12 Essential Facts About Planet of the Apes

20th Century Fox
20th Century Fox

The late ‘60s were a turning point for sci-fi cinema. Though the occasional triumph like 1956’s Forbidden Planet would slip through the cracks, the genre was mostly a dumping ground for low-budget schlock fests throughout the ‘50s and early ‘60s. That started to change with the release of 1968's Planet of the Apes. The movie, starring Charlton Heston and directed by Franklin J. Schaffner, proved that science fiction was something that could be thought-provoking, transcendent, and (most importantly) massively profitable.

Along with 1968’s 2001: A Space Odyssey, Planet of the Apes changed the perception of what sci-fi was capable of and opened the door for everything from Star Wars (1977) to Blade Runner (1982) in the decades since. As a new segment in the Planet of the Apes saga, Matt Reeves's War for the Planet of the Apes, prepares to hit theaters in July, here are some fascinating facts about the movie that started it all.

1. MOST STUDIOS, AND THE BOOK’S AUTHOR, THOUGHT IT WOULD MAKE A TERRIBLE MOVIE.

Apes, especially talking ones, were the stuff of B-movies back in the 1960s, so nobody took them seriously. That’s exactly the mantra producer Arthur P. Jacobs ran into when he was shopping Planet of the Apes around Hollywood. Jacobs’s pitch was soundly rejected everywhere he went; even Pierre Boulle—author of the source material, La Planète des Singes—agreed. In the documentary Behind the Planet of the Apes, it’s revealed that Boulle considered the book one of his lesser works and never imagined that it would ever make it into theaters.

2. A MAKEUP TEST HELPED CONVINCE 20TH CENTURY FOX TO PRODUCE THE MOVIE.

Jacobs’s Planet of the Apes pitch did manage to catch the attention of one executive: former vice president of 20th Century Fox Richard Zanuck. But Zanuck had one reservation: What if people laughed at the makeup? Up until that point, onscreen apes had either been real monkeys or people in flimsy costumes—and if the makeup didn’t hit the mark, the movie wouldn't work.

To convince Zanuck, Jacobs shot a makeup test, complete with star Charlton Heston as George Taylor and Edward G. Robinson (who later dropped out of the film) as Dr. Zaius in full ape getup. A young James Brolin and Linda Harrison (who would be cast in the full movie as Nova) played the two chimps—Cornelius and Zira. Though it cost a mere $5000 to shoot, the test impressed Zanuck enough to quell fears over the ape makeup, and he agreed to give Jacobs and director Frank Schaffner $5 million to get Planet of the Apes off the ground.

3. THE MAN BEHIND THE APE MAKEUP ALSO HELPED DESIGN SPOCK’S EARS.

The man hired to design the increasingly vital ape makeup for the movie was John Chambers, who had made a name for himself by this time as one of the premier creature effects artists in Hollywood. He had experience working on sci-fi and fantasy shows like The Munsters, The Outer Limits, and Lost in Space. But his biggest contribution to the genre was his makeup design for Spock’s pointy ears on the original Star Trek TV series.

Chambers’s background was unique in Hollywood at the time: In his younger days, he worked at a veterans' hospital after World War II, where he helped design prosthetics and facial restorations for soldiers wounded in combat.

4. ROD SERLING WROTE AN INITIAL DRAFT THAT FEATURED A CONTEMPORARY CITY.

The first writer to take a shot at adapting Planet of the Apes was Rod Serling, the man who brought twists, turns, and terror to TV sets across the country with The Twilight Zone. Serling wrote feverishly, producing upwards of 30 drafts of the script in a year [PDF], but one problem kept his vision from reaching screens: money. Serling’s scripts featured ape society as technologically advanced—with apes driving cars, piloting helicopters, and conducting ape-y business in skyscrapers.

Though this was closer to the society depicted in Boulle’s novel, it didn’t fit in with the studio’s $5 million budget. Subsequent drafts placed the apes in a more primitive society where they rode on horseback and lived in cities that could be constructed as less expensive sets.

5. WRITER MICHAEL WILSON BROUGHT MORE HUMOR AND POLITICAL OVERTONES TO THE SCRIPT.

After much of Serling’s script was deemed unusable, writer Michael Wilson was brought onboard to create a filmable version of the movie. Wilson was a victim of Hollywood’s blacklisting in the ‘50s, being forced to go uncredited on some of his most notable works, including the script to 1958's The Bridge on the River Kwai, which was also adapted from a Boulle novel.

Wilson’s Apes work included punching up the dialogue to be more humorous and introducing the idea of the sham of a trial that Heston’s Taylor has to endure (no doubt a callback to Wilson's own experience on the blacklist). These new drafts overhauled much of the existing script, which led Serling to say [PDF], “[It’s] really Mike Wilson’s screenplay, much more than mine.”

6. THE MAKEUP PROCESS REQUIRED A SMALL ARMY OF ARTISTS.

At its height, the movie’s production required around 100 makeup artists, wardrobe workers, and hairstylists to be on set to get all of the apes in costume and ready for shooting. For some of the larger scenes, there were around 200 actors and actresses to get in full ape garb, all of which required hours of work. The whole makeup process was run like a well-oiled machine by Chambers, who taught each of the artists how to mold and apply all of the ape makeup—sometimes having artists working at all times throughout the day and night to craft the individual ape pieces.

In the Behind the Planet of the Apes documentary, it’s noted that the production’s use of so many makeup personnel actually delayed work on other films throughout Hollywood due to a shortage of artists.

7. THE MAKEUP PROCESS IMPROVED AS PRODUCTION MOVED ALONG.


20th Century Fox

When the production started, it took upwards of six hours to put an actor into full ape makeup including the hair, brows, ears, mouth, and hands. This process eventually became more and more streamlined as the work progressed, with Chambers and his team eventually whittling it down to just a bit over three hours. Chambers himself referred to the whole process as an assembly line.

8. LUNCHTIME LED TO SOME UNINTENDED SEGREGATION.

One of the more peculiar side effects of having a cast of humans in ape garb occurred at lunch time on set. Subconsciously, the cast ate divided down species lines: The human actors, chimpanzees, orangutans, and gorillas all fell in line with a sort of self-segregation and ate with their own kind. This wasn’t some brand of method acting, either, as the actors and producers were just as confused by it as anyone, leading Charlton Heston to simply say, “I have no explanation for it whatsoever.”

In Behind the Planet of the Apes, Kim Hunter, who plays Zira in the movie, recalled how she barely spoke to Maurice Evans (Dr. Zaius) on set. Despite being friendly with Evans from previous work, Hunter referred to him as one of those "others" because he was an orangutan and she was a chimp.

9. A CHIMP HANDED MAKEUP ARTIST JOHN CHAMBERS HIS HONORARY OSCAR.

In 1969, there wasn’t an Oscar category for achievement in makeup, but John Chambers’s work on Planet of the Apes was so far beyond the industry standard that it had to be recognized in some way. The Academy decided on an honorary Oscar for Outstanding Makeup Achievement and presented it during the 41st Academy Awards. Chambers was introduced to the crowd by Walter Matthau, but the real star was the chimpanzee decked out in a tux that handed Chambers his award.

10. A TRIP TO A DELI INSPIRED THE ENDING.

Early on in the process, producer Arthur P. Jacobs and director Blake Edwards—who was originally attached to direct Planet of the Apes—were having trouble cracking the film's ending. In Boulle’s original novel, the action does take place on a completely different planet. For the movie, though, they wanted something less predictable. While eating at a deli near the Warner Bros. lot, Jacobs brought up the idea of having Taylor stranded on Earth the whole time without the characters or the audience knowing it.

The stage was set, but they needed a hook. As the two men left the deli, they looked at a painting of the Statue of Liberty near the cash register. According to Jacobs [PDF], the men had just found their “Rosebud.” A call soon went out to Serling, who integrated their ideas into the script in what the writer calls a “collaboration” with Jacobs [PDF].

11. THE STATUE OF LIBERTY AT THE END WAS A COMBINATION OF A SCALE MODEL AND MATTE PAINTING.

With budget constraints already bearing down on them, there was no logical way to create an entire full-scale model of the destroyed Statue of Liberty for the film’s twist ending. Instead, the production combined a matte painting by Emil Kosa Jr., the man behind the original 20th Century Fox logo, with a practical model for the statue’s reveal.

The model wasn’t created for the whole statue, though. Instead a half-scale recreation of Lady Liberty’s head and torch were constructed to be shot from a scaffold for the statue’s slow reveal.

12. AN EARLIER DRAFT HAD A MUCH MORE OPTIMISTIC ENDING.

Compared to today’s blockbusters, Planet of the Apes ends on a bit of a downer. We learn that humanity is lost as Earth has been destroyed, with only the crumbling image of the Statue of Liberty left to remind us of our once grand civilization. However, writer Michael Wilson’s earlier draft [PDF] would have left the movie with a single sliver of hope about humanity’s future.

In this draft, it’s learned toward the end of the film that Nova is pregnant with Taylor’s child. Though Taylor is struck down by an ape assassin shortly after laying eyes on the crumbling Lady Liberty, Nova escapes into the Forbidden Zone with her unborn child, setting up a potential sequel and showing that perhaps humanity could live on in some way.

Fox executives nixed the idea, fearing that Nova wouldn’t be perceived as purely human by audiences (Wilson referred to her as “humanoid” in an interview with Cinefantastique), leaving an awkward question about whether there was an interspecies romance between her and Taylor.

7 Things You Might Not Know About Mario Lopez

Angela Weiss, Getty Images for Oakley
Angela Weiss, Getty Images for Oakley

While several of the actors featured in the 1990s young-adult series Saved by the Bell have fared well following the show’s end in 1994, Mario Lopez is in a class by himself. The versatile actor-emcee can be seen regularly on Extra, as host of innumerable beauty pageants, and as the author of several best-selling books on fitness. For more on Lopez, check out some of the more compelling facts we’ve rounded up on the multi-talented performer.

1. A WITCH DOCTOR SAVED HIS LIFE.

Born on October 10, 1973, in San Diego, California to parents Mario and Elvia Lopez, young Mario was initially the picture of health. But things quickly took a turn for the worse. In his 2014 autobiography, Just Between Us, Lopez wrote that he began having digestive problems immediately after birth, shrinking to just four pounds. Though doctors administered IV hydration, they told his parents nothing more could be done. Desperate, his father reached out to a witch doctor near Rosarito, Mexico who had cured his spinal ailments years earlier. The healer mixed a drink made of Pedialyte, Carnation evaporated milk, goat’s milk, and other unknown substances. It worked: Lopez kept it down and began growing, so much so that his mother declared him “the fattest baby you had ever seen in your life.”

2. HE STARTED ACTING AT 10.

A highly active kid who got involved in both tap and jazz dancing and amateur wrestling, Lopez was spotted by a talent scout during a dance competition at age 10 and was later cast in a sitcom, a.k.a. Pablo, in 1984. That led to a role in the variety show Kids Incorporated and in the 1988 Sean Penn feature film Colors. In 1989, at the age of 16, he won the role of Albert Clifford “A.C.” Slater in Saved by the Bell. By 1992, Lopez was making public appearances at malls, where female fans would regularly toss their underthings in his direction.

3. HE COULD PROBABLY BEAT YOU UP.

Lopez wrestled as an amateur throughout high school. According to the Chula Vista High School Foundation, Lopez was a state placewinner at 189 pounds in 1990. (On Saved by the Bell, Slater was also a wrestler.) He later complemented his grappling ability with boxing, often sparring professionals like Jimmy Lange and Oscar De La Hoya in bouts for charity. In 2018, Lopez posted on Instagram that he received his blue belt in Brazilian jiu-jitsu under Gracie Barra Glendale instructor Robert Hill.

4. HE TURNED DOWN PLAYGIRL.

Lopez’s active lifestyle has made for a trim physique, but he’s apparently unwilling to take off more than his shirt. In 2008, Lopez said he was approached to pose for Playgirl but declined. The magazine reportedly offered him $200,000.

5. HE WAS MARRIED FOR TWO WEEKS.

Lopez had a well-publicized marriage to actress Ali Landry, but not for all the right reasons. The two were married in April 2004 and split just two weeks later, with Landry alleging Lopez had not been faithful. Lopez later disclosed he had made a miscalculation during his bachelor party in Mexico, cheating on Landry just days before the ceremony.

6. HE APPEARED ON BROADWAY.

Lopez joined the cast of Broadway’s A Chorus Line in 2008, portraying Zach, the director who coaches the cast of aspiring dancers. (It was his first stage appearance since he participated in a grade school play, where he played a tree.) His run, which lasted five months, was perceived to be part of a rash of casting choices on Broadway revolving around hunky performers to attract audiences. The role was thought to be the start of a resurgence for Lopez, who had previously appeared on Dancing with the Stars and has been a co-host of the pop culture newsmagazine show Extra since 2007.

7. HE BELIEVES HIS DOG SUFFERED FROM POSTPARTUM DEPRESSION.

In 2010, Lopez and then-girlfriend (now wife) Courtney Mazza had their first child, Gia. According to Lopez, his French bulldog, Julio César Chavez Lopez, exhibited signs of depression following the new addition to the household. Lopez also said he used his extensive knowledge of dogs to better inform his voiceover work as a Labrador retriever in 2009’s The Dog Who Saved Christmas and 2010’s The Dog Who Saved Christmas Vacation.

The Legend of Cry Baby Lane: The Lost Nickelodeon Movie That Was Too Scary for TV

Nickelodeon, Viacom
Nickelodeon, Viacom

Several years ago, rumors about a lost Nickelodeon movie branded too disturbing for children’s television began popping up around the internet. They all referenced the same plot: A father of conjoined twins was so ashamed of his sons that he hid them away throughout their childhood. (This being a made-for-TV horror movie, naturally one of the twins was evil.)

After one twin got sick the other soon followed, with both boys eventually succumbing to the illness. To keep the town from discovering his secret, the father separated their bodies with a rusty saw and buried the good one at the local cemetery and the evil one at the end of a desolate dirt road called Cry Baby Lane, which also happened to be the title of the rumored film. According to the local undertaker, anyone who ventured down Cry Baby Lane after dark could hear the evil brother crying from beyond the grave.

Cry Baby Lane then jumps to present day (well, present day in 2000), where a group of teens sneaks into the local graveyard in an effort to contact the spirit of the good twin. After holding a seance, they learn that the boys' father had made a mistake and mixed up the bodies of his children—burying the good son at the end of Cry Baby Lane and the evil one in the cemetery. Meaning those ghostly wails were actually the good twin crying out for help. But the teens realized the error too late: The evil twin had already been summoned and quickly began possessing the local townspeople.

MOVIE OR MYTH?

Parents were appalled that such dark content ever made it onto the family-friendly network, or so the story goes, and after airing the film once the Saturday before Halloween in 2000, Nickelodeon promptly scrubbed it from existence. But with no video evidence of it online for years, some people questioned whether Cry Baby Lane had ever really existed in the first place.

“Okay, so this story sounds completely fake, Nick would NEVER air this on TV,” one Kongregate forum poster said in September 2011. “And why would this be made knowing it’s for kids? This story just sounds too fake …”

While the folklore surrounding the film may not be 100 percent factual, Nickelodeon quickly confirmed that the “lost” Halloween movie was very real, and that it did indeed contained all the rumored twisted elements that have made it into a legend.

Before Cry Baby Lane was a blip in Nick’s primetime schedule, it was nearly a $100 million theatrical release. Peter Lauer, who had previously directed episodes of the Nick shows The Secret World of Alex Mack and The Adventures of Pete & Pete, co-wrote the screenplay with KaBlam! co-creator Robert Mittenthal. Cry Baby Lane, which would eventually spawn urban legends of its own, was inspired by a local ghost story Lauer heard growing up in Ohio. “There was a haunted farmhouse, and if you went up there at midnight, you could hear a baby crying and it’d make your high school girlfriend scared,” he told The Daily.

BIG SCARES ON A SMALL BUDGET

Despite Nickelodeon’s well-meaning intentions, parent company Paramount wasn’t keen on the idea of turning the screenplay into a feature film. The script was forgotten for about a year, until Nick got in touch with Lauer about producing Cry Baby Lane—only this time as a $800,000 made-for-TV movie. The director gladly signed on.

Even with the now-meager budget, Cry Baby Lane maintained many of the same elements of a much larger picture. In a bid to generate more publicity around the project, Nickelodeon cast Oscar nominee Frank Langella as the local undertaker (a role Lauer had originally wanted Tom Waits to play). All the biggest set pieces from the screenplay were kept intact, and as a result, the crew had no money left to do any extra filming.

Only two scenes from the movie ended up getting cut—one that alluded to skinny dipping and another that depicted an old man’s head fused onto the body of a baby in a cemetery. The story of a father performing amateur surgery on the corpses of his sons, however, made it into the final film.

The truth of what happened after Cry Baby Lane premiered on October 28, 2000 has been muddied over the years. In most retellings, Nickelodeon received an "unprecedented number" of complaints about the film and responded by sealing it away in its vault and acting like the whole thing never happened. But if that version of events is true, Nick has never acknowledged it.

Even Lauer wasn’t aware of any backlash from parents concerned about the potentially scarring effects of the film until The Daily made him aware of the rumors years later. “All I know is that they aired it once,” he told the paper. “I just assumed they didn’t show it again because they didn’t like it! I did it, I thought it failed, and I moved on.”

But the idea that the movie was pulled from airwaves for being too scary for kids isn’t so far-fetched. Though Cry Baby Lane never shows the conjoined twins being sawed apart on screen, it does pair the already-unsettling story with creepy images of writhing worms, broken glass, and animal skulls. This opening sequence, combined with the spooky, empty-eyed victims of possession that appear later, and multiple scenes where a child gets swallowed by a grave, may have made the film slightly more intense than the average episode of Are You Afraid of the Dark?

IMPERFECT TIMING

Cry Baby Lane premiered at a strange time in internet history: Too early for pirated copies to immediately spring up online yet late enough for it to grow into a web-fueled folktale. The fervor surrounding the film peaked in 2011, when a viral Reddit thread about Cry Baby Lane caught the attention of one user claiming to have the so-called “lost” film recorded on VHS. He later uploaded the tape for the world to view and suddenly the lost movie was lost no longer.

News of the unearthed movie made waves across the web, and instead of staying quiet and waiting for the story to die down, Nickelodeon decided to get in on the hype. That Halloween, Nick aired Cry Baby Lane for the first time in over a decade. Regardless of whether the movie had previously been banned or merely forgotten, the network used the mystery surrounding its origins to their PR advantage.

“We tried to freak people out with it,” a Nick employee who worked at The 90s Are All That (now The Splat), the programming block that resurrected Cry Baby Lane (and who wished to remain anonymous) said of the promotional campaign for the event. “They were creepy and a little glitchy. We were like, ‘This never aired because it was too scary and we’re going to air it now.’”

Cry Baby Lane now makes regular appearances on Nickelodeon’s '90s block around Halloween, which likely means Nick hasn’t received enough complaints to warrant locking it back in the vault. And during less spooky times of the year, nostalgic horror fans can find the full movie on YouTube.

The mystery surrounding Cry Baby Lane’s existence may have been solved, but the urban legend of the movie that was “too scary for kids’ TV” persists—even at the network that produced it.

“People who were definitely working at Nickelodeon in 2000, but didn’t necessarily work on [Cry Baby Lane] were like, ‘Yeah I heard about it, I remember it being a thing,'" the Nick employee says. “It’s sort of like its own legend within the company.”

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