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© 2004 Twentieth Century Fox
© 2004 Twentieth Century Fox

10 Sweet Facts About Napoleon Dynamite

© 2004 Twentieth Century Fox
© 2004 Twentieth Century Fox

ChapStick, llamas, and tater tots are just a few things that appear in Napoleon Dynamite, a cult film shot for a mere $400,000 that went on to gross $44.5 million. In 2002, Brigham Young University film student Jared Hess filmed a black-and-white short, Peluca, with his classmate Jon Heder. The film got accepted into the Slamdance Film Festival, which gave Hess the courage to adapt it into a feature. Hess used his real-life upbringing in Preston, Idaho—he had six brothers and his mom owned llamas—to form the basis of the movie, about a nerdy teenager named Napoleon (Heder) who encourages his friend Pedro (Efren Ramirez) to run for class president.

In 2004, the indie film screened at Sundance, and was quickly purchased by Fox Searchlight and Paramount, then released less than six months later. Today, the film remains so popular that last year Pedro and Napoleon reunited for a cheesy tots Burger King commercial. Here are 10 sweet facts about the ever-quotable comedy.

1. DEB IS BASED ON JERUSHA HESS.

Jared Hess’ wife Jerusha co-wrote the film and based Deb on her own life. “Her mom made her a dress when she was going to a middle school dance and she said, ‘I hadn’t really developed yet, so my mom overcompensated and made some very large, fluffy shoulders,’” Jared told Rolling Stone. “Some guy dancing with her patted the sleeves and actually said, ‘I like your sleeves … they’re real big.’” 

Tina Majorino, who played the fictional Deb, hadn’t done a comedy before, because people thought of her as a dramatic actress. “The fact that Jared would even let me come in and read really appealed to me,” she told Rolling Stone. “Even if I didn’t get the role, I just wanted to see what it was like to audition for a comedy, as I’d never done it before.”

2. NAPOLEON'S FAMOUS DANCE SCENE MANIFESTED FROM THE SHORT FILM.

At the end of shooting Peluca, Hess had a minute of film stock left and knew Heder liked to dance. Heder had on moon boots—something Hess used to wear—so they traveled to the end of a dirt road. They turned on the car radio and Jamiroquai’s “Canned Heat” was playing. “I just told him to start dancing and realized: This is how we’ve got to end the film,” Hess told Rolling Stone. “You don’t anticipate those kinds of things. They’re just part of the creative process.” 

Heder told The Huffington Post he found inspiration in Michael Jackson and dancing in front of a mirror, for the end-of-the-movie skit. But when it came time to film the dance for the feature, Heder felt “pressure” to deliver. “I was like, ‘Oh, crap!’ This isn’t just a silly little scene,” he told PDX Monthly. “This is the moment where everything comes, and he’s making the sacrifice for his friend. That’s the whole theme of the movie. Everything leads up to this. Napoleon’s been this loser. This has to be the moment where he lands a victory.” Instead of hiring a choreographer, the filmmakers told him to “just figure it out.” They filmed the scene three times with three different songs, including Jamiroquai’s “Little L” and “Canned Heat.”

3. FANS STILL FLOCK TO PRESTON, IDAHO TO TOUR THE MOVIE’S LOCATIONS.

In a 2016 interview with The Salt Lake Tribune, The Preston Citizen’s circulation manager, Rhonda Gregerson, said “every summer at least 50 groups of fans walk into the office wanting to know more about the film.” She said people come from all over the world to see Preston High School, Pedro’s house, and other filming locations as a layover before heading to Yellowstone National Park. “If you talk to a lot of people in Preston, you’ll find a lot of people who have become a bit sick of it,” Gregerson said. “I still think it’s great that there’s still so much interest in the town this long after the movie.”

Besides the filming locations, the town used to host a Napoleon Dynamite festival. In 2005, the fest drew about 6000 people and featured a tater tot eating contest, a moon boot dancing contest, boondoggle keychains for sale, and a tetherball tournament. The fest was last held in 2008.

4. IDAHO ADOPTED A RESOLUTION COMMENDING THE FILMMAKERS.


Jerusha and Jared Hess
Frederick M. Brown/Getty Images

In 2005, the Idaho legislature wrote a resolution praising Jared and Jerusha Hess and the city of Preston. HCR029 appreciates the use of tater tots for “promoting Idaho’s most famous export.” It extols bicycling and skateboarding to promote “better air quality,” and it says Kip and LaFawnduh’s relationship “is a tribute to e-commerce and Idaho’s technology-driven industry.” The resolution goes on to say those who “vote Nay on this concurrent resolution are Freakin’ Idiots.” Napoleon would be proud.

5. NAPOLEON WAS A DIFFERENT KIND OF NERD. 

Sure, he was awkward, but Napoleon wasn’t as intelligent as other film nerds. “He’s not a genius,” Heder told The Huffington Post. “Maybe he’s getting good grades, but he’s not excelling; he’s just socially awkward. He doesn’t know how much of an outcast he is, and that’s what gives him that confidence. He’s trying to be cool sometimes, but mostly he just goes for it and does it.”

6. THE TITLE SEQUENCE FEATURED SEVERAL DIFFERENT SETS OF HANDS.

Eight months before the theatrical release, Fox Searchlight had Hess film a title sequence that made it clear that the film took place in 2004, not in the ’80s or ’90s. Napoleon’s student ID reveals the events occur during the 2004-2005 school year. Heder’s hands move the objects in and out of the frame, but Fox didn’t like his hangnails. “They flew out a hand model a couple weeks later, who had great hands, but was five or six shades darker than Jon Heder,” Hess told Art of the Title. “If you look, there are like three different dudes’ hands—our producer’s are in there, too.”

7. THE MOVIE MESSED UP NETFLIX’S ALGORITHMS.

Beginning in 2006, Cinematch—Netflix’s recommendation algorithm software—held a contest called The Netflix Prize. Anyone who could make Cinematch’s predictions at least 10 percent more accurate would win $1 million. Computer scientist Len Bertoni had trouble predicting whether people would like Napoleon Dynamite. Bertoni told The New York Times the film is “polarizing,” and the Netflix ratings are either one or five stars. If he could accurately predict whether people liked the movie, Bertoni said, then he’d come much closer to winning the prize. That didn’t happen for him.

The contest finally ended in 2009 when Netflix awarded the grand prize to BellKor’s Pragmatic Chaos, who developed a 10.06 percent improvement over Cinematch’s score.

8. NAPOLEON ACCIDENTLY GOT A BAD PERM.


© 2004 Twentieth Century Fox

Heder got his hair permed the night before shooting began—but something went wrong. Heder called Jared and said, “‘Yeah, I got the perm but it’s a little bit different than it was before,’” Hess told Rolling Stone. “He showed up the night before shooting and he looked like Shirley Temple! The curls were huge!” They didn’t have much time to fix the goof, so Hess enlisted Jerusha and her cousin to re-perm it. It worked, but Jon wasn’t allowed to wash his hair for the next three weeks. “So he had this stinky ‘do in the Idaho heat for three weeks,” Jared said. “We were shooting near dairy farms and there were tons of flies; they were all flying in and out of his hair.”

9. LAFAWNDUH’S REAL-LIFE FAMILY STARRED IN THE MOVIE.

Shondrella Avery played LaFawnduh, the African American girlfriend of Kip, Napoleon’s older brother (played by Aaron Ruell). Before filming, Hess phoned Avery and said, “‘You remember that there were no black people in Preston, Idaho, right? Do you think your family might want to be in the movie?’ And that’s how it happened,” Avery told Los Angeles Weekly. Her actual family shows up at the end when LaFawnduh and Kip get married.

10. A SHORT-LIVED ANIMATED SERIES ACTED AS A SEQUEL.

In 2012, Fox aired six episodes of Napoleon Dynamite the animated series before they canceled it. All of the original actors returned to supply voices to their characters. The only difference between the film and the series is Kip is not married. Heder told Rolling Stone the episodes are as close to a sequel as fans will get. “If you sit down and watch those back to back, you’ve got yourself a sequel,” he said. “Because you’ve got all the same characters and all the same actors.”

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11 Single Facts About Bridget Jones’s Diary
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Miramax

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.


Miramax

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. 


Miramax

“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.


Miramax

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
Universal Home Video
Universal Home Video

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.


Universal Home Video

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.


Universal Home Video

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)
Universal Home Video

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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