For her role as the sweetly-singing Snow White, 19-year-old actress Adriana Caselotti was paid just $20 for each day of work—a total of $970. She also signed a contract with Disney, which prevented her from working elsewhere. He didn’t want her distinct voice to appear in another work and tarnish his pristine princess. She still managed to land a few bit parts, including the line “Wherefore art thou, Romeo?” in the Tin Man's song “If I Only Had a Heart” in The Wizard of Oz. She remained loyal to Snow White until the day she died in 1997: Caselotti’s house in L.A. resembled a certain woodland cottage, including a wishing well in the front yard.
Like Caselotti, Ilene Woods’ post-princess career seems to have been rather limited. In 1963, she married Ed Shaughnessy, the drummer on The Tonight Show. She sued Disney in 1988, claiming that the $2500 she was paid to record the voice of Cinderella in 1948 didn’t include rights to distribute that voice on VHS. She asked for $20 million, and though Woods' case seems to have been settled out of court, Peggy Lee won a similar lawsuit for $3.83 million in 1991.
Perhaps surprisingly, Woods had a pretty modern view of the princess she gave a voice to: “I don’t think she needed the prince,” she once said. “I think she wanted to go to the ball and that was it at the moment. Then the prince wanted her and vice versa.”
After 22-year-old Mary Costa voiced Princess Aurora/Briar Rose in 1952 (though the movie wasn’t released until 1959), she went on to perform in more than 40 operas across the world. In 1991, she, too, sued Disney over the VHS issue. They settled out of court, and apparently no grudges were held: At the age of 83, Costa is still doing promotional appearances for Disney.
Jodi Benson voices not one, but two popular Disney characters: everyone’s favorite flighty mermaid, of course, but also Ken’s better half in the Toy Story movies—Barbie. And Benson’s work doesn’t stop at the House of Mouse. She’s done voice work for The Powerpuff Girls, The Grim Adventures of Billy and Mandy, The Little Engine That Could, Camp Lazlo, and Batman Beyond, among others.
Can you imagine the well-read girl leading the quiet French provincial life singing about her waning sex drive? Actually, you don’t have to imagine it. Head to Vegas and see it for yourself. Paige O’Hara is currently in performing at the Luxor as the Soap Star in the Broadway show Menopause the Musical.
Though O’Hara is no longer providing the voice for Belle—“They did a one-fell-swoop of all of the older actresses and decided to replace all of us,” she said—she’s still very much attached to the role, painting scenes from her most famous movie and selling them through DisneyFineArt.com.
Jasmine’s speaking voice, Linda Larkin, continues to get most of her work from speaking for the Princess of Agrabah. She does occasionally pop up elsewhere, though—you can currently find her as Violet in Grand Theft Auto V.
Since she gave Jasmine and Mulan their sweet singing voices in the 1990s, Lea Salonga has performed in a number of musicals, including separate stints as Eponine and Fantine in Les Miserables on Broadway. She has also released several albums that have been internationally successful.
The casting directors of Private Practice might have a thing for princesses, because they’ve also hired Anika Noni Rose, the singing and speaking voice of Tiana from The Princess and the Frog. Rose has also appeared on The Good Wife, Elementary, and The Simpsons.
Mandy Moore was a big name long before Tangled took the pink aisle at Target by storm, and she’s still acting and singing. She stars in the CBS drama The Advocates, scheduled to premiere next month, and will also voice the title character in a Disney Junior “animated western” called Oki’s Oasis.
Since serving as the speaking voice and physical model for Pocahontas, Irene Bedard has been in a number of movie and television roles, both onscreen and as a voice actor. In fact, she appeared as Pocahontas’ mother in Terrence Malick’s The New World in 2005.
The Powhatan princess’ singing voice was provided by Judy Kuhn, a Broadway actress famous for playing Cosette in Les Miserables and Florence Vassy in Chess. Post-Pocahontas, Kuhn continued performing in musicals from Funny Girl to Passion. In 2007, she joined the cast of Les Miserables again, this time playing Fantine. Interestingly, she succeeded Lea Salonga in the role. Wonder if they ever crossed paths and discussed their princess pasts.
You already know what Mulan’s singing voice, Lea Salonga, has been up to. But her speaking voice, Ming-Na Wen, has also been pretty busy, with roles on Two and a Half Men, Eureka, Private Practice and Boston Legal. You can see her as Agent Melinda May on Marvel’s Agents of S.H.I.E.L.D.
Even the most successful screenwriters don’t always get what they want after a film is completed. Here are 11 scribes who didn't hold back when it came to reviewing their own films.
1. QUENTIN TARANTINO // NATURAL BORN KILLERS (1994)
During the early 1990s, Quentin Tarantino sold his screenplay for Natural Born Killers to Oliver Stone and used the money to fund his debut film, Reservoir Dogs, which was released in 1992. Two years later, Stone released the film with Woody Harrelson and Juliette Lewis in starring roles.
While it was a box office hit, Tarantino despised the production because of the changes and alterations to much of his original content. "I hate that f*cking movie," Tarantino toldThe Telegraph in 2013. "If you like my stuff, don't watch that movie."
Years after its release, the producers of Natural Born Killers sued Tarantino when he tried to publish the original screenplay as a book, as he had done with his original script for True Romance. The producers believed that Tarantino forfeited his rights when he sold it to them, but a judge ruled in Tarantino's favor.
2. PAUL RUDNICK // SISTER ACT (1992)
During the late 1980s, playwright and novelist Paul Rudnick tried his hand at screenwriting between stage productions. He pitched Sister Act to Touchstone Pictures, which is owned by the Walt Disney Company, with Bette Midler in mind for the lead role. Though Midler passed on it, Whoopi Goldberg signed on to play the lovable lounge singer pretending to be a nun.
After months of rewrites and tedious studio notes, Rudnick was not happy with the final screenplay because it was nothing like what he originally wrote or intended the film to be. In fact, he was so unhappy with the movie that he asked Disney to remove his name and use the pseudonym “Joseph Howard” instead.
“Good or bad, it was no longer my work, so I asked to have my name removed from the credits,” Rudnick wrote in The New Yorker in 2009. “The studio was unhappy with that, and I got a series of urgent calls offering me a videocassette of the final cut and asking me to watch it and reconsider. I refused, because, even if the movie was terrific, it wasn’t my script ... Disney agreed that I could use a pseudonym, pending its approval.” He continued, “I can’t vouch for the original film, for one reason. Sister Act may very well be just fine, but I’ve never been able to watch it."
3. KURT SUTTER // PUNISHER: WAR ZONE (2008)
Before Marvel’s The Punisher made a comeback as a TV series on Netflix in 2017, Sons of Anarchy creator Kurt Sutter was hired to write a sequel to The Punisher starring Thomas Jane and John Travolta. In 2007, Sutter started writing a new script and wanted to ground the antihero in a grittier reality and move the character from Florida to New York City.
However, after Jane dropped out of the project, Marvel Studios wanted to start over with a new sequel that felt more like the comic book version of Frank Castle instead of the more realistic idea that Sutter envisioned. The end result was so far removed from what Sutter had written that he asked for his name to be removed from what would turn into Punisher: War Zone.
“I threw away the first draft written by Nick Santora and did a page one rewrite,” Sutter wrote of the project in 2008. “I changed the locations, the characters, the story. I dropped Frank in a real New York City with real villains, real cops, real relationships. To me, the Punisher deserved more than the usual comic book redress. It shouldn’t just follow the feature superhero formula. Apparently, I was the only one who shared that vision.”
4. AND 5. LANA AND LILLY WACHOWSKI // ASSASSINS (1995)
During the mid-1990s, Lana and Lilly Wachowski sold the screenplays for Assassins and The Matrix to producer Joel Silver for $1 million per film. Assassins was the first to go into production, and Richard Donner signed on to direct with Sylvester Stallone and Antonio Banderas attached to co-star.
Although Assassins was one of the hottest unproduced screenplays at the time (you can read the Wachowskis' original version here), Donner didn’t like the darker tone and artsy symbolism, so he hired screenwriter Brian Helgeland to do a page-one rewrite to make it into a standard action thriller instead. The Wachowskis were not happy with the decision to tone down their screenplay, so the siblings wanted their names to be taken off the project, but the Writers Guild of America denied their request.
“The film was not really based on the screenplay,” Lana said in a 2003 interview. “The one thing that sort of bothered us is that people would blame us for the screenplay and it’s like Richard Donner is one of the few directors in Hollywood that can make whatever movie he wants exactly the way he wants it. No one will stop him and that’s essentially what happened. He brought in Brian Helgeland and they totally rewrote the script. We tried to take our names off of it but the WGA doesn’t let you. So our names are forever there.”
If there’s a silver lining to this story it’s that the experience with Assassins led the Wachowskis to want more control over their work—so they decided to become directors; they made their directorial debut with Bound in 1996.
6. BRET EASTON ELLIS // THE INFORMERS (2008)
Although Bret Easton Ellis co-wrote the screenplay for the film adaptation for The Informers, from his own novel, the final cut was not exactly how he envisioned it. Ellis was upset that the tone of the story went from dark humor to something more melodramatic. He blamed Australian director Gregor Jordan for The Informers's missteps.
“You need [a director] who grew up around here,” Ellis said. “You also need someone with an Altman-esque sense of humor, because the script is really funny. The movie is not funny at all, and there are scenes in the movie that should be funny that we wrote as funny, and they’re played as we wrote them, but they’re directed in a way that they're not funny. It was very distressing to see the cuts of this movie and realize that all the laughs were gone. I think Gregor was looking at it as something else. I think we had this miscommunication during pre-production that it’s not supposed to be played like an Australian soap opera.”
In 2010, Ellis again commented on the woes of The Informers during a Q&A at the Savannah College of Art and Design, saying: “That movie doesn't work for a lot of reasons but I don't think any of those reasons are my fault."
7. KELLY MARCEL // FIFTY SHADES OF GREY (2015)
In early 2013, Universal Pictures acquired the film rights to E.L. James's bestselling novel, Fifty Shades of Grey. The studio envisioned a new film franchise and hired Saving Mr. Banks screenwriter Kelly Marcel to adapt the book. While the movie studio promised Marcel creative freedom to explore the book’s characters and themes, the author had the final approval over the screenplay, director, and cast. James was unhappy with Marcel’s work and wanted the movie to be more like her novel.
“I very much wanted to do something different with the screenplay, and when I spoke to the studio and the producers and made that quite clear, they were very enthusiastic about that and kind of loved the things I wanted to do,” she explained on the Bret Easton Ellis Podcast in 2015. “I wanted to remove a lot of the dialogue. I felt it could be a really sexy film if there wasn’t so much talking in it.”
Marcel didn’t return to write the film's sequels, Fifty Shades Darker and Fifty Shades Freed, and never even bothered to watch the original. “My heart really was broken by that process, I really mean it,” Marcel said. “I just don’t feel like I can watch it without feeling some pain about how different it is to what I initially wrote.”
8. JOE ESZTERHAS // JADE (1995)
During the 1990s, screenwriter Joe Eszterhas was the toast of Hollywood after Basic Instinct became a smash hit. His screenplays would sell for upwards of $4 million apiece, with Paramount Pictures acquiring the film rights to Jade for $1.5 million after Eszterhas turned in a mere two-page outline. However, after William Friedkin signed on to direct, the screenplay was completely changed with Friedkin doing an uncredited rewrite. Eszterhas was not happy that his work was butchered.
"I stared in disbelief," Eszterhas wrote in his autobiography, Hollywood Animal, about watching Jade for the first time. "I watched entire plot points and scenes and red herrings that weren't in my script. I heard dialogue that not only wasn't mine but was terrible to boot."
9. GORE VIDAL // CALIGULA (1979)
Although he was paid $200,000 for the screenplay for Caligula in 1979, novelist and screenwriter Gore Vidal was not happy with Penthouse Magazine founder and film producer Bob Guccione after he changed the film from a political satire to a $17 million piece of mainstream porn. Vidal was also very unhappy with the film’s director, Tinto Brass, with whom he had several clashes during production. Guccione sided with Brass and kicked Vidal off the set, while Vidal requested that his name be taken off the project altogether.
Eventually, Brass also walked off Caligula after butting heads with Guccione; Brass, too, asked for his name to be taken off the movie. The end result was Brass receiving a bizarre “Principal Photographer” credit, while Vidal got an even stranger “Based on an Original Screenplay by Gore Vidal” attribution.
“When I asked to see the first rushes, I was told by the Italian producer, ‘But, darling, you will hate them!,'" Vidal toldRolling Stone in 1980. "To which I said, ‘If Gore Vidal hates Gore Vidal's Caligula, who will like it?’ This was never answered. I quit the picture. Meanwhile, the director told the press that nothing of my script was left, except my name in the title.” Vidal later continued, “I threatened legal proceedings to remove the name. Finally, it was agreed that I would get no credit beyond a note that the screenplay was based upon a subject by Gore Vidal. But a fair amount of damage has been done.”
10. GUINEVERE TURNER // BLOODRAYNE (2005)
Screenwriter Guinevere Turner is mostly known for her thoughtful, character-driven movies like American Psycho, Go Fish, and The Notorious Bettie Page. She was even a staff writer and story editor on the hit Showtime TV series The L Word during the mid-2000s. With such an impressive resume, it was a little surprising that German director Uwe Boll, who is known as one of the worst directors of all time and the “schlock maestro” of movies like Alone in the Dark and Postal, commissioned Turner to write the film adaptation of the video game BloodRayne in 2005.
Turner wrote the screenplay in a few weeks and turned in a first draft to Boll, who was really excited about her work and decided to film it right away. However, he only ended up filming about 20 percent of the script and let the actors "take a crack at it" with improv and ad-lib work.
To no one’s surprise, BloodRayne turned out to be terrible, while Turner later said she was the only one “laughing out loud” during its premiere at Mann’s Chinese Theater in Los Angeles. “It’s like a $25 million movie, and it blows! I mean, it’s like the worst movie ever made,” she admitted in the Tales From The Script documentary.
BloodRayne was later nominated for two Golden Raspberry Awards for Worst Director and Worst Picture.
11. J.D. SHAPIRO // BATTLEFIELD EARTH (2000)
In 1997, John Travolta commissioned screenwriter J.D. Shapiro to adapt Scientology founder L. Ron Hubbard’s 1982 novel Battlefield Earth: A Saga of the Year 3000 for the big screen. Shapiro wrote a darker version of the novel, which resulted in him getting fired from the project altogether for refusing to change its tone.
However, much of what he wrote ended up in the final movie, so Shapiro ended up with a writer’s credit, much to his dismay. Battlefield Earth was released in the year 2000 and went on to be known as the worst movie of the decade. Shapiro even penned an open letter to apologize for his involvement.
"Let me start by apologizing to anyone who went to see Battlefield Earth,” he wrote in the New York Post in 2010. “It wasn’t as I intended—promise. No one sets out to make a train wreck. Actually, comparing it to a train wreck isn’t really fair to train wrecks, because people actually want to watch those."
Although Shapiro hated Battlefield Earth, he was a good sport about its failure. He even showed up to accept a Golden Raspberry Award for Worst Screenplay in 2001.
As IndieWire reports, each shirt bears an image of one of Lynch’s paintings or photographs with an accompanying title. Some of his designs are more straightforward (the shirts labeled “House” and “Whale” feature, respectively, drawings of a house and a whale), while others are obscure (the shirt called “Chicken Head Tears” features a disturbing sculpture of a semi-human face).
This isn’t the first time Lynch has ventured into pursuits outside of filmmaking. Previously, he has sold coffee, designed furniture, produced music, hosted daily weather reports, and published a book about his experience with transcendental meditation. Art, in fact, falls a little closer to Lynch’s roots; the filmmaker trained for years at the Pennsylvania Academy of the Fine Arts before making his mark in Hollywood.
Lynch’s Amazon store currently sells 57 T-shirts, ranging in size from small to triple XL, all for $26 each. As for our own feelings on the collection, we think they’re best reflected by this T-shirt named “Honestly, I’m Sort of Confused.”