10 Fast Facts About Knight Rider

Knight Rider Opening Credits
Knight Rider Opening Credits

With its offbeat premise, synth soundtrack, and David Hasselhoff’s voluminous perm, Knight Rider is a worthy pick to land on the Mount Rushmore of ‘80s TV. Debuting in 1982, the show ran for four seasons and 90 episodes, with a number of TV movies and short-lived revivals to follow. To this day, the franchise continues to stay relevant as rumors of even more Knight Rider surface regularly. Here are 10 facts about Knight Rider.

1. THE SHOW WAS A MASHUP OF THE LONE RANGER AND CLASSIC SCI-FI.

Glen A. Larson had made a name for himself throughout television in the ‘70s and ‘80s as the creator of shows like Battlestar Galactica and Magnum P.I., and in 1982 one of his more unique ideas hit the screen in Knight Rider. While a talking car that helps fight crime sounds a bit bizarre (and it is), the series has its roots in a much more grounded TV classic.

"I wanted to do The Lone Ranger with a car," Larson said of the show. He went even further by saying, "If you think about him riding across the Plains and going from one town to another to help law and order, then K.I.T.T. becomes Tonto.”

The "good vs. evil" inspirations from The Lone Ranger were joined by Larson's background in sci-fi. In Hasselhoff’s autobiography, the actor states that HAL 9000 from 1968's 2001: A Space Odyssey was the direct inspiration for K.I.T.T., while the red strobe lights that emblazoned the car's hood were a nod to the scanner lights that were the trademark of the Cylons from Larson’s Battlestar Galactica.

2. WILLIAM DANIELS FOUGHT FOR K.I.T.T. TO HAVE MORE OF A PERSONALITY.

When William Daniels first began working on Knight Rider, K.I.T.T. was set to sound more robotic and synthesized than the actor wanted. Instead, “I saw a chance for it to be amusing and bright,” Daniels recalled. “K.I.T.T. had to have human expression.” Soon, K.I.T.T. began to loosen up and show more of Daniels’s natural charm as the series progressed. 

3. LARSON GOT A HUGE CUT OF THE MERCHANDISE MONEY.

Larson’s business savvy and faith in his creation were rewarded beyond anyone’s expectations. When he was negotiating his deal with Universal, he nabbed himself a huge chunk of the merchandising rights. With Knight Rider’s popularity sustaining for long after it went off the air, Larson profited handsomely.

“I think I had the best deal in the history of television,” Larson said. “As the writer/creator I got 50-50 with the studio on all toys, models, T-shirts, and whatnot.”

These types of deals are virtually unheard of now, as Larson pointed out, “It was just before studios realized how profitable merchandising could be.”

4. WILLIAM DANIELS AND DAVID HASSELHOFF DIDN’T MEET UNTIL THE SHOW’S CHRISTMAS PARTY.

Though they made for a formidable duo on-screen, William Daniels and David Hasselhoff were never even in the same room together while the show was being made. They first met at the show’s Christmas party when Knight Rider was already an established hit.

“A guy walks over to my table and goes: ‘Hi I’m William Daniels, I play K.I.T.T.,’” Hasselhoff said in an interview with CBS. “And I say: 'Oh I’m David Hasselhoff and I play Michael.’ And he says: ‘Oh we have a hit don’t we?’ And that was our first conversation.”

5. DANIELS ISN’T FEATURED IN THE CREDITS AS K.I.T.T.

William Daniels’s name doesn’t appear in the opening or closing credits of Knight Rider throughout its run. The one story surrounding the decision is that Daniels wanted the audience to believe the car had a mind of its own and preserve the mystery. The plan backfired as Daniels was soon getting recognized on the streets where he lived as the voice of K.I.T.T.

6. DANIELS WORKED FOR LESS THAN AN HOUR PER EPISODE.

Though his voicework as K.I.T.T. was integral to the success of the show, Daniels was fairly far removed from the production when he would record his lines.

“I knocked off an episode in about 45 minutes. I never watched the episode while I would do the voice over,” Daniels said. “I would have the pages that involved K.I.T.T.—not even the entire show. Those pages would have David’s dialogue and then K.I.T.T.’s answers.”

Daniels’s process involved reading Haselhoff’s lines out loud in the recording booth, then answering them as K.I.T.T.

7. K.I.T.T. ALMOST WENT BY A DIFFERENT NAME.

K.I.T.T. stands for Knight Industries Two Thousand, based on the car’s fictional creator, Wilton Knight. The car went by another name when the series was early in its production: T.A.T.T., which stood for Trans Am Two Thousand.

When it came time to give a name to K.I.T.T.’s evil doppelganger, a completely different name was created in K.A.R.R. This stands for Knight Automated Roving Robot, and it was voiced by Peter Cullen, who was the man behind another talking vehicle: Optimus Prime from The Transformers cartoons and movies.

8. K.I.T.T. WENT THROUGH VARIOUS MODIFICATIONS AS THE SEASONS WENT ON.

During Knight Rider’s first two seasons, K.I.T.T. was based on an F-bodied Pontiac Trans Am with minimal alterations, and it was dressed up by Universal’s prop department. The major change were the red strobe lights to give the car “life” as it was interacting with Michael. But not much else made K.I.T.T. stand out from a standard Trans Am (Pontiac didn't even want them referring to the car as a Trans Am). The production would have around four different K.I.T.T. cars at a time, costing about $18,000 apiece to modify.

It was during production on season three, though, that K.I.T.T. got a bit of a facelift. Spoilers, wings, and new hood scoops were just some of the cosmetic additions that the legendary George Barris—who also designed Adam West’s Batmobile and The Munster Koach—added to the car. It took eight weeks to complete each car, but the new version set Knight Rider’s trademark set of wheels apart from anything else on the road.

9. THERE WAS A MODIFIED CAR TO SIMULATE A SELF-DRIVING FEATURE.

For scenes when K.I.T.T. had to appear to drive itself, Barris created a right-seat driving position inside the on-set car that dipped below the dashboard. From the passenger side, a stunt driver was then placed in a special seat that sat low enough to avoid detection on camera, but high enough to see where he was going. This was all part of Barris's job on the show. In addition to creating a more unique look for K.I.T.T. in later seasons, he was also in charge of creating different models of the car, all for the sake of specific stunts that could make for more unique action sequences.

10. THE SHOW’S THEME WAS BORROWED FROM AN 18TH CENTURY BALLET.

Knight Rider’s opening theme—composed by Stu Phillips—is one of the best the ‘80s has to offer, but its roots go further back than the synth stylings it embraces. It’s actually based on a selection from Léo Delibes’s ballet Sylvia. Specifically, “Cortège de Bacchus” from the third act.

Over the years, the song has been sampled by a number of artists, including Busta Rhymes and Lil' Kim. However, the song owes its longevity to its status as a ringtone. In 2005, Phillips won an award from BMI—a performing rights organization—for most downloaded ringtone. (Phillips shared the award with Lalo Schifrin’s Mission: Impossible theme.)

10 Things You Might Not Know About Do the Right Thing

Universal Pictures Home Entertainment
Universal Pictures Home Entertainment

A shot in the arm of American consciousness, Do the Right Thing—Spike Lee’s incendiary profile of racial tension and police overreaction—bristled in the veins of moviegoers when it landed in theaters in the summer of 1989. Taking its title from a Malcolm X quote, Do the Right Thing rumbled with youthful energy, dry comic wit, boombox-blasted politics, and an operatic magic unique to New York City.

It’s a fierce polemic. It’s a snapshot of stereotyping. It’s a chill hangout movie. It was also a showcase of Lee’s directorial know-how, just when experience was shaping his raw creative talent. Crank up the AC and the FM 108 We-Love Radio. Here are 10 things you might not know about Spike Lee's Oscar-nominated joint.

1. IT WAS INSPIRED BY A REAL-LIFE INCIDENT THAT HAPPENED IN 1986.

On December 19, 1986, four black men—Michael Griffith, Timothy Grimes, Curtis Sylvester, and Cedric Sandiford—were traveling when their car broke down. They walked three miles to the predominantly Italian-American Howard Beach neighborhood of Queens, New York, where they got into an argument with some white teenagers before heading to New Park Pizzeria for a meal and a telephone. When they left the eatery, they were accosted by a larger group of white men, including the ones they’d encountered earlier. Sandiford and Griffith were beaten; Griffith tried to run but was chased onto the Belt Parkway, where he was hit by a car and killed. The incident was such a part of Do the Right Thing’s DNA that Lee wanted to open the film with his character, Mookie, shouting “Howard Beach!” while defacing Sal’s Famous Pizzeria.

2. IT’S DIFFICULT TO FIND SHOTS THAT DON’T FEATURE THE COLOR RED.

A scene from 'Do the Right Thing' (1989)
Universal Pictures Home Entertainment

One of the most impressive feats of the movie is how powerfully you feel the heat of the summer day. Besides placing Sterno cans near the camera to keep the air wavy, color was the filmmakers' most important tool in transferring the temperature to the screen. “I did a lot of research on [color usage’s] psychology and worked on a controlled palette that pretty much stayed in the warm range—yellows, reds, earth tones, ambers—and tried to stay away from blues and greens, which have a cooling effect,” cinematographer Ernest Dickerson told The Guardian. That rule extended to costuming, set design, and props, which is why almost every scene has at least one red element in it.

3. SPIKE LEE ORIGINALLY WANTED ROBERT DE NIRO TO PLAY SAL.

Oh, what might have been. It’s a no-brainer that Lee would have wanted Robert De Niro for the role of the brash Italian-American pizzeria owner, which eventually went to Danny Aiello (who scored an Oscar nomination for the film). “What young filmmaker wouldn’t want him to star in their film?” Lee said. “So, I gave him the script and he liked it, but he said it wasn’t for him.”

4. IT CONTAINS NODS TO A FEW CLASSIC FILMS.

Bill Nunn in 'Do the Right Thing' (1989)
Universal Pictures Home Entertainment

An avid cinephile and a student of film history, Lee is such a massive fan of Charles Laughton’s chest-thumper Night of the Hunter that he dropped part of it into the middle of Do the Right Thing. Radio Raheem (Bill Nunn) carries the knuckle ring version of Robert Mitchum’s Night of the Hunter character’s “Love” and “Hate” tattoos, and he explains their existence using almost the exact same monologue.

Lee and cinematographer Ernest Dickerson also turned to classic noir The Third Man for its use of disorienting Dutch angles; you can watch as the camera angle gets more and more aggressively tilted leading up to the riot.

5. LEE TOOK THE MOVIE TO ANOTHER STUDIO TO AVOID A SAPPY ENDING.

It’s hard to imagine it, but Paramount executives dropped a bomb on Lee close to the end of pre-production, demanding an unrealistically uplifting ending. “They wanted Mookie and Sal to hug and be friends and sing ‘We Are the World,’” Lee told New York Magazine. "They told me this on a Friday; Monday morning we were at Universal.” Obviously, he did the right thing.

6. ROSIE PEREZ’S DANCE SEQUENCE TOOK EIGHT HOURS TO FILM.

Even the opening credits of Do the Right Thing are iconic. Rosie Perez’s frenetic, emotional dance to the bowel-shaking bass boom of Public Enemy’s “Fight the Power” sets the stage as well as any of Shakespeare’s prologues.

“Spike didn’t tell me he needed anger and angst and exhaustion,” Perez explained. “Instead, he just said, ‘I need you to kill it.’ I thought, okay. I thought I killed it in the first hour. Freakin’ eight hours later, this freakin’ man had me still dancing. I had tennis elbow, my knee was swelling. So, I forgot about the lyrics, the original words—you know, Elvis, John Wayne? To me, it was all 'Spike, Spike, Spike, I hate you, I hate you, I hate you!' And when rage and hate just poured out of my body, pure exhaustion, he went, ‘Cut, print it! We got it!'"

7. LEE HIRED THE NATION OF ISLAM’S PARAMILITARY AS SECURITY ON THE SET.

The production descended on a Bedford-Stuyvesant street in late summer 1988, building Sal’s Famous Pizzeria and painting murals, but largely leaving the neighborhood in its natural state for the shoot. To ensure safety, they hired members of Fruit of Islam, then run by Louis Farrakhan, to act as on-set security. One of their first jobs was boarding up known crack houses and guarding them to deter drug abusers from returning.

8. CLOTHING REINFORCES THE RACIAL LOYALTIES.

Spike Lee, Danny Aiello, John Turturro, and Richard Edson in 'Do the Right Thing' (1989)
Universal Pictures Home Entertainment

Lee and costume designer Ruth E. Carter bolstered certain characters’ attitudes by dressing them in racially-coded clothes. The white, brownstone-owner cyclist (John Savage) who scuffs Buggin’ Out’s (Giancarlo Esposito) shoes wears a Larry Bird Celtics jersey while Buggin’ Out’s sneaks are Air Jordans. Mookie also wears a Jordan jersey and a Dodgers jersey with Jackie Robinson’s number. Plus, while the racist Pino (John Turturro) wears all black in classic villain fashion, he wears a white undershirt while at work in the pizzeria, signaling his racial allegiance in the neighborhood in contrast to his open-minded brother Vito (Richard Edson), who wears a black undershirt.

9. IT WAS DIRECTLY AIMED AT HURTING A MAJOR NEW YORK CITY POLITICIAN.

There’s no mistaking that Do the Right Thing is an overtly political movie that spoke to complex, large-scale issues like gentrification, systemic racism, and police brutality, but parts of it were also aimed at one politician in particular. Blaming Mayor Ed Koch for the deaths of black men and women like Eleanor Bumpurs (one person to whom the movie is dedicated) at the hands of an overly aggressive police force, Lee included graffiti that said “DUMP KOCH” next to an image of Mike Tyson punching Koch and Jesse Jackson campaign posters that say, “Our Vote Counts!”

“We had this plan because the film came out in August and that fall was the Democratic primary [between Koch and David Dinkins],” Lee told New York Magazine. “So, throughout the film, you hear Mister Señor Love Daddy, played by Samuel Jackson, telling people to vote, vote, vote. And Dinkins won."

10. BARACK AND MICHELLE OBAMA SAW IT ON THEIR FIRST DATE.

Martin Lawrence, Giancarlo Esposito, and Steve White in Do the Right Thing (1989)
Universal Pictures Home Entertainment

“He was trying to show me his sophisticated side by selecting an independent filmmaker,” Michelle Obama said, reflecting on seeing Do the Right Thing on her first date with her future husband—and the future president. On the 25th anniversary of Lee’s film, Barack Obama recorded a video message thanking Lee for helping him impress Michelle. Other options for that first date? Batman and Honey, I Shrunk the Kids were still in theaters, and The Karate Kid Part III came out the same weekend as Do the Right Thing.

13 Nostalgic Facts About American Graffiti

Universal Pictures Home Entertainment
Universal Pictures Home Entertainment

Before he made Star Wars, then ruined Star Wars, then saved Star Wars by selling it to Disney, George Lucas made another iconic film that has served as a cultural touchstone. American Graffiti, released 45 years ago today, was a nostalgic, semi-autobiographical look at the American teenager circa 1962, before "the sixties" kicked in and changed everything. The film was a massive hit, earning $55 million in 1973 and another $63 million when it was re-released in 1978—a total of some $500 million at today's ticket prices. Let's get nostalgic for nostalgia and look in-depth at the making of American Graffiti

1. GEORGE LUCAS MADE THE MOVIE PARTIALLY OUT OF SPITE.

The young director's previous film and first feature, the futuristic sci-fi drama THX-1138, had been a disappointment both critically and commercially. Lucas' wife, Marcia—as well as friend Francis Ford Coppola—urged him to make something more relatable. "Don't be so weird," Lucas recalled Coppola telling him. "Try to do something that's human ... Everyone thinks you're a cold fish, but you can be a warm and funny guy, make a warm and funny movie."

Marcia said, "I reminded George that I warned him [THX] hadn't involved the audience emotionally. He always said, 'Emotionally involving the audience is easy. Anybody can do it blindfolded, get a little kitten and have some guy wring its neck ...' So finally, George said to me, 'I'm gonna show you how easy it is. I'll make a film that emotionally involves the audience.'" He showed her!

2. IT WAS SAVED FROM BECOMING A TV MOVIE BY THE GODFATHER.

Universal Pictures gave Lucas a budget of $600,000, or about $3.5 million in 2016 dollars, to make the movie—in other words, not very much. When Coppola came onboard as a producer shortly after the release of The Godfather, Universal gave Lucas another $175,000. Later, when the film was finished and had test-screened positively, Universal inexplicably wanted to drastically re-edit it and release it as a TV movie. Lucas objected but had no clout. Coppola, on the other hand—by this time an Oscar-winner—could make studio executives listen. He convinced them to do only a little bit of trimming (the deleted scenes were reincorporated for home video release) and to release the film theatrically. 

3. CONTRARY TO POPULAR BELIEF, THERE IS NO ACTUAL CONNECTION BETWEEN AMERICAN GRAFFITI AND HAPPY DAYS.

Happy Days premiered five months after American Graffiti was released. It was set in the '50s, had Ron Howard playing a teen very similar to his American Graffiti character, used "Rock Around the Clock" as its theme song, and even borrowed the American Graffiti font for the credits. You'd think that Happy Days was somehow a spin-off of the movie, but you'd be wrong. It actually began as an unsold pilot in 1971 and aired in 1972 as part of the anthology series Love, American Style. (Lucas watched it at some point when he was considering casting Howard in American Graffiti.) After the movie took off, and with '50s nostalgia in high gear (Grease was burning up Broadway), ABC reconsidered the Happy Days pilot, ordered a series, and did everything they could to make it remind people of American Graffiti. It ran for 10 years and was one of the most popular sitcoms in TV history. 

4. THE STUDIO WANTED TO CHANGE THE TITLE.

Universal executives didn't know what American Graffiti meant as a title (they weren't alone), and begged Lucas to change it. They furnished a list of 60 alternates, including Rock Around the Block (Coppola's suggestion) and Another Slow Night in Modesto (which was close to Lucas' original working title, Another Quiet Night in Modesto). Lucas wouldn't budge.

5. LUCAS'S CO-WRITERS DIDN'T LIKE THE ENDING.

The film ends with title cards revealing what happened to the main characters (the male ones, anyway) afterward, much of which isn't happy. The co-writers Lucas hired early on to help him develop the script, Willard Huyck and Gloria Katz, found it depressing and strange and tried to talk Lucas out of it but never succeeded. (Stubbornness is a recurring theme in stories about Lucas.)

6. WOLFMAN JACK WAS A HOLDOVER FROM A PREVIOUS MOVIE IDEA LUCAS HAD.

The radio DJ with the distinctive voice was part of Lucas' teenage years in Modesto, California, and Lucas even considered making a documentary about him when he was a student at USC's film school. When American Graffiti made him a millionaire, Lucas paid the Wolfman a little extra for serving as the film's "inspiration." 

7. IN THE ORIGINAL CONCEPTION, THE BLONDE WASN'T REAL.

Curt (played by Richard Dreyfuss) spends most of the film chasing a beautiful, mysterious blonde (played by Suzanne Somers) he sees driving a Ford Thunderbird. Lucas originally intended to shoot a scene where the blonde and the car were briefly transparent, revealing to the audience that she was a figment of Curt's imagination. This was one of the things that had to go when Universal insisted on a strict, tight budget. 

8. THE PRODUCER HAD TO BECOME MACKENZIE PHILLIPS'S LEGAL GUARDIAN FOR THE SHOOT.

Mackenzie Phillips was just 12 years old when she arrived to make the film, and though she had showbiz experience (her father, John Phillips, was in The Mamas & the Papas), neither she nor her parents realized that California law required her to have a guardian present. "They were almost going to have to recast me, but Gary Kurtz"—a producer on the film—"and his family said, 'We'll take her,'" Phillips said in 1999. " So they went to the courts in San Francisco and got guardianship of me." Phillips lived with the Kurtzes for the duration of the shoot and described it as a happy experience. 

9. THE PRODUCTION WAS KICKED OUT OF TOWN AFTER ONE DAY OF SHOOTING.

Lucas and company planned to shoot the film in San Rafael, California, as the real setting—Modesto—had changed too much since 1962. But after just one day in San Rafael, the city council gave them the boot. Not only had a member of the crew been arrested for growing marijuana, but the first night of filming and its accompanying street closures had drawn complaints from local businesses. The production moved 20 miles north to Petaluma, where things ran a bit more smoothly (at least in terms of interactions with the locals).  

10. THE SOUNDTRACK ALBUM SOLD 3 MILLION COPIES.

The concept of filling an entire soundtrack with nothing but preexisting popular songs (rather than an instrumental score) was still new, with Easy Rider (1969) having been the first major example. The American Graffiti double album included 41 of the 43 songs heard in the movie, arranged in the order they appear, missing only "Gee" by The Crows and "Louie Louie" by Flash Cadillac & the Continental Kids.

11. THERE'S A REASON ELVIS PRESLEY IS CONSPICUOUSLY ABSENT FROM THE SOUNDTRACK.

The reason, of course, is money. To mitigate the cost of licensing so many songs, Universal offered a flat rate to all of the labels involved. Everyone went along with it except for RCA, which meant no Elvis. The kids in American Graffiti are therefore probably the only teenagers in America who could listen to the radio all night in 1962 and never hear an Elvis song. 

12. HARRISON FORD WOULD ONLY AGREE TO BE IN THE MOVIE IF HE DIDN'T HAVE TO CUT HIS HAIR.

The future Han Solo had become disenchanted with showbiz and was working as a carpenter to support his wife and two children when he got the American Graffiti audition. His character, Bob Falfa, was supposed to have a flattop, but since Ford didn't care much whether he made the film or not, he issued an ultimatum: He wouldn't do it if it required cutting his hair. A compromise was reached, and Bob Falfa wears a Stetson hat throughout the film. 

13. THERE WERE A WHOLE LOT OF SHENANIGANS ON THE SET.

Lucas worked hard and fast, shooting anywhere from six to 10 script pages a night (twice the norm), but there was still a lot of downtime for the large ensemble cast of young, energetic actors. Harrison Ford (who turned 30 during the shoot and was one of the oldest people there), Paul Le Mat, and Bo Hopkins drank a lot of beer between takes and were said to have been kicked out of the Holiday Inn for things like urinating in the ice machines and climbing on the hotel's rooftop sign. Someone set fire to Lucas' hotel room. Le Mat threw Dreyfuss into the swimming pool one night, gashing his forehead. Adding to the carnival atmosphere were the hundreds of local gearheads who were paid $25 each to lend their classic cars to the production and who hung around every night, gawking at the actors and drag-racing on the back streets. 

Additional sources:
Easy Riders, Raging Bulls: How the Sex-Drugs-and-Rock 'n' Roll Generation Saved Hollywood, by Peter Biskind
Skywalking: The Life and Films of George Lucas, by Dale Pollock

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