11 Astonishing Facts About Freaks

Warner Home Video
Warner Home Video

In 1931, fresh off the success of his horror hit Dracula, director Tod Browning finally got the go-ahead to pursue a longtime passion project of his: a revenge tale centered around sideshow performers in a traveling circus. Eager to produce their own horror films that could rival Dracula, MGM let Browning make Freaks, one of the most ambitious and gutsy filmmaking efforts in Hollywood at the time. Though today many regard it as a classic, or at least a cult favorite, Freaks did not have the same reception in the early 1930s. Its title character faced scrutiny and revulsion on the MGM backlot, and the film itself faced scandalized audiences nationwide.

Now, nearly 90 years after its initial release, Freaks remains a unique work in Hollywood history. Here are 11 facts about how it got there, from the original idea to its unlikely revival.

1. IT WAS ORIGINALLY INTENDED TO BE A LON CHANEY VEHICLE.

The story of Freaks as a film project apparently dates back to at least 1925, and the MGM silent drama The Unholy Three, which was directed by Browning and starred “Man of a Thousand Faces” Lon Chaney. The film was based on a short story by Tod Robbins, and co-starred eventual Freaks star Harry Earles as a dwarf criminal who pulled scams by posing as a baby. The story goes that Earles, eager to find more film roles, brought Robbins’s short story “Spurs”—the tale of a pair of circus performers (part of a bareback riding act in the story) who take advantage of a wealthy dwarf—to Browning.

Browning, himself a former sideshow and vaudeville performer, took an interest in the story and convinced MGM to purchase the rights. The original plan, according to Browning biographer and historian David J. Skal, was to make the film another Chaney vehicle, but the film never got off the ground during the silent era. Chaney died in 1930, shortly after again co-starring with Earles in a talkie remake of The Unholy Three, but Browning never lost interest in the story.

2. MGM WANTED IT TO RIVAL DRACULA AS A HORROR FILM.

Though there were certainly monstrous characters populating various silent films (particularly those portrayed by Chaney in The Phantom of the Opera and London After Midnight), the horror film as a genre didn’t really take off until the era of talkies began. Shortly after Chaney’s death due to complications from lung cancer, Browning was off at Universal Pictures, helping to lead the horror wave with his now-classic adaptation of Dracula. When Browning returned to MGM in the wake of Dracula’s success, head of production Irving Thalberg wanted to capitalize on the horror boom. The hope was that, with the director of Dracula back at the studio, MGM could best Universal with something even more horrifying, and so Browning was finally given the go-ahead to make Freaks, which had remained a pet project of his for years.

According to Skal, it became a classic lesson for Thalberg in being careful what you wish for: The story goes that after he was presented with the screenplay for the film, Thalberg reportedly hung his head and said, “Well, I asked for something horrible, and I guess I got it.”

3. CASTING THE "FREAKS" WAS AN INTENSE PROCESS.

Olga Baclanova and Harry Earles in 'Freaks' (1932)
Harry Earles and Olga Baclanova in Freaks (1932)
Warner Home Video

Aiming for authenticity, Browning sought real sideshow attractions and performers to play the “freaks” at the heart of the story instead of relying on movie magic (as he so often had with Chaney) to portray them. Earles, who brought “Spurs” to Browning in the first place, naturally came on board to play the wealthy dwarf Hans, and enlisted his sister Daisy to play Hans’s dwarf fiancée Frieda.

For the rest of the characters, casting director Ben Piazza put out a call for photographs and on-camera tests for various sideshow performers, and apparently spent nearly a month traveling the country to scout out various acts. This exhaustive search paid off, leading to the casting of memorable performers like the “Half Boy” Johnny Eck, the “Living Torso” Prince Randian, Angelo Rossitto (who continued to work in films for more than five decades after Freaks), and Schlitzie (spelled Schlitze in the film), who in many ways became the performer most identified with the film.

4. MYRNA LOY AND JEAN HARLOW WERE ORIGINALLY CONSIDERED AS CO-STARS.

Casting the other characters in Freaks may not have required as much of an outside-the-studio effort, but it was nonetheless met with a few challenges. When casting the scheming trapeze artist Cleopatra, Thalberg apparently wanted Myrna Loy, who was then a rising star recently signed to an MGM contract. According to Skal, Loy was “absolutely horrified” by the script, and begged Thalberg not to make her do the film. Thalberg relented, and the role went to Olga Baclanova, a former Moscow Art Theatre performer who left the company during a U.S. tour in 1925 and went on to co-star in The Man Who Laughs in 1928, alongside Conrad Veidt. For the seal trainer Venus, Browning wanted Jean Harlow, who was apparently announced to the press as one of the film’s stars near the start of production. Thalberg eventually nixed that idea too, and the role went to Leila Hyams.

5. TOD BROWNING HAD NIGHTMARES ABOUT THE PERFORMERS DURING PRODUCTION.

Browning’s insistence on casting real sideshow performers in Freaks paid off visually, resulting in an unforgettable film experience that also managed to humanize the various real people behind the story. When those casting decisions were applied to the practical process of shooting a film, though, things were sometimes less rewarding. Though many of them were seasoned performers, the “freaks” were not necessarily trained actors, and some of them required special care and patience due to impairments. The stress of working with them took a toll on Browning, which led to some unusual dreams during the making of the film.

"It got to the point where I had nightmares. I mean it. I scarcely could sleep at all. There was one terrible dream in which I was trying to shoot a difficult scene,” Browning later recalled. “Every time I started, Johnny Eck, the half-boy, and one of the pinheads would start bringing a cow in backwards through a door. I'd tell them to stop but the next take they'd do it all over again. Three times that night I got up and smoked a cigarette but when I went back to bed I'd pick up the dream again." 

6. THE "FREAKS" WERE OSTRACIZED BY STUDIO EMPLOYEES.

Browning’s practical difficulties in shooting the film aside, the performers in Freaks also faced resistance from various MGM employees who were reportedly disgusted by their presence on the studio lot. Studio head Louis B. Mayer was apparently so shocked by the performers that he wanted to shut the picture down. Thalberg was able to keep Mayer at bay, but other employees also raised objections after see the “freaks” in the MGM commissary.

To keep tempers from flaring, Thalberg arranged a compromise: Though the more “normal” looking cast members—including Harry and Daisy Earles and the conjoined twins Violet and Daisy Hilton—were allowed to remain in the commissary, the rest of the cast was relegated to a tent erected outside, which served as their mess hall. This perhaps still didn’t stop certain reactions, though. According to one possibly apocryphal story, F. Scott Fitzgerald—who was doing some screenwriting work for MGM at the time—walked into the commissary one day and was so shocked by the sight of the Hilton sisters that he fled the room to go vomit. Fitzgerald later worked what seems to be a version of this encounter into his short story “Crazy Sunday,” which is about a Hollywood screenwriter.

7. AUDIENCES WERE SCANDALIZED BY IT.

Freaks finally held its first previews in San Diego in January of 1932, where the audience reaction was swift and brutal. One woman ran screaming from the theater during the movie, while another apparently threatened to sue the studio, claiming that the film was so horrific it had caused her to suffer a miscarriage (it remains unclear whether or not these stories were actually publicity stunts cooked up by MGM to play up the film’s horror elements). One review from a critic who saw the film’s first cut called it "rather gruesomely dramatized for the edification (or education) of those morbid persons who enjoy gazing upon unfortunate, misshapen, cruelly deformed humanity." Fearing further disaster, Thalberg decided to act.

8. THE STUDIO CUT THE MOVIE SHORT.

After the disastrous preview screenings of Freaks, Thalberg decided changes needed to be made, and moved the film’s wider release from January 30 to February 20 of 1932. Without Browning’s input, Thalberg trimmed the film from a length of 90 minutes to only about 60, cutting both footage that depicted the attack on Hercules and Cleopatra in greater detail and some scenes that further humanized the “freaks” through small character moments (the scene in which Prince Randian lights his own cigarette using only his mouth, for example, also originally included footage of him rolling the cigarette). Thalberg also cut an epilogue sequence that depicted a London museum opened by Madame Tetrallini (Rose Dione) and replaced it with a framing device featuring a carnival barker who showed off the mutilated Cleopatra to a crowd. Thalberg also added a different epilogue in which Venus and Phroso the clown (Wallace Ford) bring Frieda to Hans’s mansion for a reunion and reconciliation.

The uncut version of Freaks still played at the film’s world premiere at San Diego’s Fox Theatre on January 28, and ironically it ended up finding success there. The film set a house record during its run for the theater, which capitalized by advertising itself as the only place where audiences could ever see the “uncensored” version of Freaks.

9. IT WAS A BOX OFFICE FAILURE.

Roscoe Ates, Daisy Hilton, and Violet Hilton in 'Freaks' (1932)
Roscoe Ates, Daisy Hilton, and Violet Hilton in Freaks (1932)
Warner Home Video

Though both initial audience and critical reactions were rather negative, Freaks continued to march through its release across the country in the early months of 1932. Along the way it found box office success in some major cities, and even some positive reviews, but the horrified responses to the film drowned out any sense that Freaks could ever become a box office success. The film’s New York engagement was delayed for months, and when it finally arrived in the summer of 1932 the writing was on the wall. The studio pulled Freaks from circulation and reported a loss of $164,000 against its $316,000 budget.

The next year, in an effort to recoup some of the money lost during the initial theatrical run, Thalberg re-released the film, without the MGM logo, under the new title Nature’s Mistakes. The new release was accompanied by an ad campaign that asked questions like "Do Siamese Twins Make Love?" and "What Sex is the Half-Man-Half-Woman?"

10. IT DERAILED BROWNING’S CAREER.

Before Freaks, Browning was one of the most successful directors in Hollywood, and his success had earned him enough clout to get the ambitious and gutsy film made after Dracula hit big at Universal. After Freaks, he never quite recovered. According to Skal, this was not just due to that film’s failure, but due to Browning’s continued discomfort with the change in the filmmaking process that came from the rise of talkies. That discomfort, coupled with an increasing inability to get more personal projects approved by the studios in the wake of Freaks, led to his decline in the 1930s.

Browning directed just four more films (two of them uncredited), with his final directing credit coming on the MGM mystery Miracles for Sale in 1939. He retired with enough savings from his directorial successes to live comfortably in a pair of homes in Beverly Hills and Malibu, and died in 1962.

11. IT FOUND A NEW AUDIENCE IN THE 1960S.

After its critical and commercial failure in the United States, Freaks faded into the background as a kind of Hollywood curiosity, and was banned in several countries (including the United Kingdom) for decades. The film was licensed by distributor Dwain Esper in the late 1940s, and played on the grindhouse circuit at various independent theaters, but it wasn’t until the 1962 Cannes Film Festival that the film’s revival really began. After screening there, it was heralded as a kind of forgotten classic. Noted film collector and archivist Raymond Rohauer picked up the baton from there, landing the rights to Freaks and showing it as a cult film. It gained prominence on the midnight movie circuit, and found particular success with members of the 1960s counterculture movement, who saw kindred spirits in its cast.

Additional Sources:
“Tod Browning’s Freaks: The Sideshow Cinema” (Warner Home Video, 2004)

17 Things to Look for the Next Time You Watch Office Space

20th Century Fox Home Entertainment
20th Century Fox Home Entertainment

Twenty years ago (yes, you’re really that old) Office Space forever changed how we look at cubicle life. Like a much funnier Dilbert meets Beavis and Butt-head meets the then-largely misunderstood world of Silicon Valley, the comedy movie from Beavis creator Mike Judge ably skewered everything from didactic middle-management bosses to chain restaurant uniforms. And it gave us a charming Jennifer Aniston love story plus a rap mini-music video dedicated to the destruction of malfunctioning printers.

For all that and more, the 1999 film that originally performed poorly at the box office has become a widely quoted cult sensation. Here are the interesting facts and references to look for the next time you watch Office Space.

1. It was shot very, very far from Silicon Valley.

A still from 'Office Space' (1999)
20th Century Fox Home Entertainment

Office Space keeps its setting purposefully vague, but the opening driving shots clue a perceptive viewer into the location: Notice the sign for Preston Road on Highway 289 in the background, which indicates that we’ve been dropped around Plano, Texas. The movie was shot in and around Austin, where Mike Judge lives, making him something of a Hollywood outsider. But Office Space is clearly attuned to the rituals and lingo of Silicon Valley’s tech scene. In fact, Judge worked as an engineer in the California area in the 1980s, which would go on to inform much of his satire, especially his popular HBO show Silicon Valley.

2. It was Mike Judge's first foray into movies ... and it didn't work out as planned.

A still from 'Office Space' (1999)
20th Century Fox Home Entertainment

Starting out as a self-taught animator in Texas, Judge made his name in entertainment with cartoons that aired on Saturday Night Live and, eventually, turned into his own MTV show. Beavis and Butt-head premiered in 1993, when the cable network’s scripted offerings were still in their infancy, and quickly became both a commercial hit and a cause of nationwide controversy. He went on to co-create Fox’s slightly more family-friendly King of the Hill, but Office Space marked his live-action directorial debut in film (he previously helmed the movie adaptation Beavis and Butt-head Do America). Made on an estimated $10 million budget, it earned only slightly more than that at U.S. theaters. Sadly, that failure has become something of a pattern for Judge’s movie work: Future efforts Idiocracy and Extract failed to catch on with initial audiences, though the former has also grown into a cult hit.

3. It didn't exactly make Ron Livingston a household name.

A still from 'Office Space' (1999)
20th Century Fox Home Entertainment

Office Space had all the makings of a breakout for its handsome, top-billed star, who was coming off a smaller part in the comedy phenomenon Swingers. But given its early commercial disappointment, he continued to seek out smaller parts and interesting, left-field projects like Adaptation. and The Cooler. He finally got his mainstream cred as the boyfriend of Carrie Bradshaw on Sex and the City (he's the one who broke up with her via Post-it note) with the massively popular horror flick The Conjuring. He's currently starring in two series: A Million Little Things and Loudermilk.

4. Initech has a very symbolic statue.

A still from 'Office Space' (1999)
20th Century Fox Home Entertainment

The statue outside the Initech office shows a square peg in a round hole. No coincidence, it’s a reference to the common idiom referring to an individualist who doesn’t fit into a particular social mold. That could describe Livingston’s Peter, his co-worker friends, Jennifer Aniston’s Joanna—or, more self-referentially, Judge himself, who has always made movies and series about outsiders.

5. You can tell a lot about Bill Lumbergh from his vanity plate.

A still from 'Office Space' (1999)
20th Century Fox Home Entertainment

Everything you need to know about Division V.P. Bill Lumbergh (Gary Cole) is established in an early shot of him pulling into his reserved parking space at Initech in a blue Porsche with a customized license plate that reads, “MY PRSHE.” Low-key. (Also notice the lack of any regional designation on the license plates in the film.)

6. "TPS" has a real meaning.

A still from 'Office Space' (1999)
20th Century Fox Home Entertainment

Lumbergh’s single-minded obsession with the details of “TPS reports” drives much of the cubicle-set humor, but what exactly is a TPS report? Potential meanings abound, especially given that companies love an abbreviation, but Judge revealed that TPS refers to Test Program Set reports, which dated back to his engineering days.

7. The food at Chotchkie's sounds less than appetizing.

A still from 'Office Space' (1999)
20th Century Fox Home Entertainment

A sign at the restaurant promotes its “shrimp poppers,” a food name that leaves a lot to the imagination. Later, chipper server Brian highlights “pizza shooters” and “extreme fajitas.” Whatever a pizza shooter is, it can’t be good.

8. Diedrich Bader had a very specific look in mind for Lawrence.

A still from 'Office Space' (1999)
20th Century Fox Home Entertainment

Diedrich Bader, who plays everyone’s favorite beer-guzzling neighbor Lawrence, came to his Office Space role with clear inspiration. “What I really wanted to look like was somebody who loved the Allman Brothers,” he told The A.V. Club in 2012. Sounds about right.

9. There's a real Milton out there.

A still from 'Office Space' (1999)
20th Century Fox Home Entertainment

Judge based the vengeful staffer, also the focus of several of his animated shorts, on one of his real-life co-workers when he was an engineer. Judge asked the man how he was doing, and he responded that he was going to quit his job because his desk had been moved around too many times.

10. Jennifer Aniston helped the movie get made.

A still from 'Office Space' (1999)
20th Century Fox Home Entertainment

The cast of Office Space has one instantly recognizable name: Jennifer Aniston, who was by then of course already a superstar for playing Rachel on NBC’s Friends. In a reunion for the film, Judge thanked Aniston just for signing on (though he added that she was great in the part), saying, “It helped us put the studio at ease a little bit—at least they had one famous person."

11. Michael Bolton has embraced the punchlines about him.

A still from 'Office Space' (1999)
20th Century Fox Home Entertainment

Peter’s co-worker Michael Bolton (played by David Herman) hates the fact that he shares a name with a musician who is, in his words, a “no-talent ass-clown." While the real-life Bolton initially seemed peeved about the mockery, he now signs Office Space DVDs for fans.

12. Chotchkie's is a thinly veiled TGI Fridays.

A still from 'Office Space' (1999)
20th Century Fox Home Entertainment

The chain restaurant by the office is notable not just for its fried food but for its emphasis on “flair” worn by the servers (15 pieces of flair is the minimum). Office Space is clearly mocking TGI Fridays, whose staff used to dress with seemingly endless buttons and ornamentation. TGI Fridays actually phased out flair by 2005, supposedly as a result of the movie.

13. Y2K makes a cameo.

A still from 'Office Space' (1999)
20th Century Fox Home Entertainment

Peter tells Joanna while having lunch that in his job he updates software for the “2000 switch.” In 1999, the impending change of the millennium was in fact a massive headache for tech companies and their programming of dates, a phenomenon that became known as Y2K.

14. The movie reintroduced red Swingline staplers.

A still from 'Office Space' (1999)
20th Century Fox Home Entertainment

Milton’s beloved red stapler was actually painted that color by the prop department, so that it would pop on the screen. As it was one of the more hilarious throughlines in Office Space, viewers started to seek it out in real life. The brand Swingline, which had phased out red staplers, decided to bring the product back. Design-minded executive assistants everywhere can thank Judge.

15. Mike Judge is hiding in plain sight.

A still from 'Office Space' (1999)
20th Century Fox Home Entertainment

In an uncredited role, the writer and director plays Joanna’s boss at Chotchkie's, reprimanding her about her lack of flair. (Though it’s hard to recognize him under the mustache and wig.)

16. Judge is a not-so-secret hip-hop head.

A still from 'Office Space' (1999)
20th Century Fox Home Entertainment

Hip-hop is repeatedly played and referenced throughout Office Space, particularly gangsta rap, which was ascendant in the '90s. The famous printer-smashing sequence is set to the Geto Boys’ “Damn It Feels Good to Be a Gangsta.” Also notice Michael Bolton rapping along to Scarface while driving in the movie’s opening. Judge has cleverly curated hip-hop in much of his work, from rap videos in Beavis and Butt-head to a collaboration with Danny Brown for Silicon Valley.

17. Milton foreshadows the climax a lot.

A still from 'Office Space' (1999)
20th Century Fox Home Entertainment

Milton mentions the possibility of burning down the Initech office several times before actually doing it, making it perhaps the least surprising act of arson depicted in film.

15 Facts About Bill & Ted’s Excellent Adventure on Its 30th Anniversary

MGM
MGM

In 1989, a couple of slackers from San Dimas, California hopped inside a time-traveling phone booth and gathered a gaggle of key figures from the past so they wouldn’t fail their high school history class. In 1991, they were at it again. Now, 30 years after Keanu Reeves and Alex Winter first cemented their place in sci-fi history as the lovable duo, the long-awaited threequel—Bill & Ted Face the Music—has been officially confirmed. Here are 15 things you might not know about the most excellent original film.

1. Bill and Ted were born in an improv class.

The idea for the characters of Bill and Ted came about in 1983, when UCLA classmates Ed Solomon and Chris Matheson formed a student improv workshop with a few of their peers. “One day, we decided to do a couple of guys who knew nothing about history, talking about history,” Solomon recalled to Cinemafantastique in a 1991 interview. “The initial improv was them studying history, while Ted’s father kept coming up to ask them to turn their music down.” (Solomon played Ted, Matheson was Bill.)

2. Originally, it was Bill & Ted & Bob.

When the skit originated, there was a third character, Bob. But “Bob” wasn’t as into it as Solomon and Matheson, so the trio became a duo.

3. Bill wanted to be Ted and Ted wanted to be Bill.

It’s hard to imagine anyone but Keanu Reeves playing Ted Logan, or another actor besides Alex Winter in the role of Bill S. Preston, Esq., but each actor actually auditioned for the opposite role. But when Solomon and Matheson saw their audition tapes, they thought the opposite would work better. In an online chat with Moviefone, Reeves claimed that he didn’t even know their roles had been switched until after he had been cast. “I got a call saying that I got the part,” Reeves recalled. “So I went to the wardrobe fitting… assuming I was playing Bill, and I get there and Alex Winter, who eventually played Bill, went to the wardrobe fitting thinking he was playing Ted. Then we were informed that that wasn't the case.”

4. Pauly Shore also wanted to be Ted.


Getty Images

Pauly Shore was among the hundreds of actors who auditioned for the role of Ted. In 1991, Shore hosted an MTV special, Bill & Ted’s Bogus Premiere Party, in which Shore corners Reeves in a back room to talk about his failed audition. Lucky for America, Shore did go on to find fame apart from Bill & Ted, and bring the phrase, “Hey, Bu-ddy!” into the popular lexicon.

5. No, Bio-Dome is not Bill & Ted's threequel.

Speaking of Pauly Shore ... For years, rumors circulated that the script for 1996’s Bio-Dome—starring Shore and Stephen Baldwin—was actually written as the third film in the Bill & Ted franchise. In 2011, Winter laid this rumor to rest when he told /Film that the story is “total urban legend as far as I know. No one involved in that movie had anything to do with Bill & Ted. So unless they were just going to try and reboot the franchise with that concept and different actors, I can’t see a connection.”

6. Keanu Reeves and Alex Winter weren't quite nerdy enough.

The casting of Reeves and Winter posed a problem for the script. “Bill and Ted were conceived in our minds as these 14-year-old skinny guys, with low-rider bellbottoms and heavy metal T-shirts,” Solomon told Cinefantastique. “We actually had a scene that was even shot, with Bill and Ted walking past a group of popular kids who hate them. But once you cast Alex and Keanu, who look like pretty cool guys, that was hard to believe.”

7. George Carlin was a happy accident.


Getty Images

In a 2013 Reddit AMA, Alex Winter called the casting of George Carlin (as Rufus, Bill and Ted’s mentor) “a very happy accident. They were going after serious people first. Like Sean Connery. And someone had the idea, way after we started shooting, of George. That whole movie was a happy accident. No one thought it would ever see the light of day.”

8. The time machine was originally a van.

In Solomon and Matheson’s original script, it was a 1969 Chevy van that served as Bill and Ted’s time machine. But in the course of rewriting the script for Warner Bros., who showed early interest in producing the project, there was concern that a motor vehicle as time machine would ring too closely as a rip-off of Back to the Future, which arrived in theaters in 1985. It was director Stephen Herek who suggested a phone booth, as he thought it could lend itself to something akin to a roller coaster in the visuals. (The phone booth’s similarity to Doctor Who’s TARDIS was apparently not a big concern to the studio.)

9. Some Nintendo lover has that phone booth.

As part of a promotion for 1991’s Bill & Ted's Excellent Video Game Adventure, Nintendo Power magazine gave away Bill & Ted’s phone booth as a contest prize. The lucky winner was one Kenneth Grayson, who Reddit tracked down for an AMA in 2011. Grayson spent much of the chat answering questions about whether or not any X-rated activities had ever taken place in the phone booth.

10. The script was written in four days. By hand.

In 1984, Solomon and Matheson wrote the script over the course of just four days. They wrote it by hand, on note paper, during a series of meetings at a couple of local coffee shops. The 2005 box set, Bill & Ted’s Most Excellent Collection, features some of their handwritten notes.

11. Sci-fi wasn't part of the plan.

Keanu Reeves, Dan Shor, and Alex Winter in Bill & Ted's Excellent Adventure (1989)
MGM

Though Matheson is the son of legendary sci-fi writer Richard Matheson, author of I Am Legend, he didn’t intend for Bill & Ted to be a science-fiction movie. “I try to consciously fight it, out of a desire to break away, but maybe I have a predilection toward that because of my dad,” Matheson told Starlog Magazine of the inevitable fantasy elements that emerged. “He’s a great writer and craftsman, and always has suggestions.” In fact, it was the elder Matheson’s idea that the time travel story be its own movie. “We were going to write a sketch film, with this as one of the skits, but my dad said, ‘That sounds like a whole movie,’” Matheson recalled, “And he was right!”

12. Bill and Ted almost traveled straight to television.

Shortly after principal photography on the film was completed in 1987, the film’s financiers, De Laurentiis Entertainment Group, went bankrupt. A straight-to-cable release was the most likely path for the time-traveling comedy until Orion Pictures and Nelson Entertainment bought the rights in 1988 for a 1989 release. Because of the delay to theaters, references to the year—which had been filmed as “1987”—had to be dubbed for 1988, resulting in a few scenes where the actors’ lips don’t quite match the sound.

13. Their journeys continued in a variety of media.

In addition to the 1991 sequel, Bill & Ted’s Bogus Journey, the Bill & Ted franchise includes 1990’s Bill & Ted’s Excellent Adventures, an animated series for which Reeves, Winter, and Carlin provided the voices. It lasted for one season. The title was revived as a live-action series in 1992, which included none of the original cast and ran for just seven episodes. In 1991, Marvel Comics launched Bill and Ted’s Excellent Comic Book, written by Evan Dorkin.

14. Back in the late 1980s, you could eat Bill and Ted.

As a tie-in to the animated series, you could—for a short while—actually start your morning with a bowl of Bill & Ted’s Excellent Cereal, which was touted as “A Most Awesome Breakfast Adventure.”

15. Bill and Ted will ride again.

Over the past several years there has been a lot of buzz about a third Bill & Ted movie coming to theaters. In 2011, Winter tweeted that the script had been completed and that he was getting ready to read it. When asked about the possibility of a threequel in 2013, Reeves told the Today Show, “I'm open to the idea of that. I think it’s pretty surreal, playing Bill and Ted at 50. But we have a good story in that. You can see the life and joy in those characters, and I think the world can always use some life and joy.” Several references to the possible project have been made since then, and it's now been confirmed that the third film, Bill and Ted Face the Music, is currently in pre-production.

According to The Hollywood Reporter, via a report from the Cannes Film Festival, Matheson and Solomon co-wrote the script and Dean Parisot (Galaxy Quest) is attached to direct. Reeves and Winter will, of course, be reprising their roles, which "will see the duo long past their days as time-traveling teenagers and now weighed down by middle age and the responsibilities of family. They’ve written thousands of tunes, but they have yet to write a good one, much less the greatest song ever written." Excellent!

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