in the free world (and probably elsewhere, too) in the late 20th century. The tune is played during the show's opening credits; a slightly longer version is played, accompanied by stills from various episodes, during the closing credits. The opening song is preceded by William Shatner (as Captain Kirk) doing his now-legendary monologue recitation, which begins: "Space, the final frontier ..."

The show's familiar melody was written by respected film and TV composer Alexander Courage, who said the Star Trek theme's main inspiration was the Richard Whiting song "Beyond the Blue Horizon." In Courage's contract it was stipulated that, as the composer, he would receive royalties every time the show was aired and the theme song played. If, somehow, Star Trek made it into syndication—which, of course, it ultimately did—Courage stood to make a lot of money. And so did the person who wrote the lyrics.

WAIT... THERE WERE LYRICS?

Gene Roddenberry, the show's creator, wrote lyrics to the theme song.

"Beyond the rim of the star-light,
my love is wand'ring in star-flight!"

Why would Roddenberry even bother?

The lyrics were never even meant to be heard on the show, but not because the network (NBC) nixed them. Roddenberry nixed them himself. Roddenberry wanted a piece of the composing profits, so he wrote the hokey lyrics solely to receive a "co-writer" credit.

"I know he'll find in star-clustered reaches
Love, strange love a star woman teaches."

As one of the composers, Roddenberry received 50 percent of the royalties ... cutting Alexander Courage's share in half. Not surprisingly, Courage was furious about the deal. Though it was legal, he admitted, it was unethical because Roddenberry had contributed nothing to why the music was successful.

Roddenberry was unapologetic. According to Snopes, he once declared, "I have to get some money somewhere. I'm sure not gonna get it out of the profits of Star Trek."

In 1969, after Star Trek officially got the ax, no one (Courage and Roddenberry included) could possibly have imagined the show's great popularity and staying power.

Courage, who only worked on two shows in Star Trek's opening season because he was busy working on the 1967 Dr. Doolittle movie, vowed he would never return to Star Trek.

He never did.

THE WORDS

If you're looking for an offbeat karaoke number, here are Roddenberry's lyrics, as provided by Snopes:

Beyond
The rim of the star-light
My love
Is wand'ring in star-flight
I know
He'll find in star-clustered reaches
Love,
Strange love a star woman teaches.
I know
His journey ends never
His star trek
Will go on forever.
But tell him
While he wanders his starry sea
Remember, remember me.

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