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25 Things You Might Not Know About The Shining

1. Director Stanley Kubrick had an interest in horror well before he made The Shining.

Kubrick is known for his forays into different genres—and horror was a genre that piqued his interest. In the early '70s, he was in consideration to direct The Exorcist. But he ended up not getting the job because he only wanted to direct the film if he could also produce it. Kubrick later told a friend that he wanted “to make the world’s scariest movie, involving a series of episodes that would play upon the nightmare fears of the audience.”

2. The film was inspired by an episode of Omnibus.

In 1952, Kubrick worked as the second unit director on one episode of the television series Omnibus. But it was a different episode, about poker players getting into a fight, that inspired parts of The Shining.

According to Kubrick, “You think the point of the story is that his death was inevitable because a paranoid poker player would ultimately get involved in a fatal gunfight. But, in the end, you find out that the man he accused was actually cheating him. I think The Shining uses a similar kind of psychological misdirection to forestall the realization that the supernatural events are actually happening.”

3. Kubrick didn't even read a screenplay that Stephen King wrote...

According to one of Kubrick’s biographers, David Hughes, King wrote an entire draft of a screenplay for The Shining. Kubrick didn’t even deem it worth a glance, which makes sense as he once called King’s writing “weak.” Instead, Kubrick worked with Diane Johnson on the screenplay because he was a fan of her book, The Shadow Knows. The two ended up spending eleven weeks working on the script.

4. ...But Kubrick still had questions for King...

This is a legendary story that King apparently still tells at some book readings. Stanley Kubrick called him at seven in the morning to ask, “I think stories of the supernatural are fundamentally optimistic, don’t you? If there are ghosts then that means we survive death.” When King responded with the question of how hell fit into that picture, Kubrick simply responded, “I don’t believe in hell.”

5. ...Then King didn’t even like the movie.

King told Playboy in 1983, “I’d admired Kubrick for a long time and had great expectations for the project, but I was deeply disappointed in the end result. Parts of the film are chilling, charged with a relentlessly claustrophobic terror, but others fell flat.”

He didn’t like the casting of Jack Nicholson either, claiming, “Jack Nicholson, though a fine actor, was all wrong for the part. His last big role had been in One Flew Over the Cuckoo’s Nest, and between that and the manic grin, the audience automatically identified him as a loony from the first scene. But the book is about Jack Torrance’s gradual descent into madness through the malign influence of the Overlook—if the guy is nuts to begin with, then the entire tragedy of his downfall is wasted.”

6. He hired his family.

The Making of THE SHINING by paget76

The executive producer of the film was Kubrick’s brother-in-law, Jan Harlan. Christiane Kubrick and Vivian Kubrick, his wife and daughter respectively, helped with both the design and the music—though Vivian might be more well-known for the on-set documentary that she made titled, The Making Of The Shining. The 30-minute film, which aired on the BBC, was a very rare look into Kubrick’s directing styles. You can watch it above.

7. Kubrick wasn’t there for location shoots.

Kubrick hated to fly and refused to leave England towards the end of his life—so he was not in attendance when the opening credits of The Shining were shot. A second unit crew headed to Glacier National Park in Montana where they filmed from a helicopter.

8. Room 217 was switched to Room 237 at the request of The Timberline Lodge.

In the book, the spooky events are set in Room 217, not Room 237. The Timberline Lodge, which was used as the hotel’s exterior for some shots, is to blame for this swap. The Lodge’s management asked for the room number to be changed so that guests wouldn’t avoid Room 217. There is no Room 237 in the hotel, so that number was chosen. The website of The Timberline Lodge notes, “Curiously and somewhat ironically, room #217 is requested more often than any other room at Timberline.”

9. “All work and no play makes Jack a dull boy” has many different translations.

The iconic sentence actually changes meaning for foreign translations of the film, at Kubrick’s request. In German versions, the phrase translates to: “Don’t put off till tomorrow what you can do today.” The Spanish translation is: “Although one will rise early, it won’t dawn sooner.” In Italian: “He who wakes up early meets a golden day.”

10. There’s a legend that Kubrick actually typed all of those “All Work” pages.

No one is quite sure whether Kubrick typed 500 pages of “All work and no play makes Jack a dull boy.” Kubrick didn’t go to the prop department with this task, using his own typewriter to make the pages. It was a typewriter that had built-in memory, so it could have turned out the pages without an actual person. But the individual pages in the film contain different layouts and mistakes. Some claim that it would have been characteristic of the director to individually prepare each page. Alas, we’ll never know—Kubrick never addressed this question before he died.

11. There’s a hidden Playgirl Magazine in the film.

The Shining, Warner Bros

Kubrick is famous for being a particularly detail-oriented director. So when Jack Torrance is seen reading a Playgirl in the lobby of the Overlook before he gets hired, it’s probably not meaningless. There is an article in the issue about incest, so the most common theory is that Kubrick was subtly implying that Danny may have experienced sexual abuse. Another article advertised on the cover is “Interview: The Selling of (Starsky & Hutch’s) David Soul.” Perhaps Kubrick was throwing in some extra foreshadowing. Regardless, no normal hotel leaves copies of Playgirl lying around, so the magazine serves as an immediate red flag in the film.

12. Dan Lloyd, who played Danny in the film, has only been in this film.

The Shining seemed to introduce a promising child star in Dan Lloyd. He ended up having a role in a TV film two years later, but that was the extent of his acting career. “We kept trying for several years ... until I was in high school and I stopped at about 14 with almost no success," he told the New York Daily News.

13. Young Dan Lloyd didn’t know he was filming a horror movie.

To protect Dan, who was 5 when he made the film, Kubrick told him that they were filming a drama. He didn’t even see the actual film until he was 16. He said later, “I just personally don’t find it scary because I saw it behind the scenes. I know it might be kind of ironic, but I like funny films and documentaries.”

14. Jack Nicholson improvised the line, “Heeeere’s Johnny.”

Jack Nicholson is responsible for the only line from The Shining to make it onto AFI’s Top 100 Movie Quotes. While filming the scene in which Jack breaks down a bathroom door with an axe, Nicholson shouted out the famous Ed McMahon line from The Tonight Show Starring Johnny Carson. The catch phrase worked and stayed in the film. Some behind-the-scenes footage, which can be seen here, shows Nicholson’s method acting before filming the iconic scene.

15. Jack Nicholson wrote a scene.

In addition to improvising one of the most famous lines of the film, Nicholson actually wrote an entire scene. He felt a particularly deep understanding of Jack Torrance's berating of his wife while he’s trying to write.

In an interview with the New York Times, Nicholson explained, “That’s what I was like when I got my divorce. I was under the pressure of being a family man with a daughter and one day I accepted a job to act in a movie in the daytime and I was writing a movie at night and I’m back in my little corner and my beloved wife Sandra, walked in on what was unbeknownst to her, this maniac—and I told Stanley about it and we wrote it into the scene.”

16. Shelley Duvall and Stanley Kubrick did not get along.

Though he had a good relationship with Nicholson, Kubrick was notoriously brutal on Shelley Duvall during filming. In her words, “From May until October I was really in and out of ill health because the stress of the role was so great. Stanley pushed me and prodded me further than I’ve ever been pushed before. It’s the most difficult role I’ve ever had to play.” The scene in which Wendy is swinging a bat at Jack is an example of this pushing. The scene actually made it into The Guinness Book of Records because it took 127 takes, the most for a scene with spoken dialogue.

17. Slim Pickens was offered the role of Dick Hallorann.

Pickens had already worked with Kubrick before. He played Major T. J. King Kong in Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb. Regardless, he was a particularly strange pick for the role of Dick Hallorann because the character is black in the book. Pickens chose to not work with Kubrick again, as he did not like the strenuous Dr. Strangelove shoots. The role then went to Scatman Crothers.

18. The Overlook Hotel doesn’t make sense spatially.

Observant Shining fan Rob Ager noticed that there are many aspects to the set of The Overlook Hotel that make no sense. For example, Ullman’s office has a window to outside, but there are rooms surrounding the office, making that window impossible. This is the case for many of the windows in the film—they don’t work in context. There is also a hallway in the Colorado Lounge that essentially appears out of nowhere. Ager created a video in which he maps out the nonsensical visuals.

The executive producer of The Shining, Jan Harlan, has stated that this was intentional. “The interiors don’t make sense," he said in 2012. "Those huge corridors and ballrooms couldn’t fit inside. In fact, nothing makes sense.”

19. Much of the set burned down.

Toward the end of shooting, a fire broke out and destroyed multiple sets. According to the set still photographer, “It was a huge fire in there one night, massive fire, we never really discovered what caused that fire and it burned down two soundstages and threatened a third at Elstree Studios. It was an eleven alarm fire call, it was huge.” The rebuild of one of these soundstages cost an estimated $2.5 million.

There’s a famous picture of Kubrick laughing in front of this wreckage. Perhaps he’s laughing because he knows the novel ends with The Overlook Hotel burning down.

20. Nine hundred tons of salt were used to make the film.

And that was just for the final scene! At the end of The Shining, Jack chases young Danny through a snow-covered hedge maze before finally dying. To create the elaborate, wintery maze, it took a lot of salt and crushed Styrofoam.

21. The film took five years to make.

Kubrick is notorious for his lengthy film productions. Sources differ on how long shooting itself lasted, but it probably went on for almost a year. Around the time he was making the film, Kubrick said, “There is a wonderful suggestive timeliness [that the structure] of making a movie imposes on your life. I’m doing exactly the same as I was doing when I was eighteen and making my first movie. It frees you from any other sense of time.”

22. There is an original, different ending.

It’s not uncommon for a film’s ending to change in post-production, but Kubrick changed the ending of the film after it had been playing in theaters for a weekend. The film version is lost, but pages from the screenplay do exist. The scene takes place after Jack dies in the snow. Ullman visits Wendy in the hospital. He tells her, “About the things you saw at the hotel. [A lieutenant] told me they’ve really gone over the place with a fine tooth comb and they didn’t find the slightest evidence of anything at all out of the ordinary.” He also encourages Wendy and Danny to stay with him for a while. The film ends with text over black, “The Overlook Hotel would survive this tragedy, as it had so many others. It is still open each year from May 20th to September 20th. It is closed for the winter.”

Roger Ebert deemed the cut a good decision. According to him, “Kubrick was wise to remove that epilogue ... it pulled one rug too many out from under the story.”

23. It was Kubrick’s next film after his worst-received film, Barry Lyndon.

Things weren’t looking good for Kubrick after Barry Lyndon was released in 1975. Film reviewer Tim Robey notes, “It was not the commercial success Warner Bros had been hoping for.” The film cost $11 million to make and earned $9.5 million in the United States, though it did have a good life in foreign box offices. According to Hughes, the film would have had to earn $30 million to be profitable.

The Shining did a lot better financially. The film cost $19 million to make and it went on to earn $47 million in the United States. It was one the top ten highest-grossing films of 1980.

24. It has inspired many conspiracy theories.

So many film theorists have their own takes on The Shining that these conspiracies star in their own film: the documentary Room 237. One theory is that Kubrick helped to fake the moon landing and The Shining is his confession. Another claims that the film is truly about the genocide of Native Americans. Yet another theory reads the film as a story about the Holocaust and concentration camps.

Leon Vitali, Kubrick’s personal assistant during filming, has since denied these theories. He says of the documentary, “I was falling about laughing most of the time. There are ideas espoused in the movie that I know to be total balderdash.”

25. Its most famous fan site is run by Toy Story 3 director, Lee Unkrich.

Unkrich runs The Overlook Hotel, which contains tons of pictures and behind-the-scenes information about the film. “I started the site purely for selfish reasons," he said. "I’ve been collecting stuff from The Shining over the years, and I just wanted to have one place where they could be organized.” Unkrich was also one of the people who helped fund the Room 237 documentary.

But, undeniably the most fun part about Unkrich’s Shining obsession is finding the hidden references in Toy Story 3. Sid’s carpet is very similar to a carpet in the Overlook Hotel. A garbage truck’s license plate reads “RM237.” And Trixie chats online with a dinosaur toy down the street who happens to have the screen name “Velocistar237.”

Primary image courtesy of Movie Posters 

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15 Surprising Facts About Scarface
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Say hello to our little list. Here are a few facts to break out at your next screening of Scarface, Brian De Palma’s gangsters-and-cocaine classic, which arrived in theaters on this day in 1983.

1. IT WASN'T THE FIRST SCARFACE.

Brian De Palma's Scarface is a loose remake of the 1932 movie of the same name, which is also about the rise and fall of an American immigrant gangster. The producer of the 1983 version, Martin Bregman, saw the original on late night TV and thought the idea could be modernized—though it still pays respect to the original film. De Palma's flick is dedicated to the original film’s director, Howard Hawks, and screenwriter, Ben Hecht.

2. IT COULD HAVE BEEN A SIDNEY LUMET FILM.

At one point in the film's production, Sidney Lumet—the socially conscious director of such classics as Dog Day Afternoon and 12 Angry Men—was brought on as its director. "Sidney Lumet came up with the idea of what's happening today in Miami, and it inspired Bregman," Pacino told Empire Magazine. "He and Oliver Stone got together and produced a script that had a lot of energy and was very well written. Oliver Stone was writing about stuff that was touching on things that were going on in the world, he was in touch with that energy and that rage and that underbelly."

3. OLIVER STONE WASN'T INTERESTED IN WRITING THE SCRIPT, UNTIL LUMET GOT INVOLVED.


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Producer Bregman offered relative newcomer Oliver Stone a chance to overhaul the screenplay, but Stone—who was still reeling from the box office disappointment of his film, The Hand—wasn't interested. "I didn’t like the original movie that much," Stone told Creative Screenwriting. "It didn’t really hit me at all and I had no desire to make another Italian gangster picture because so many had been done so well, there would be no point to it. The origin of it, according to Marty Bregman, [was that] Al had seen the '30s version on television, he loved it and expressed to Marty as his long time mentor/partner that he’d like to do a role like that. So Marty presented it to me and I had no interest in doing a period piece."

But when Bregman contacted Stone again about the project later, his opinion changed. "Sidney Lumet had stepped into the deal," Stone said. "Sidney had a great idea to take the 1930s American prohibition gangster movie and make it into a modern immigrant gangster movie dealing with the same problems that we had then, that we’re prohibiting drugs instead of alcohol. There’s a prohibition against drugs that’s created the same criminal class as (prohibition of alcohol) created the Mafia. It was a remarkable idea."

4. UNFORTUNATELY, ACCORDING TO STONE, LUMET HATED HIS SCRIPT.

While the chance to work with Lumet was part of what lured Stone to the project, it was his script that ultimately led to the director's departure from the film. According to Stone: "Sidney Lumet hated my script. I don’t know if he’d say that in public himself, I sound like a petulant screenwriter saying that, I’d rather not say that word. Let me say that Sidney did not understand my script, whereas Bregman wanted to continue in that direction with Al."

5. STONE HAD FIRSTHAND EXPERIENCE WITH THE SUBJECT MATTER.

In order to create the most accurate picture possible, Stone spent time in Florida and the Caribbean interviewing people on both sides of the law for research. "It got hairy," Stone admitted of the research process. "It gave me all this color. I wanted to do a sun-drenched, tropical Third World gangster, cigar, sexy Miami movie."

Unfortunately, while penning the screenplay, Stone was also dealing with his own cocaine habit, which gave him an insight into what the drug can do to users. Stone actually tried to kick his habit by leaving the country to complete the script so he could be far away from his access to the drug.

"I moved to Paris and got out of the cocaine world too because that was another problem for me," he said. "I was doing coke at the time, and I really regretted it. I got into a habit of it and I was an addictive personality. I did it, not to an extreme or to a place where I was as destructive as some people, but certainly to where I was going stale mentally. I moved out of L.A. with my wife at the time and moved back to France to try and get into another world and see the world differently. And I wrote the script totally f***ing cold sober."

6. BRIAN DE PALMA DIDN'T WANT TO AUDITION MICHELLE PFEIFFER.


Universal Home Video

De Palma was hesitant to audition the relatively untested Pfeiffer because at the time she was best known for the box office bomb Grease 2. Glenn Close, Geena Davis, Carrie Fisher, Kelly McGillis, Sharon Stone and Sigourney Weaver were all considered for the role of Elvira, but Bregman pushed for Pfeiffer to audition and she got the part.

7. YES, THERE IS A LOT OF SWEARING.

According to the Family Media Guide, which monitors profanity, sexual content, and violence in movies, Scarface features 207 uses of the “F” word, which works out to about 1.21 F-bombs per minute. In 2014, Martin Scorsese more than doubled that with a record-setting 506 F-bombs thrown in The Wolf of Wall Street.

8. TONY MONTANA WAS NAMED FOR A FOOTBALL STAR.

Stone, who was a San Francisco 49ers fan, named the character of Tony Montana after Joe Montana, his favorite football player.

9. TONY IS ONLY REFERRED TO AS "SCARFACE" ONCE, AND IT'S IN SPANISH.

Hector, the Colombian gangster who threatens Tony with the chainsaw, refers to Tony as “cara cicatriz,” meaning “scar face” in Spanish.

That chainsaw scene, by the way, was based on a real incident. To research the movie, Stone embedded himself with Miami law enforcement and based the infamous chainsaw sequence on a gangland story he heard from the Miami-Dade County police.

10. VERY LITTLE OF THE FILM WAS ACTUALLY SHOT IN MIAMI.

The film was originally going to be shot entirely on location in Miami, but protests by the local Cuban-American community forced the movie to leave Miami two weeks into production. Besides footage from those two weeks, the rest of the movie was shot in Los Angeles, New York, and Santa Barbara.

11. ALL THAT "COCAINE" LED TO PROBLEMS WITH PACINO'S NASAL PASSAGES.

Though there has long been a myth that Pacino snorted real cocaine on camera for Scarface, the "cocaine" used in the movie was supposedly powdered milk (even if De Palma has never officially stated what the crew used as a drug stand-in). But just because it wasn't real doesn't mean that it didn't create problems for Pacino's nasal passages. "For years after, I have had things up in there," Pacino said in 2015. "I don't know what happened to my nose, but it's changed."

12. PACINO'S NOSE WASN'T HIS ONLY BODY PART TO SUFFER DAMAGE.

Still of Al Pacino as Tony Montana in 'Scarface' (1983)
Universal Home Video

In the film's very bloody conclusion, Montana famously asks the assailants who've invaded his home to "say hello to my little friend," which happens to be a very large gun. That gun took a beating from all the blanks it had to fire, so much so that Pacino ended up burning his hand on its barrel. "My hand stuck to that sucker," he said. Ultimately, the actor—and his bandaged hands—had to sit out some of the action in the last few weeks of production.

13. STEVEN SPIELBERG DIRECTED A SINGLE SHOT.

De Palma and Spielberg had been friends since the two began making studio movies in the mid-1970s, and they made a habit of visiting each other’s sets. Spielberg was on hand for one of the days of shooting the Colombians’ initial attack on Tony Montana’s house at the end of the movie, so De Palma let Spielberg direct the low-angle shot where the attackers first enter the house.

14. SOME COOL TECHNOLOGY WENT INTO THE GUN MUZZLE FLASHES.

In order to heighten the severity of the gunfire, De Palma and the special effects coordinators created a mechanism to synchronize the gunfire with the open shutter on the movie camera to show the huge muzzle flash coming from the guns in the final shootout.

15. SADDAM HUSSEIN WAS A FAN OF THE FILM.

The trust fund the former Iraqi dictator set up to launder money was called “Montana Management,” a nod to the company Tony uses to launder money in the movie.

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30 Cold, Hard Facts About Die Hard
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What do you get when you mix one part action movie with one part holiday flick and add in a dash of sweaty tank top? Die Hard, John McTiernan’s genre-bending Christmas action masterpiece for the ages, which sees a badass NYPD cop take on a skyscraper full of bad guys in the midst of an office holiday party. Here are 30 things you might not know about the movie.

1. IT’S GOT A LITERARY BACKGROUND.

Think some action-loving Hollywood scribe came up with the concept for Die Hard? Think again. The movie is based on Roderick Thorp’s 1979 crime novel Nothing Lasts Forever, which is a sequel to his 1966 novel, The Detective. In 2013, Thorp’s long out-of-print book was resurrected to coincide with the film’s 25th anniversary.

2. IT WAS INSPIRED BY THE TOWERING INFERNO.

The idea for Nothing Lasts Forever was inspired John Guillermin’s 1974 disaster flick The Towering Inferno. After seeing the film, Thorp had a dream about a man being chased through a skyscraper by a group of men with guns. He eventually turned that snippet of an idea into a sequel to The Detective.

3. FRANK SINATRA GOT FIRST DIBS ON PLAYING THE ROLE OF JOHN MCCLANE.


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Because he had starred in the big-screen adaptation of The Detective, Frank Sinatra had to be offered the role in its sequel. At the age of 73, he smartly turned it down.

4. BRUCE WILLIS’S BIG-SCREEN DEBUT WAS WITH FRANK SINATRA.

In 1980, Willis made his film debut (albeit uncredited) in the crime thriller The First Deadly Sin. He has no name and if you blink you’ll miss him, but the role simply required that Willis entered a diner as Sinatra’s character left it. Maybe it was kismet?

5. CLINT EASTWOOD PLANNED TO TAKE A STAB AT THE PART.

Originally, it was Clint Eastwood who owned the movie rights to Nothing Lasts Forever, which he had planned to star in in the early 1980s. That obviously never happened.

6. IT WAS NEVER SUPPOSED TO BE A SEQUEL TO COMMANDO.

This is one of the most popular internet stories about Die Hard. But according to Stephen de Souza, the screenwriter of both Die Hard and Commando, while there was a sequel to Commando planned, the only similarity with Die Hard is that they both took place in buildings. According to de Souza, Escape Plan is the closest to his original Commando 2 idea and Die Hard was never supposed to be anything but Die Hard.

7. BRUCE WILLIS WASN’T EVEN THE STUDIO’S THIRD CHOICE FOR THE ROLE.

If Die Hard was to be a success, the studio knew they needed a bona fide action star in the part, so they set about offering it to a seemingly never-ending list of A-listers of the time. Rumor has it that Sylvester Stallone, Harrison Ford, Robert De Niro, Charles Bronson, Nick Nolte, Mel Gibson, Richard Gere, Don Johnson, Burt Reynolds, and Richard Dean Anderson (yes, MacGyver!) were all considered for the role of John McClane. And all declined it.

8. BRUCE WILLIS WAS CONSIDERED A COMEDIC ACTOR AT THE TIME.

Die Hard’s producers had nothing against Bruce Willis, of course. He just wasn’t an immediate choice for the role because, up until that point, he was known solely as a comedic actor, not an action star. Following the success of the film, the action genre really became Willis’s bread and butter, and although he has two Emmys for his comedy work, it has remained as such to this day.

9. BRUCE WILLIS WAS BARELY EVEN SEEN ON THE MOVIE’S POSTERS.

Bruce Willis stars as John McClane in 'Die Hard.'
Twentieth Century Fox

Because the studio’s marketing gurus were unconvinced that audiences would pay to see an action movie starring the funny guy from Moonlighting, the original batch of posters for the film centered on Nakatomi Plaza instead of Willis’s mug. As the film gained steam, the marketing materials were altered, and Willis was more prominent in the promos.

10. WILLIS WAS PAID $5 MILLION TO MAKE THE MOVIE.

Even with all the uncertainly surrounding whether he could pull the film off, Willis was paid $5 million to make Die Hard, which was considered a rather hefty sum at the time—a figure reserved for only the top tier of Hollywood talents.

11. WILLIS SUGGESTED THAT BONNIE BEDELIA PLAY HIS WIFE.

Though we suspect that she wasn’t paid $5 million for the gig.

12. BRUCE WILLIS WAS ABLE TO SAY YES THANKS TO A WELL-TIMED PREGNANCY.

The first few times Bruce Willis was asked to star in the movie, he had to say no because of his commitments to Moonlighting. Then costar Cybill Shepard announced that she was pregnant. Because her pregnancy wouldn’t work within the show, producer Glenn Caron gave everyone 11 weeks off, allowing Willis to say yes.

13. SAM NEILL WAS ORIGINALLY APPROACHED FOR THE PART OF HANS GRUBER.

But Neill ended up turning the film down. Then, in the spring of 1987, the casting director saw Alan Rickman playing the dastardly Valmont in a stage production of Dangerous Liaisons and knew they had found their Hans.

14. DIE HARD WAS ALAN RICKMAN’S FEATURE FILM DEBUT.

Though Rickman may have played the part of Hans as cool as the other side of the pillow, it was actually his first role in a feature film.

15. JOHN MCTIERNAN TURNED THE MOVIE DOWN, TOO.

And not just once, but on a few different occasions. His reason was that the material just seemed too dark and cynical for him. “The original screenplay was a grim terrorist movie,” McTiernan told Empire magazine in 2014. “On my second week working on it, I said, 'Guys, there's no part of terrorism that's fun. Robbers are fun bad guys. Let's make this a date movie.’ And they had the courage to do it.”

16. MCTIERNAN SEES IT AS A SHAKESPEAREAN TALE.

In the original script, the action in Die Hard takes place over a three-day span, but McTiernan—inspired by Shakespeare’s A Midsummer Night’s Dream—insisted that it be condensed into a single evening.

17. NAKATOMI PLAZA IS ACTUALLY FOX PLAZA.


Yes, the corporate headquarters of 20th Century Fox—the very studio making the movie—proved to be the perfect location for the movie’s much-needed Nakatomi Plaza. And as it was still under construction, there wasn’t a whole lot they needed to do to the space to make it movie-ready. The studio charged itself rent to use its own space.

18. THE ROOM WHERE THE HOSTAGES ARE BEING HELD IS LITERALLY SUPPOSED TO BE FRANK LLOYD WRIGHT'S FALLINGWATER.

"In this period, Japanese corporations were buying America," production designer Jackson De Govia said in the Die Hard DVD audio commentary. "We posited that ... Nakatami Corporation bought Fallingwater, disassembled it, and reassembled it in the atrium, like a trophy."

19. THAT PANORAMIC VIEW OF THE CITY BELOW? IT’S NOT REAL.

A 380-foot-long background painting provided the illusion of a breathtaking city view in the movie. And it was a state-of-the-art one, too, with animated lights, moving traffic, and the ability to change from night to day. The painting is still the property of the studio and has been used in other productions since.

20. THE FILM’S SUCCESS SPAWNED A BONA FIDE FRANCHISE.

In addition to its four sequels, Die Hard has spawned video games and comic books, too.

21. JOHN MCCLANE’S TUMBLE DOWN A VENTILATION SHAFT WAS AN ACCIDENT.

Or maybe “error” would be a better word. But in the scene in which McClane jumps into an elevator shaft, his stunt man was supposed to grab onto the first vent. But he missed. By a lot. Which made the footage even more exciting to watch, so editor Frank J. Urioste kept it in the final cut.

22. ALAN RICKMAN’S DEATH SCENE WAS ALSO PRETTY SCARY.

At least it was for Rickman. In order to make it look as if he was falling off a building, Rickman was supposed to drop 20 feet onto an air bag while holding onto a stunt man. But in order to get a genuinely terrified reaction out of him, they dropped him on the count of two—not three, as was planned.

23. BRUCE WILLIS SUFFERED PERMANENT HEARING LOSS.


Twentieth Century Fox

In order to get the hyper-realism that director John McTiernan was looking for, the blanks used in the guns in the movie were modified to be extra loud. In one scene, Willis shoots a terrorist through a table, which put the action star in extremely close proximity to the gun—and caused permanent hearing loss. He referenced the injury in a 2007 interview with The Guardian. When they asked Willis his most unappealing habit, he replied that, “Due to an accident on the first Die Hard, I suffer two-thirds partial hearing loss in my left ear and have a tendency to say, ‘Whaaa?’”

24. ALAN RICKMAN WASN’T FOND OF THE NOISE EITHER.

Whenever he had to shoot a gun in the film, Rickman couldn’t help but flinch. Which forced McTiernan to have to cut away from him so that his reactions were not caught on film.

25. GRUBER’S AMERICAN ACCENT POSED NOTHING BUT PROBLEMS.

The scene in which Rickman, as Gruber, slips into an American accent and pretends to be yet another hostage who got away was insisted on by screenwriter Steven de Souza, who wanted them in a room together to duke it out. But McTiernan was never happy with Rickman’s American accent, saying, “I still hear Alan Rickman’s English accent. I was never quite happy with the way he opened his mouth [in that scene] ... I shot it three times trying to get him to sound more stridently American ... it’s odd for someone who has such enormous verbal skills; he just had terrible trouble getting an American accent.”

26. HANS GRUBER’S GERMAN IS MOSTLY GIBBERISH.

And the bulk of his German cohorts were not German either. Bruce Willis, on the other hand, was actually born in West Germany to an American father and a German mother.

27. BRUCE WILLIS HAS FOUR FEET.

As Willis spends much of the movie in his bare feet running through broken glass, he was given a pair of rubber feet to wear as a safety precaution. Which is great and all, but if you look closely in certain scenes, you can actually see the fake appendages.

28. YOU CAN SEE—BUT NOT TOUCH—JOHN MCCLANE’S SWEATY TANK TOP.


Getty Images

In 2007, Willis donated the blood-soaked tank top he wore in Die Hard to the National Museum of American History at the Smithsonian.

29. “YIPPEE-KI-YAY” STOLE THE MOVIE.

It was a simple line: “Yippee-ki-yay, motherf*cker!” But it became the film’s defining moment, and the unofficial catchphrase that has been used in all four Die Hard sequels as well.

30. CREDIT FOR THE LINE IS OWED TO WILLIS.

In a 2013 interview with Ryan Seacrest, Bruce Willis admitted that “Yippee-ki-yay, motherf*cker!” was really just a joke. “It was a throwaway,” said Willis. “I was just trying to crack up the crew and I never thought it was going to be allowed to stay in the film."

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