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10 Abandoned Psych Wards Photographers Love Sneaking Into

Abandoned buildings have long held a fascination for me. They imply a mystery (what happened?) and a challenge (can I get inside and see?) as well as a thrilling bit of danger (guard dogs! squatters! the floor might collapse!) that make an almost irresistible combination, especially for a photographer. But of all the sites that die-hard UrbEx photographers like to infiltrate (that's Urban Exploration for the uninitiated), which can range from old hotels and houses to industrial sites to bombed-out theaters and train stations, abandoned hospitals -- and especially mental hospitals -- rank very high on the list. I guess it appeals to the already somewhat morbid nature of UrbExers to infiltrate places that don't just look haunted, but, like, are, obviously.

There are many UrbEx photographers out there (the advent of high-quality, relatively cheap digital cameras that can take pictures practically in the dark helped spread the craze), but one of my favorites, and a friend of mine, is Martino Zegwaard, a seemingly fearless Dutchman whose pictures of skin-crawly places are imbued with a strange beauty. On his first trip to the U.S., he snuck into some abandoned mental hospitals. How better to spend one's vacation?

The amazing shot above comes from a facility in upstate New York that he simply refers to as "MT." (Many UrbExers hide the true names/locations of the sites they visit to prevent the hordes from descending, which helps preserve the sites in their natively-messed-up condition for as long as possible, and keeps local security guards, et al, in the dark.)

Martino writes:

This relatively small psychiatric center is listed as one the most haunted places of the county. The lovely Nan took us to see this place. At least fenced off for over a decade the decay in here is beautiful. The building itself is about to collapse and you really have to watch your step. Parts of the floor are moving as you walk over it. This place is a must-see, despite the risks that come with the building. It has it all, wheelchairs, coffins, a dentist chair and a lot more stuff. We only had a couple of hours to explore this place, because we had to be in Philadelphia that same night.

You can see the whole creep-tastic photo essay here.

Martino visited a mental hospital in Norway which he refers to simply as the Green Hospital or Sykenhus F (or "Hospital F" in Norwegian). He describes the scene:

A short 25 minutes from the moment the wheels of the plane touched the ground of Norway, we are in our rental car and our way to Sykenhus F.

It's weird to realize that within the hour after you got into a country, you're climbing a fence and your trespassing your way into an old hospital. Not all buildings of Sykenhus F are abandoned. People are living there and some mental patients are treated and coached.

The first of the two buildings was easy to get into to, the second was surrounded by people and very well sealed. But we managed to find one tiny hole that we could squeeze ourselves through. It felt like walking around in a museum. We found a piano, his master's voice record players, electro shock therapy equipment and a lot of other cool stuff.

I think this is my favorite photo of his. The rest of the essay is here.

Another hospital in Norway that I've seen a number of photographers visit is Lier Hospital outside of Oslo. Photographer Martin Widlund did a very atmospheric photo shoot here -- the dreary Norwegian skies leaking gray light everywhere, paint peeling from the walls, beds and things still scattered around. (He also brought along some actors in masks to pose creepily in corners and such, something a lot of UrbExers do to try to heighten the horror of the environments they shoot in, which is sort of unnecessary if you ask me.) Martin writes about the hospital:

Lier Psychiatric Hospital was closed in 1986 and it´s located in the middle of nowhere just outside Oslo (the capital of Norway). The place has a dark and interesting history. Here the staff tested new medicines, lobotomy, electroshocks and drugs like LSD on the patients in hope it could make them better.

Today the place only visitors is teenagers going there at nights and looking for ghosts.. And yes the place was really spooky. It´s a book called 23-salen written about this place by a man who worked there. Read it if you understand Norwegian..

Cane Hill was a massive asylum on the outskirts of London, opened in 1882 and closed in 1991. Since then it's been extremely popular with urban explorers as well as arsonists, who damaged the place so badly that most of it had to finally be torn down back in January. Which is a shame -- it was really something. Photographer Richard James took this impressive shot of the asylum chapel. More here.

Hellingly Hospital, also in England, has long been a popular site for UrbExers, and not only because of its name. From Wikipedia:

The hospital boasted its own railway line, the Hellingly Hospital Railway, used principally for transport of coal. This branch line led from the main line to the boilerhouse. The hospital also had a vast laundry, ball room, patients' shop, sewing rooms, nurses home, extensive grounds, and an advanced utilities network for its time, including a large boilerhouse and a water tower. It followed the compact arrow plan for the main hospital, with separate villas surrounding this.

The majority of the hospital closed throughout 1994, however, and to this day much of the 25.4 hectare site stands derelict and extremely run down, after suffering repeated vandalism and multiple arson attacks. The hospital is popular with Urban Explorers, not because it has many hospital items remaining but because of its size, severe dereliction and its dilapidation.

There are endless photos of Hellingly to sort through online, but one of my favorites is this little number, by photographer Nick Wild.

Actually, he's got two that I love. Hellingly apparently has some of the most talented vandals in England prowling its halls. Wild used their handiwork to make some art of his own:

You might remember Oregon State Hospital from the movie One Flew Over the Cuckoo's Nest, where it was filmed. That legacy has undoubtedly contributed to its popularity as an UrbEx site. Several wings of the hospital are abandoned and set to be demolished (in fact, they may have been already). It's also where photographer David Maisel did a fascinating essay called Library of Dust, documenting the unclaimed ashes and urns of indigent patients, that have attained a state of rather beautiful decay over the years.

Denbigh Asylum in Wales (1848-1995) has an amazing facade, and an equally amazing abandoned interior. It's much prized by photographers and vandals alike, and there's even a Facebook page dedicated to keeping it standing. Howzey, who has many great UrbEx photos on Flickr, took this shot of its imposing exterior. His whole set can be found here.

Of the famous West Park Asylum Wikipedia has this to say:

The hospital was slowly run down from the mid 1990s, and by 2003 most of the hospital was closed and derelict. A few outer ward buildings and villas remain open today and are still used for psychiatric treatment. As the hospital is largely derelict, it is of increasing interest to urban explorers who visit for the sheer size of the hospital, and also for many hospital items still in situ, such as beds, kitchen equipment and personal items. A padded cell is also of interest to explorers.

There are many, many photos of West Park to be found online. I really like this one by Sophos9, who got creative with a couple dozen fire extinguishers found in an attic garret. More of this photographer's set is here.

Some UrbEx sites become famous for a certain room or a certain unusual feature. St. John's Asylum (another English one -- the country's full of 'em!) is undoubtedly famous for its staircase. James Arnold has taken a number of great photos of it. More are here.

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11 Single Facts About Bridget Jones’s Diary
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While it's not officially a holiday movie, so much of the action in Bridget Jones's Diary happens around the most wonderful time of the year that the rom-com has become essential wintertime viewing for many movie fans. Based on Helen Fielding’s novel of the same name, it tells the story of a very single, and hopelessly romantic, working professional named Bridget (Renée Zellweger) who is determined to improve her love life. Enter two strapping gentlemen (Colin Firth and Hugh Grant) to vie for her heart. Get to know more about the timeless dramedy that’s been delighting audiences since 2001. Just as it is.

1. THE SOURCE NOVEL CAME ABOUT FROM AN ANONYMOUS COLUMN ABOUT SINGLE LIFE.

In the foreword of Bridget Jones’s Diary, author Helen Fielding wrote about how she came to conjure up the story: “The Independent asked me to write a column, as myself, about single life in London. Much as I needed the money, the idea of writing about myself in that way seemed hopelessly embarrassing and revealing. I offered to write an anonymous column instead, using an exaggerated, comic, fictional character. I assumed no one would read it, and it would be dropped after six weeks for being too silly.”

2. SEVERAL CHARACTERS ARE BASED ON PEOPLE IN HELEN FIELDING’S LIFE.


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These include Jude (Tracey MacLeod) and Shazzer (Sharon Maguire, also the film’s director). In a column for the Evening Standard, MacLeod described how she didn’t even realize she inspired part of her best friend’s story until Fielding’s book launch party. “At the launch party for the first Bridget book, I was cornered by a smug married friend, ‘So ... what's it like being Jude?’ she asked,” MacLeod writes. “I was outraged. Of course I wasn't Jude, with her self-help books and horrible boyfriend. My boyfriend wasn't anything like Vile Richard ... But as more people began to believe that Jude and Shazzer were thinly-veiled portraits of myself and Sharon, I secretly got to like the idea.”

3. TONI COLLETTE DECLINED THE LEAD, AND KATE WINSLET WAS CONSIDERED FOR IT.

Before Zellweger stole the show, Aussie Toni Collette and Brit Kate Winslet were up for the part. According to AMC, “Toni Collette declined the role because she was on Broadway starring in The Wild Party at the time, and Kate Winslet was considered but the producers decided she was too young.”

4. HUGH GRANT ONLY SIGNED ON WHEN RICHARD CURTIS WAS ANNOUNCED AS THE WRITER. 


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“The only reason [I was a hard sell] was because I didn't feel they had the script quite right for a long time,” Firth told Cinema.com. “And I kept saying, ‘It's not working. Just get Richard Curtis to come in and help rewrite it.’ Eventually they did, and as soon as Richard came on board, I signed on the dotted line. So that's all it was.”

5. RENÉE ZELLWEGER GAINED 17 POUNDS FOR THE PART.

Zellweger’s weight gain for the role had the media abuzz for a while. According to The Guardian, “In order to play the eponymous heroine in the film adaptation of Fielding's bestseller, the actress gained 17 pounds, consulting a dietitian and endocrinologist who devised a regime of three full meals a day, multiple snacks, and no exercise.”

6. ZELLWEGER WORKED AT PICADOR FOR THREE WEEKS.

Zellweger went full Method for her iconic role, and became a temporary employee of the Picador publishing house. “We came up with a plan: she would be Bridget Cavendish, Bridget for obvious reasons and Cavendish as she was to be passed off as the sister of Jonathan Cavendish, a friend of one of our company chairmen,” Picador publicist Camilla Elworthy told The Guardian. “That last bit at least is true, and no one was to know that Jonathan Cavendish was one of the film's producers.”

7. ZELLWEGER KEPT A PHOTO OF JIM CARREY ON HER DESK.


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While working at Picador, Zellweger kept a picture of Jim Carrey on her desk—which made her alter ego Bridget Cavendish seem like some sort of obsessed fan. “Under the name Bridget Cavendish, she answered phones, served coffee, and made photocopies—without being recognized by any of her co-workers, who offered career advice and wondered privately why she kept a photo of Jim Carrey (her then-boyfriend) on her desk,” noted Hollywood.com.

8. ZELLWEGER INVITED HER BOSS AT PICADOR TO BE AN EXTRA ON SET.

In Camilla Elworthy’s write-up for The Guardian, she noted how she became a part of the production. “Renée sent me a thank you letter and gift after she'd gone and I have seen her a few times since then," Elworthy wrote. "She invited me on to the film set one day. She informed me that I had to stick around and be an extra and made sure that I was put somewhere that I would be seen ... As a result, half my head can be seen for half a nano-second in the launch party scene.”

9. THE EPIC FIGHT SCENE BETWEEN GRANT AND COLIN FIRTH WASN’T CHOREOGRAPHED.

You can thank the two actors for the hilarity of the iconic scene. In a Vulture article about the greatest fight scenes in movie history, writer Denise Martin recalled the improvised spar, writing, “No stunt coordinators. No elaborate choreography. Just a perfectly realized wimp brawl between two upper-middle-class Englishmen coming to awkward fisticuffs in front of a Greek restaurant.”

10. FIELDING ASKED FRIEND SALMAN RUSHDIE TO CAMEO IN THE FILM.

Recalling how he came to be part of the film, famed novelist Salman Rushdie told Texas Monthly, “Helen Fielding, the author of the book, is an old pal of mine, and she asked if I’d come along and make a fool of myself, and I said, ‘Why not?’”

11. GRANT DIDN’T HEAR ZELLWEGER SPEAK IN HER AMERICAN ACCENT UNTIL THE FILM’S WRAP PARTY.

Zellweger was so engrossed with Bridget Jones that one of her leading love interests didn’t meet the real actress until the end of the shoot. “Not once did she stop speaking with that accent, until the wrap party,” Grant told Cinema.com, “when suddenly this weird ... Texan appeared. I wanted to call security, I didn't know who the f*ck she was!”

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15 Surprising Facts About Scarface
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Say hello to our little list. Here are a few facts to break out at your next screening of Scarface, Brian De Palma’s gangsters-and-cocaine classic, which arrived in theaters on this day in 1983.

1. IT WASN'T THE FIRST SCARFACE.

Brian De Palma's Scarface is a loose remake of the 1932 movie of the same name, which is also about the rise and fall of an American immigrant gangster. The producer of the 1983 version, Martin Bregman, saw the original on late night TV and thought the idea could be modernized—though it still pays respect to the original film. De Palma's flick is dedicated to the original film’s director, Howard Hawks, and screenwriter, Ben Hecht.

2. IT COULD HAVE BEEN A SIDNEY LUMET FILM.

At one point in the film's production, Sidney Lumet—the socially conscious director of such classics as Dog Day Afternoon and 12 Angry Men—was brought on as its director. "Sidney Lumet came up with the idea of what's happening today in Miami, and it inspired Bregman," Pacino told Empire Magazine. "He and Oliver Stone got together and produced a script that had a lot of energy and was very well written. Oliver Stone was writing about stuff that was touching on things that were going on in the world, he was in touch with that energy and that rage and that underbelly."

3. OLIVER STONE WASN'T INTERESTED IN WRITING THE SCRIPT, UNTIL LUMET GOT INVOLVED.


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Producer Bregman offered relative newcomer Oliver Stone a chance to overhaul the screenplay, but Stone—who was still reeling from the box office disappointment of his film, The Hand—wasn't interested. "I didn’t like the original movie that much," Stone told Creative Screenwriting. "It didn’t really hit me at all and I had no desire to make another Italian gangster picture because so many had been done so well, there would be no point to it. The origin of it, according to Marty Bregman, [was that] Al had seen the '30s version on television, he loved it and expressed to Marty as his long time mentor/partner that he’d like to do a role like that. So Marty presented it to me and I had no interest in doing a period piece."

But when Bregman contacted Stone again about the project later, his opinion changed. "Sidney Lumet had stepped into the deal," Stone said. "Sidney had a great idea to take the 1930s American prohibition gangster movie and make it into a modern immigrant gangster movie dealing with the same problems that we had then, that we’re prohibiting drugs instead of alcohol. There’s a prohibition against drugs that’s created the same criminal class as (prohibition of alcohol) created the Mafia. It was a remarkable idea."

4. UNFORTUNATELY, ACCORDING TO STONE, LUMET HATED HIS SCRIPT.

While the chance to work with Lumet was part of what lured Stone to the project, it was his script that ultimately led to the director's departure from the film. According to Stone: "Sidney Lumet hated my script. I don’t know if he’d say that in public himself, I sound like a petulant screenwriter saying that, I’d rather not say that word. Let me say that Sidney did not understand my script, whereas Bregman wanted to continue in that direction with Al."

5. STONE HAD FIRSTHAND EXPERIENCE WITH THE SUBJECT MATTER.

In order to create the most accurate picture possible, Stone spent time in Florida and the Caribbean interviewing people on both sides of the law for research. "It got hairy," Stone admitted of the research process. "It gave me all this color. I wanted to do a sun-drenched, tropical Third World gangster, cigar, sexy Miami movie."

Unfortunately, while penning the screenplay, Stone was also dealing with his own cocaine habit, which gave him an insight into what the drug can do to users. Stone actually tried to kick his habit by leaving the country to complete the script so he could be far away from his access to the drug.

"I moved to Paris and got out of the cocaine world too because that was another problem for me," he said. "I was doing coke at the time, and I really regretted it. I got into a habit of it and I was an addictive personality. I did it, not to an extreme or to a place where I was as destructive as some people, but certainly to where I was going stale mentally. I moved out of L.A. with my wife at the time and moved back to France to try and get into another world and see the world differently. And I wrote the script totally f***ing cold sober."

6. BRIAN DE PALMA DIDN'T WANT TO AUDITION MICHELLE PFEIFFER.


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De Palma was hesitant to audition the relatively untested Pfeiffer because at the time she was best known for the box office bomb Grease 2. Glenn Close, Geena Davis, Carrie Fisher, Kelly McGillis, Sharon Stone and Sigourney Weaver were all considered for the role of Elvira, but Bregman pushed for Pfeiffer to audition and she got the part.

7. YES, THERE IS A LOT OF SWEARING.

According to the Family Media Guide, which monitors profanity, sexual content, and violence in movies, Scarface features 207 uses of the “F” word, which works out to about 1.21 F-bombs per minute. In 2014, Martin Scorsese more than doubled that with a record-setting 506 F-bombs thrown in The Wolf of Wall Street.

8. TONY MONTANA WAS NAMED FOR A FOOTBALL STAR.

Stone, who was a San Francisco 49ers fan, named the character of Tony Montana after Joe Montana, his favorite football player.

9. TONY IS ONLY REFERRED TO AS "SCARFACE" ONCE, AND IT'S IN SPANISH.

Hector, the Colombian gangster who threatens Tony with the chainsaw, refers to Tony as “cara cicatriz,” meaning “scar face” in Spanish.

That chainsaw scene, by the way, was based on a real incident. To research the movie, Stone embedded himself with Miami law enforcement and based the infamous chainsaw sequence on a gangland story he heard from the Miami-Dade County police.

10. VERY LITTLE OF THE FILM WAS ACTUALLY SHOT IN MIAMI.

The film was originally going to be shot entirely on location in Miami, but protests by the local Cuban-American community forced the movie to leave Miami two weeks into production. Besides footage from those two weeks, the rest of the movie was shot in Los Angeles, New York, and Santa Barbara.

11. ALL THAT "COCAINE" LED TO PROBLEMS WITH PACINO'S NASAL PASSAGES.

Though there has long been a myth that Pacino snorted real cocaine on camera for Scarface, the "cocaine" used in the movie was supposedly powdered milk (even if De Palma has never officially stated what the crew used as a drug stand-in). But just because it wasn't real doesn't mean that it didn't create problems for Pacino's nasal passages. "For years after, I have had things up in there," Pacino said in 2015. "I don't know what happened to my nose, but it's changed."

12. PACINO'S NOSE WASN'T HIS ONLY BODY PART TO SUFFER DAMAGE.

Still of Al Pacino as Tony Montana in 'Scarface' (1983)
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In the film's very bloody conclusion, Montana famously asks the assailants who've invaded his home to "say hello to my little friend," which happens to be a very large gun. That gun took a beating from all the blanks it had to fire, so much so that Pacino ended up burning his hand on its barrel. "My hand stuck to that sucker," he said. Ultimately, the actor—and his bandaged hands—had to sit out some of the action in the last few weeks of production.

13. STEVEN SPIELBERG DIRECTED A SINGLE SHOT.

De Palma and Spielberg had been friends since the two began making studio movies in the mid-1970s, and they made a habit of visiting each other’s sets. Spielberg was on hand for one of the days of shooting the Colombians’ initial attack on Tony Montana’s house at the end of the movie, so De Palma let Spielberg direct the low-angle shot where the attackers first enter the house.

14. SOME COOL TECHNOLOGY WENT INTO THE GUN MUZZLE FLASHES.

In order to heighten the severity of the gunfire, De Palma and the special effects coordinators created a mechanism to synchronize the gunfire with the open shutter on the movie camera to show the huge muzzle flash coming from the guns in the final shootout.

15. SADDAM HUSSEIN WAS A FAN OF THE FILM.

The trust fund the former Iraqi dictator set up to launder money was called “Montana Management,” a nod to the company Tony uses to launder money in the movie.

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