10 Surprising Facts About I, Tonya

NEON
NEON

With Oscar nominations for Best Actress, Best Supporting Actress, and Best Film Editing, the fourth wall-demolishing biopic about Tonya Harding’s life and figure skating career through the infamous attack on Nancy Kerrigan in 1994 is the scrappy little outsider of this year's awards season. Which is fitting, as I, Tonya has a punk rock edge that should make audiences question the way they view the usual, stuffy biopics (and the truth itself).

Written by Steven Rogers and directed by Craig Gillespie, the movie stars Margot Robbie as Harding, Sebastian Stan as Jeff Gillooly, and Allison Janney as Harding’s mother, LaVona Golden. It also stars a lot of early 1990s fashion and Olympic-sized drama. Here are 10 fun facts about I, Tonya.

1. CRAIG GILLESPIE WORKED WITH NANCY KERRIGAN ON A 1993 CAMPBELL’S SOUP COMMERCIAL.

Before making movies, Craig Gillespie worked as an art director for several advertising companies, and just as Kerrigan’s star was rising higher, she starred in one of his commercials that showed that eating soup gives you the strength to gut-check an ice hockey player. What are the odds that he’d make a movie about her attackers 25 years later?

2. I, TONYA HIRED ONE OF KERRIGAN’S CHOREOGRAPHERS.

For training and choreography, the film turned to Canadian figure skater Sarah Kawahara. Kawahara was the first skater to win an Emmy for choreography, for her work on a Scott Hamilton special in 1997, and she won again for choreographing the opening and closing ceremonies of the 2002 Winter Olympics in Salt Lake City. She’s also worked with dozens of top-level skaters in her career, including with Kerrigan for the 1995 TV event Nancy Kerrigan Special: Dreams on Ice.

3. ALLISON JANNEY USED TO BE A COMPETITIVE SKATER.

Allison Janney in 'I, Tonya' (2017)
NEON

Allison Janney, who scored an Oscar nomination for playing Harding’s mother LaVona Golden, grew up with Olympic ambitions, figure skating as a teenager until she accidentally ran into a glass door and sliced a tendon in her leg. She gave up competitive skating and went to college to become an actor instead.

4. THE ROLE OF TONYA HARDING’S MOTHER WAS WRITTEN FOR JANNEY.

Screenwriter Steven Rogers is a longtime friend of Janney’s, and he’s written several roles with her in mind, but she was never cast in any of them until now. Unlike the other real-life counterparts from the film, Rogers was never able to track down LaVona Golden to interview her, so her portrayal is built from old documentary footage and creative license.

5. THEY USED BEER TO GET HARDING’S HAIR RIGHT.

Sebastian Stan and Margot Robbie in 'I, Tonya' (2017)
NEON

Lead hair designer Adruitha Lee made four wigs for Robbie to wear, designing them using products and dyes from the time. Her secret weapon for getting that crispy, crunchy look? Cheap beer. “You’re not going to get that bang to stand up like that with just mousse,” she told The Hollywood Reporter.

6. EVEN THE PARAKEET HAD TO AUDITION.

The production auditioned three different birds to see which one would remain calmest while perched atop Janney’s fur coat-covered shoulders. “I tried a couple of birds, and I picked Little Man, which is not his real name, but that’s what I called him,” Janney told The Huffington Post. “I knew it was my job to make it look like I had a relationship with the bird, that we’d been together for a long time. I couldn’t look ruffled, if you will, by anything this bird did. And believe me, he did a lot. I mean, you saw him trying to eat out my ear.”

7. MARGOT ROBBIE STRUGGLED THROUGH AN INJURY ALL THROUGHOUT FILMING.

While tackling the physically demanding ice skating elements of the shoot, Robbie herniated a disc in her neck and says she would have quit the production had she not been a producer on it. “Because I was a producer, I was like, ‘We can’t afford that. Just shoot me up with some steroids, and let’s keep going,’” she said during a SAG-AFTRA interview. Robbie, who earned a Best Actress Oscar nod for the role, got an MRI at the end of each week to assess whether she could keep filming or not.

8. HARDING’S CONTACT INFORMATION CONVINCED ROGERS TO WRITE THE MOVIE.

Rogers was inspired to do something with the story after seeing a skating documentary, but he didn’t get invested until he tried to reach out to Harding for the first time. He dialed the contact phone number for her agent as listed on her professional website, and it went to a Motel 6. At that point, Rogers decided that he would stick with the project no matter where it took him.

9. THE SCREENWRITER LEANED INTO THE REAL STORY’S LACK OF TRUTH.

Margot Robbie in 'I, Tonya' (2017)
NEON

What do you do if you’re writing a movie based on real events, but no one can agree on exactly what happened? Rogers conducted interviews with both Harding and Jeff Gillooly, but, “Their stories were so wildly contradictory,” Rogers told Gold Derby. “I thought, ‘That’s my in.’ I’ll just show everybody’s point of view, and then let the audience decide what they want to decide … Everyone’s trying to control the narrative…They’re all telling themselves what they need to know to be able to live with themselves.”

10. ROBBIE DIDN’T KNOW THE EVENTS OF THE MOVIE REALLY HAPPENED.

The rivalry between Kerrigan and Harding was all over the news leading up to the 1992 Olympics, and the attack on Kerrigan became a national scandal ahead of the 1994 games in Lillehammer, but Robbie didn’t know about it until after she read a script she thought was fictional. You can’t really blame her, though: Robbie is from Australia, and she was 4 years old when the attack happened.

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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