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10 Sharp Facts About True Blood

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Set in fictional Bon Temps, Louisiana, Alan Ball's True Blood—which ran on HBO from 2008 to 2014—deals with vampires trying to acclimate to living among humans, often with violent results. The Japanese invent Tru Blood, a synthetic blood beverage meant to satiate vampires so they won’t seek out real blood. (That doesn’t work out so well.)

Ball, creator of Six Feet Under, based the show on Charlaine Harris’s The Southern Vampire Mysteries books. Sookie Stackhouse (Anna Paquin) is part fairy and part telepathic human, who falls in love with a 173-year-old vampire, Bill (Stephen Moyer). (In 2010, Moyer and Paquin married.) Sookie's also drawn to Eric (Emmy Award-winner Alexander Skarsgård) and shape-shifting werewolf Alcide (Joe Manganiello).

Also along for the ride to battle vampires and other fantastical creatures are Sookie’s dimwitted brother Jason (Ryan Kwanten); Sookie’s boss, Sam Merlotte (Sam Trammell); and her friends Tara (Rutina Wesley) and Lafayette Reynolds (Nelsan Ellis, who sadly passed away in July). 

The show debuted on September 7, 2008 and became a sensation—so much so that in 2010, Paquin, Moyer, and Skarsgård posed naked, covered in blood, on the cover of Rolling Stone. After 80 episodes, the show concluded on August 24, 2014. True Blood blended sex, violence, and humor in a way no HBO show had done before—thus becoming the network’s highest rated show since The Sopranos. Here are 10 things you might not have known about True Blood.

1. A TRIP TO THE DENTIST INSPIRED THE SHOW.

Creator Alan Ball had to get a root canal and showed up 30 minutes early to his appointment. With time to kill, he visited a Barnes and Noble across the street and saw Charlaine Harris’s book Dead Until Dark, the first in a series of 13 novels. “The tagline is, ‘Maybe having a vampire for a boyfriend isn’t such a bright idea,’ which made me laugh,” Ball told Emmy TV Legends. “I’m from the South, Charlaine’s from the South. It had a very authentic Southern feel to it. It’s this great mix of drama and comedy and horror and sex and violence and social commentary. She walked this line that was so incredibly entertaining that I couldn’t put the book down.” He read three more of her books in the series and thought it’d make a good TV show. At the time the book was under option to be made into a film, but when the option expired, Ball jumped at the chance. He filmed a pilot and two more episodes, and HBO green-lit the series.

2. ANNA PAQUIN “AGGRESSIVELY” PURSUED THE ROLE OF SOOKIE.

Anna Paquin in 'True Blood'
HBO

Ball hadn’t considered the naturally brunette actress for the role, but one day Oscar-winner Anna Paquin’s representatives called the show’s casting director and said she wanted to audition. “And I said, ‘Really? That doesn’t—huh. She wants to do this?’” Ball told The New York Times. “Because at the time Anna was dark-haired, and certainly her body of work didn’t lead me anywhere near Sookie Stackhouse. But she aggressively pursued it.”

Paquin welcomed playing a part that she described to The New York Times as being “about as radically different from me and a lot of the work I’ve previously done as you could possibly come up with.” In an interview with Rolling Stone, Paquin explained how people saw her as too serious. “But it only takes one person with a little bit of imagination to go, ‘You know, pale-skin girls with brown hair can also be blond girls with a fake tan,’ and presto change-o, makeover. It’s not rocket science.”

3. CHARLAINE HARRIS WAS MORE INTERESTED IN PEOPLE THAN VAMPIRES.

“I didn’t want to write about being a vampire,” Harris told Vanity Fair. “I wanted to write about people who were interacting with vampires. I thought it would be fun to write about a woman dating a vampire, so I imagined what kind of woman would do such a stupid thing.”

Bon Temps is a city in Northern Louisiana; Harris picked that region to avoid Anne Rice’s territory. “My thinking was that Anne Rice had done such a great job with Southern Louisiana, that I would take the part [of Louisiana] no one wanted,” Harris said. “Her works were groundbreaking and very innovative and I thought it would be fun to kind of rappel off of them.”

4. HARRIS USED THE VAMPIRES TO COMMENT ON GAY RIGHTS.

Deborah Ann Woll and Stephen Moyer in 'True Blood'
Jaimie Trueblood/HBO

Harris published Dead Until Dark, the first book in the series, in 2001. “When I began framing how I was going to represent the vampires, it suddenly occurred to me that it would be interesting if they were a minority that was trying to get equal rights,” Harris told the New York Post. “It just seemed to fit with what was happening in the world right then.”

However, Ball didn’t agree with her. “I have a hard time seeing the vampires as a metaphor for gays and lesbians,” he told Rolling Stone. “Just because the vampires on our show are, for the most part, vicious murderers and predators, and I’m gay myself, so I don’t really want to say, ‘Hey, gays and lesbians are basically viciously amoral murderers.’”

5. ALAN BALL THINKS THE SHOW IS ABOUT “INTIMACY.”

While developing the show for HBO, the network asked Ball for a one-sentence pitch for what the show was about. “I thought, ‘Oh, dear God, what am I going to say?’ I said, ‘Well, ultimately at its heart, it’s about the terrors of intimacy,’” he told The New York Times. “Which is an answer I just pulled totally out of [nowhere] at that moment. But I do think that actually, there is some truth to that. That is kind of what it’s about.”

In 2012, Ball told NPR he thought the show was about “how we deal with our primal desires. How do those elements of our psyche manifest themselves in a world where monsters were real?”

Chris Bauer, who played Andy Bellefleur, added his two cents on what the show was about. “How do people in that amount of space get along with each other when they are people with really different beliefs, life experiences, [and] philosophies?,” he told Vulture. “It’s like two species trying to get along, even though externally we look the same. That's where all the racism, all the homophobia, all the sexism, all the diminishing-others-for-their-differences comes from. It's so applicable.”

6. RYAN KWANTEN DOESN’T THINK JASON IS “DUMB.”

Ryan Kwanten stars in 'True Blood'
John P. Johnson/HBO

In an interview with Vulture, Ryan Kwanten was asked, “What are the challenges of playing someone that dumb?” He responded with, “I see him more as simple than dumb … He can get away with some of the things he does because of that innocence. Whereas being dumb, you don’t really get sympathy for that. He was originally based on a couple of people I knew, but it’s turned into his own beast now.”

7. ALEXANDER SKARSGÅRD DIDN'T ALWAYS ABIDE BY THE PROPER NUDITY PROTOCOLS.

To keep partially covered up during sex scenes, the show's female actors wore thongs while the male actors had to wear socks on their private parts. But Alexander Skarsgård bucked the trend during the season six finale. Eric is sunbathing on a snowy landscape in the mountains of Sweden, but the crew set up a green screen and filmed it atop a parking structure in Hollywood. “And it was a very hot day, so I didn’t need the sock,” he told Vulture. At the end of the scene, Skarsgård, gets up from his chair and reveals, well, everything, so to speak.

“I don’t want a sock around it, that feels ridiculous," Skarsgård told Rolling Stone. "If we’re naked in the scene, then I’m naked. I’ve always been that way.”

8. RUTINA WESLEY WAS OKAY WITH DYING. 

Rutina Wesley and Kristin Bauer van Straten in 'True Blood'
John P. Johnson/HBO

During the fifth season, Tara becomes a vampire. At the beginning of the final season, HBO threw no punches when they killed her off in the premiere episode. Wesley didn’t mind, though. “I think it’s great,” she told Entertainment Weekly. “I think somebody had to go. To have a main character right off the bat go, that’s gonna bring everybody into the show. It’s like, ‘Okay, and the show has started.’ This is the final season. We can’t all make it to the end.”

9. DENIS O’HARE USED HISTORY TO CREATE HIS CHARACTER’S BACKSTORY.

Russell Edgington, a.k.a. the King of Mississippi, is a 2800-year-old vampire. O’Hare researched that era and decided to make him a Pagan Celt. “They are just wild people,” O'Hare told Film School Rejects. “They have a very different relationship to everything in terms of nature and in terms of their own belief system. I just love that. That kind of helped make him just a different kind of character.”

10. JOE MANGANIELLO GOT HIS JOB WITH HELP FROM A BLOG.

Joe Manganiello in 'True Blood'
John P. Johnson/HBO

Fans of Harris’s book had a blog in which they listed who should play certain characters, and some people suggested Joe Manganiello for Alcide. Manganiello stumbled upon the site, read the books, and told his agent he wanted to audition.

“It had been my dream, since I was a little kid, to play a movie monster and a werewolf,” Manganiello told Collider. He posted the blog posts to his website, and someone who was friends with a True Blood casting director saw them. “I guess he was out at breakfast with one of the casting directors and the waiter came up to their table and the casting director said, ‘Oh, wow, that waiter would make a great werewolf, if only he was an actor.’ And, this guy said, ‘No, you know who’d make a great werewolf? This guy,’ and he pulled up my picture and showed it to him.”

Joe auditioned for a different werewolf part. “I wound up being brought in a second time for that other werewolf character, and then they wound up bringing me back in for Alcide.”

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13 Great Facts About Bad Lieutenant
Lionsgate Home Entertainment
Lionsgate Home Entertainment

Bad Lieutenant can be accused of many things, but one charge you can't level against it is false advertising. Harvey Keitel's title character, whose name is never given, is indeed a bad, bad lieutenant: corrupt, sleazy, drug-addled, irresponsible, and lascivious, all while he's on the job. (Imagine what his weekends must be like!)

Abel Ferrara's nightmarish character study was controversial when it was released 25 years ago today, and rated NC-17 for its graphic nudity (including a famous glimpse at Lil’ Harvey), unsettling sexual violence, and frank depiction of drug use. The film packs a wallop, no doubt. Here's some behind-the-scenes info to help you cope with it.

1. THE PLACID WOMAN WHO HELPS THE LIEUTENANT FREEBASE HEROIN WROTE THE MOVIE.

That's Zoë Tamerlis Lund, who starred in Abel Ferrara's revenge-exploitation thriller Ms. 45 (1981) more than a decade earlier, when she was 17 years old. She and Ferrara are credited together for writing Bad Lieutenant, though she always insisted that wasn't the case. "I wrote this alone," she said. "Abel is a wonderful director, but he's not a screenwriter. She said elsewhere that she "wrote every word of that screenplay," though everyone agrees the finished movie included a lot of improvisation. Lund was a fascinating, tragic character herself—a musical prodigy who became an enthusiastic and unapologetic user of heroin before switching to cocaine in the mid-1990s. She died of heart failure in 1999 at age 37.

2. CHRISTOPHER WALKEN WAS SUPPOSED TO STAR IN IT.

Christopher Walken had starred in Ferrara's previous film, King of New York (1990), and was set to play the lead in Bad Lieutenant before pulling out at almost the last minute. Ferrara was shocked. "[Walken] says, 'You know, I don't think I'm right for it.' Which is, you know, a fine thing to say, unless it's three weeks from when you're supposed to start shooting," Ferrara said. "It definitely caught me by surprise. It put me in terminal shock, actually." Harvey Keitel replaced him (though not without difficulty; see below), and the film's editor, Anthony Redman, thought Keitel was a better choice anyway. "Chris is too elegant for the part," he said. "Harvey is not elegant." 

3. HARVEY KEITEL'S INITIAL REACTION TO THE SCRIPT WAS NOT PROMISING.

"When we gave [Keitel] the script the first time, he read about five pages and threw it in the garbage," Ferrara said. Keitel's recollection was a little more diplomatic. As he told Roger Ebert, "I read a certain amount of pages and I put it down. I said, 'There's no way I'm gonna make this movie.' And then I asked myself, 'How often am I a lead in a movie? Read it, maybe I can salvage something from it …' When I read the part about the nun, I understood why Abel wanted to make it."

4. IT WAS ORIGINALLY SUPPOSED TO BE FUNNY.


Lionsgate Home Entertainment

"It was always, in my mind, a comedy," Ferrara said. He cited the scene where the Lieutenant pulls the teenage girls over as a specific example of how Christopher Walken would have played it, and how Harvey Keitel changed it. "The lieutenant was going to end up dancing in the streets with the girls as the sun came up. They'd be wearing his gun belt and hat, and they'd have the radio on, you know what I mean? But oh my God, Harvey, he turned it into this whole other thing." Boy, did he. 

5. THAT SCENE WITH THE TEENAGE GIRLS HAD A REAL-LIFE ELEMENT THAT MADE IT EVEN CREEPIER.

One of the young women was Keitel's nanny. Ferrara: "I said, 'You sure you want to do this with your babysitter?' He says, 'Yeah, I want to try something.'"

6. MUCH OF IT WAS FILMED GUERRILLA-STYLE.

Like many indie-minded directors of low-budget films, Ferrara didn't bother with permits most of the time. "We weren't permitted on any of this stuff," editor Anthony Redman admitted. "We just walked on and started shooting." For the scene where a strung-out Lieutenant walks through a bumpin' nightclub, they sent Keitel through an actual, functioning club during peak operating hours.

7. A GREAT DEAL OF THE DIALOGUE AND ACTION WERE MADE UP ON THE FLY.

The script was only about 65 pages at first, which would have made for about a 65-minute movie. "It left a lot of room for improvisation," producer Randy Sabusawa said, "but the ideas were pretty distilled. They were there."

Script supervisor Karen Kelsall said supervising the script was a challenge. "Abel didn't stick to a script," she said. "Abel used a script as a way to get the money to make a movie, and then the script was kind of—we called it the daily news. It changed every day. It changed in the middle of scenes." Ferrara was unapologetic about the script's brevity. "The idea of wanting 90 pages ... is ridiculous."

8. AND THERE WERE EVEN MORE IDEAS THAT THEY DIDN'T USE.

Ferrara said a scene that epitomized the movie for him—even though he never got around to filming it—was one where the Lieutenant robs an electronics store, leaves, then gets a call about a robbery at the electronics store. He responds in an official capacity (they don't recognize him), takes a statement, walks out, and throws the statement in the garbage. "And that to me is the Bad Lieutenant, you know?" Ferrara said. 

9. THE BASEBALL PLAYOFF SERIES IS FICTIONAL.

The Mets have battled the Dodgers for the National League championship once, in 1988. (The Dodgers beat 'em and went on to win the World Series.) For the narrative Ferrara wanted—the Mets coming back from a 3-0 deficit to win the pennant—he had to make it up. He used footage from real Mets-Dodgers games (including Darryl Strawberry's three-run homer from a game in July 1991) and added fictional play-by-play. But the statistics were accurate: no team had ever been down by three in a best-of-seven series and then come back to win. (It's happened once since then, when the 2004 Red Sox did it.)

10. THEY HAD HELP FROM THE COP WHO SOLVED A SIMILAR CASE.

The disgusting crime at the center of the film (we won't dwell on it) was inspired by a real-life incident from 1981, which mayor Ed Koch called "the most heinous crime in the history of New York City." The street cop who solved it, Bo Dietl, advised Ferrara on the film and had an on-screen role as one of the detectives in our Lieutenant's circle of friends.

11. THEY DESECRATED THE CHURCH AS RESPECTFULLY AS THEY COULD.

Production designer Charles Lagola had his team cover the church’s altar and other surfaces with plastic wrap, then painted the graffiti and other defacements on the plastic.

12. IT WAS RATED NC-17 IN THEATERS, WITH AN R-RATED VERSION FOR HOME VIDEO.

Blockbuster and some of the other retail chains wouldn't carry NC-17 or unrated films, so sometimes studios would produce edited versions. (See also: Requiem for a Dream.) The tamer version of Bad Lieutenant was five minutes and 19 seconds shorter, with parts of the rape scene, the drug-injecting scene, and much of the car interrogation scene excised.

13. THE "SEQUEL" HAD NOTHING TO DO WITH IT, NOR DID FERRARA APPROVE OF IT.


First Look International

Movie buffs were baffled in 2009, when Werner Herzog directed Bad Lieutenant: Port of Call New Orleans, starring Nicolas Cage. It sounds like a sequel (or a remake), but in fact had no connection at all to the earlier film except that both were produced by Edward R. Pressman. Herzog said he'd never seen Ferrara's movie and wanted to change the title (Pressman wouldn't let him); Ferrara, outspoken as always, initially wished fiery death on everyone involved. Ferrara and Herzog finally met at the 2013 Locarno Film Festival in Switzerland, where Herzog initiated a conversation about the whole affair and Ferrara expressed his frustration cordially. 

Additional sources:
DVD interviews with Abel Ferrara, Anthony Redman, Randy Sabusawa, and Karen Kelsall.

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15 Things You Might Not Know About One Flew Over the Cuckoo’s Nest
Warner Bros.
Warner Bros.

Milos Forman's One Flew Over the Cuckoo’s Nest, which premiered on this day in 1975, won critical acclaim, box office success, and a shelf full of Oscars. But even if you love the complex exploration of life inside a 1960s psychiatric hospital, there are a few things you may not know about its behind-the-scenes story. 

1. CUSTOMS NEARLY DOOMED THE PROJECT. 

Despite the middling success of the 1963 stage adaptation of Ken Kesey’s novel starring Kirk Douglas, Hollywood legend Douglas was dead set on adapting the story for the screen. Douglas contacted Czech director Miloš Forman about the project, promising to send Forman a copy of the book for his perusal. 

Douglas mailed Forman the novel, but the package was confiscated by Czechoslovakian customs and never reached the director. Unaware of the parcel’s fate, the filmmaker resented Douglas’s broken promise, and Douglas thought Forman rude for never bothering to confirm receipt of the novel. It took a decade to sort the mess out, and things only cleared up when Kirk’s son Michael Douglas took another crack at production and contacted Forman once more. 

2. ONE STUDIO WANTED TO CHANGE THE ENDING.

When producers were shopping the picture to studios, 20th Century Fox was interested, but with a catch. Fox would distribute the film, but only if the filmmakers would agree to rewrite the ending; the studio wanted McMurphy to live. Producers Saul Zaentz and Michael Douglas wisely considered this a deal breaker, and United Artists eventually distributed the film.

3. JACK NICHOLSON AND LOUISE FLETCHER WERE NOT THE FIRST CHOICES FOR THEIR CHARACTERS. 


Warner Bros.

When Kirk Douglas spearheaded the first attempt to bring One Flew Over the Cuckoo’s Nest to life on the big screen in the 1960s, he had intended to play the Randle Patrick McMurphy role himself, just as he had on stage. When production began in earnest 10 years later, Douglas was too old for the part, leaving director Forman to consider and contact the likes of Gene Hackman, Marlon Brando, and (his personal favorite) Burt Reynolds before finally settling on Jack Nicholson.

A number of different actresses were considered for the role of Nurse Ratched, the film’s central antagonist, as well: Anne Bancroft, Colleen Dewhurst, Geraldine Page, and Angela Lansbury were all in the running, before Louise Fletcher ultimately got the part. 

4. LOUISE FLETCHER CHANGED FORMAN’S VIEW ON THE CHARACTER. 

Forman’s original view of Nurse Ratched was as “the personification of evil,” a characterization that made Louise Fletcher a bad fit for the part in the filmmaker’s mind. As Fletcher pressed for the role, Forman’s perspective of Ratched evolved: “I slowly started to realize that it would be much more powerful if it’s not this visible evil,” he said. “That she’s only an instrument of evil. She doesn’t know that she’s evil. She, as a matter of fact, believes that she’s helping people.” This new take on the character paved the way for the official casting of Fletcher. 

5. SEVERAL OF THE FILM’S STARS WERE NOT ACTORS. 

Following the production team’s decision to use Oregon State Hospital as its shooting location, the producers hit on the idea of casting facility superintendent Dr. Dean Brooks as Dr. John Spivey, the doctor charged with assessing R. P. McMurphy’s psychological health. Brooks agreed to play what turned out to be a sizable role, though it would be the only acting job he would ever take. He also helped secure employment for many of his hospital’s patients as extras and crew members during production. 

Mel Lambert, another non-actor, was wrangled to play the harbormaster who protested McMurphy’s ad hoc fishing trip. What’s more, Lambert—a respected area businessman who had a strong relationship with the local Native American community—introduced the production team to Will Sampson, the 6-foot-5-inch-tall Muscogee painter who would make his acting debut as the major character Chief Bromden. 

6. THE STARS LIVED ON THE WARD DURING PRODUCTION. 


Warner Bros.

All of the actors who played patients actually lived on the Oregon State Hospital psychiatric ward throughout production. The men personalized their sleeping quarters, spent their days on campus “get[ting] a sense of what it was to be hospitalized” (as actor Vincent Schiavelli put it), and interacting with real psychiatric patients. 

7. MANY SCENES WERE SHOT WITHOUT THE ACTORS’ KNOWLEDGE. 

To complete this realistic immersion, Forman led his performers in unscripted group therapy sessions in which he directed the actors to develop their characters’ psychological maladies organically. He would often capture footage of the actors, both in and out of character, without explicitly mentioning that the cameras were rolling. The film’s final cut includes a shot of a visibly irritated Fletcher reacting to a piece of direction fed to her by Forman. 

8. FORMAN AND NICHOLSON HAD A TREMENDOUS SPAT OVER THE FILM’S PLOT. 

While the intensity of the turmoil varies from rumor to rumor, reports from the set were consistent on one fact: The star refused to speak with Forman for a large chunk of the production process. Nicholson took issue with Forman’s suggestion that the hospital inmates would be an unruly bunch upon the initial arrival of McMurphy. Instead, the actor insisted that such disavowal of the medical staff’s authority should only begin after the introduction of McMurphy into their lives and routines. 

Although the version of the story that we see in the film today is more closely associated with Nicholson’s alleged reading, suggesting that Forman ultimately took his advice, Nicholson refused to interact with his director from that point forward. When the star and Forman needed to communicate with one another, they used cinematographer Bill Butler as a middleman. 

9. DANNY DEVITO CREATED AN IMAGINARY FRIEND DURING PRODUCTION. 


Warner Bros.

Emotionally strained by a demanding shooting schedule that kept him 3000 miles from his future wife, Rhea Perlman, DeVito developed the coping mechanism of an imaginary friend with whom he would have nightly chats. Concerned that his own sanity might be slipping away, DeVito sought the advice of Dr. Brooks, who assured him that there was no reason to worry as long as DeVito could still identify the character as fictional. 

10. THE CREW WAS WORRIED ABOUT THE SANITY OF ONE CAST MEMBER.

While Dr. Brooks had no concerns about DeVito, he echoed the rest of the cast and crew’s apprehensions about the psychological state of Sydney Lassick, who played Charlie Cheswick. Lassick exhibited increasingly unpredictable and emotionally erratic behavior during his time in character, a pattern that culminated in a tearful outburst during his observation of the final scene between Nicholson and Sampson. Lassick became so overwhelmed during the scene that he had to be removed from set. 

11. FLETCHER TOOK OFF HER CLOTHES IN ORDER TO GET FRIENDLIER WITH HER CO-STARS.

Envious of the camaraderie her male costars had forged, and hoping to dispel any associations with her tyrannical character, Fletcher surprised the cast one evening by ripping off her dress on the crowded ward. Years later, the actress laughed about the display, saying, “‘I’ll show them I’m a real woman under here, you know.’ I think that must have been what I was thinking.” 

12. THE FISHING TRIP SCENE BARELY MADE IT INTO THE FILM. 

Initially, Forman was vocally opposed to including a scene that took place beyond the grounds of the hospital out of concerns that a temporary liberation would undercut the dramatic force of the film’s ending. In the end, Zaentz convinced Forman to shoot the fishing trip sequence. It was the final scene filmed and the only piece shot out of chronological order. 

One thing to look for in the fishing scene: A very subtle Anjelica Huston cameo. Huston, who was dating Nicholson during production, has a nonspeaking role as one of the spectators on the dock as McMurphy and his fellow patients steer the stolen boat back to shore. 


Warner Bros.

13. ONE FLEW OVER THE CUCKOO’S NEST WAS THE FIRST FILM TO WIN ALL “BIG FIVE” ACADEMY AWARDS IN 41 YEARS.

Not since 1934's It Happened One Night swept the Oscars had a film walked away with awards for Best Picture, Best Director, Best Actor, Best Actress, and Best Screenplay. One Flew Over the Cuckoo’s Nest took home the lot, with Nicholson and Fletcher winning the top acting awards. The feat would not be matched again for another 16 years, with Silence of the Lambs becoming the next (and last to date) movie to earn the distinction. 

14. THE FILM ENJOYED ONE OF THE LONGEST THEATRICAL RUNS IN MOVIE HISTORY. 

One Flew Over the Cuckoo’s Nest was revered worldwide, but Swedish viewers developed an especially soft spot for the film. Cuckoo’s Nest remained a regular option for Swedish moviegoers through 1987—11 years after its initial release. 

15. KESEY REFUSED TO SEE THE FILM (BUT MAY HAVE BY ACCIDENT). 

The poster child for the “the book was better” movement, One Flew Over the Cuckoo’s Nest author Kesey disapproved of a big screen adaptation of his novel as soon as he found out that the filmmakers had abandoned the use of Chief Bromden as the story’s narrator. Kesey never intended to see the movie, but one story says he inadvertently caught a few moments during a bout of channel surfing one evening. Once Kesey realized what he was watching, he promptly changed stations.

According to fellow novelist Chuck Palahniuk (who has famously praised director David Fincher’s adaptation of his novel Fight Club, plot changes and all), Kesey once stated privately that he did not care for the material.

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