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15 Things You Might Not Know About Caddyshack

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You may already know your favorite moments from Caddyshack, which turns 35 years old today, by heart. But after reading this list, you’ll be a lock for membership at Bushwood Country Club.

1. Caddyshack got made because of Animal House.

Caddyshack director and co-writer Harold Ramis was also a co-writer of the 1978 National Lampoon comedy classic Animal House, along with eventual Caddyshack co-writer and producer Douglas Kenney. Held to only a $3 million budget, their film of frat-house shenanigans went on to gross $141 million at the box office.

You would think that box office success would afford the filmmakers carte-blanche privileges for any follow-up project, but that wasn't the case. Ramis pitched two ideas to Orion Pictures (the now-defunct production company that would go on to make Caddyshack): One was a dark satirical comedy about the American Nazi Party in Skokie, Illinois, and the other was what Ramis dubbed a “revisionist Marxist western.” Both ideas were swiftly rejected, but another idea—a comedy about caddies at a country club, pitched by Kenney and co-writer Brian Doyle-Murray as “Animal House on a golf course”—was given an immediate green light.

2. The screenwriting process was (almost) entirely autobiographical.

To write their screenplay, Ramis, Kenney, and Doyle-Murray locked themselves in a room and tried to recall everything they knew about or experienced at golf courses and country clubs growing up—most of which came from Doyle-Murray, who caddied at Indian Hill Country Club in the suburbs of Chicago as a kid.

Doyle-Murray's sizeable Irish Catholic family even served as the inspiration for scenes and characters in the film. His brother Bill played head greensman Carl Spackler. Memories of living with their eight other siblings (including three sisters) inspired the opening scenes with main character Danny Noonan’s overcrowded house of siblings. Danny, who sets out to win the caddy tournament scholarship, was based on Doyle-Murray’s older brother Ed, who won a similar prize when he was young. The lumberyard that employs Danny is borrowed from the real life of Doyle-Murray’s father, who was an executive at J.J. Barney Lumber Company. The infamous "Baby Ruth in the pool" scene was culled from the Murray kids' real-life high school exploits.

Ramis drew from real-life experience while writing as well. He admittedly had only played golf twice in his life before directing the film, and recalled that he nailed someone in the nether regions with one of his first practice shots taken to prepare for the film. Naturally, he made use of this tale by contributing the scene where Judge Smails (played by Ted Knight) gets hit in the crotch with an errant golf ball.

3. The studio wouldn’t make the movie unless they got a star.

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The finished Caddyshack script was a whopping 250 pages in length, more than double the average screenplay. Studio bosses immediately demanded that it be cut down, and added a second stipulation: No star, no movie. First-time director Ramis offered them three, though the first two were untested as far as the studio was concerned.

The filmmakers originally envisioned actor Don Rickles as the slobbish condo magnate Al Czervik, but they settled on comedian Rodney Dangerfield, who'd garnered success in comedy circles and on The Tonight Show with Johnny Carson. Caddyshack would be his first big feature film. Bill Murray was fresh off of three years at Saturday Night Live and had appeared in Meatballs (co-written by Ramis) and Where the Buffalo Roam. The studio finally went ahead when Ramis and company secured Chevy Chase to portray the film's pompous-but-well-meaning playboy Ty Webb (whom they had written the part for anyway, unbeknownst to the studio).

Chase was the biggest catch of the three, having received a Best Actor Golden Globe nomination for the 1979 box-office hit Foul Play. Ramis had Mickey Rourke in mind for the leading role of Danny Noonan, but felt that he couldn't convincingly portray the "goofy kid-next-door." Filmmakers ultimately settled on actor Michael O’Keefe.

4. Ramis didn’t know what he was doing from day one.

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By 1980, Harold Ramis was already a comedy heavyweight, having garnered success live (with the Second City comedy troupe), on the radio (the National Lampoon Radio Hour), and on television (SCTV). He'd also co-written Meatballs and Animal House, but Caddyshack marked his first attempt at directing. Conflicting accounts from cast and crew say that Ramis looked through the camera lens instead of the viewfinder on the first day, and also mistakenly called out “Cut!” instead of “Action!” on early takes. The veracity of these jokes is uncertain, but it is true that the studio was so skeptical of Ramis's abilities that they asked associate producer Don MacDonald to submit a list of directors who could be quickly brought in as on-the-fly replacements, if needed. Luckily, Ramis figured things out, later directing such comedy classics as National Lampoon’s Vacation and Groundhog Day

5. The filmmakers got out of L.A. to avoid problems, but found new ones.

Orion Pictures wanted the production to be filmed in Los Angeles, but Ramis knew things would be better out from under the thumb of studio execs. He convinced the studio to look elsewhere, since the Illinois setting of the fictional Bushwood Country Club wouldn't include Southern California's palm trees. But the chosen site was Rolling Hills Country Club (now Grande Oaks) in Davie, Florida—which had palm trees! Rolling Hills was one of the few golf courses away from L.A. that would allow the production of a movie on its grounds.

Production was held up both completely (by Hurricane David) and sporadically (by the noise from flights leaving and entering nearby Fort Lauderdale-Hollywood International Airport). The cast and crew took advantage of the hurricane delay by holding a huge indoor party at their hotel next to the country club.

6. Rodney Dangerfield’s audition was unorthodox, and on set, he felt that he got no respect.

Prior to Caddyshack, Dangerfield was known primarily as a comic from his appearances on The Ed Sullivan Show, The Dean Martin Show, and The Tonight Show (he appeared a total of 36 times). Caddyshack marked Dangerfield's first big-time appearance on the silver screen. For his audition, the comic allegedly arrived at executive producer Jon Peters's office in a black stretch limosine, wearing a long black trench coat with a cheap leisure suit underneath. When it was time for him to audition, he walked into the room, removed his pants, and said, “Let’s eat!” He won the role of nouveau-riche bigmouth Al Czervik, but became nervous whenever he turned on his personality in front of the camera. When actor Scott Colomby (slick caddy antagonist Tony D’Annunzio) asked Dangerfield about his struggles, Rodney allegedly said that he was bombing because nobody was laughing at his jokes. Colomby reassured the rookie actor that if they laughed they’d ruin the take.

7. Bill Murray showed up for six days and made comedy history.

As a youngster, Bill Murray was a groundskeeper, a caddy, and even ran a hot dog stand at the Indian Hill Country Club, the location that inspired the Illinois setting of the film. At first, Murray's appearance as oafish groundskeeper Carl Spackler was planned as a quick cameo, but his characterization was so funny that Ramis requested he stick with the production a bit longer. Murray filmed for a total of six days, and all of his lines—including his Dalai Lama speech—were improvised on-the-spot. In fact, the only script direction for what became his "Cinderella speech" read: “Carl cuts off the tops of flowers with a grass whip.” Murray took it from there and ad-libbed lines that would, in 2005, be named to the AFI's list of greatest movie quotes of all time.     

8. Ramis also cast an actor from the Golden Age of Hollywood, and poked fun at his career in a clever way.

Actor Henry Wilcoxon plays the unassuming but hilarious role of Bishop Pickering—and it was the last film he made before he passed away in 1984. The actor had been involved in some of Hollywood's biggest epics: His stage and screen career reached back all the way to a role in 1931’s The Perfect Lady, and included roles in 1941's That Hamilton Woman and 1942's Mrs. Miniver, which won an Oscar for Best Picture.

Historically, Wilcoxon is best known for his collaborations with legendary director Cecil B. DeMille. Wilcoxon played Marc Antony in DeMille’s Cleopatra in 1934, Richard the Lion-Hearted in 1935’s The Crusades, and was in The Greatest Show on Earth—another Best Picture winner—in 1952. In his Caddyshack scene, Wilcoxon is struck by lightning after shouting "Rat farts!" when he missed a putt to end what would have been the best golf game of his life. Ramis knowingly added in a music cue from DeMille’s film The Ten Commandments. Wilcoxon appears in that film as well, playing Pentaur.

9. The film’s Zen golf techniques came from co-writer-producer Douglas Kenney.

The idea for Ty Webb quoting 17th-century Japanese poet Bashō and using Zen philosophy to better his golf score came from Kenney’s personal experimentation with Buddhist meditation and enlightenment. According to Doyle-Murray, Kenney “had an idea for a putter with electromagnetic sensors that would signal you to putt when you'd reach alpha state." Later, when the filmmakers wanted Ty Webb to make some sort of Zen sound, and Kenney wasn’t around to advise them, Ramis just gave Chevy Chase one direction: “Make a spiritual sounding sound.” Chase improvised Webb’s hilarious “Na-na-na-na-na” putting sound on the spot.

Caddyshack wasn't the only time the writer infused his projects with Zen; he tried to make a few movies about the topic. One rejected pitch was a comedy about Zen Buddhists in the Himalayas fighting the Red Chinese. He also tried to produce a film adaptation of the book Zen and the Art of Motorcycle Maintenance before his accidental death in 1980, just a month after Caddyshack hit theaters.

10. Caddyshack evolved into something other than “Animal House on a golf course,” and employed a classic comedy trio for inspiration.

Ramis filmed scripted scenes of Danny and the caddies running wild at the country club, believing that his scenes with Tony D’Annunzio and Maggie O'Hooligan would form the main core of the story. But viewing the dailies after a few days of shooting, Ramis realized that the scenes featuring the golfers were too essential to let go. This forced Ramis and his co-screenwriters to reconfigure the narrative focus of the coming-of-age story about Danny into a broader comedic view of the country club itself, based around the hilarious vignettes involving Murray, Dangerfield, and Chase. Ramis would now conduct Caddyshack as if it were a Marx Brothers film. According to Ramis, he thought of Dangerfield as Groucho, Murray as Harpo, and Chase as Chico.

11. The introduction scene between Murray and Chase was based on the contents of a studio note.

The original script for Caddyshack did not include a scene where Carl Spackler and Ty Webb meet, so the studio sent Ramis a note requesting that he take advantage of the talent and come up with a funny scene for Murray and Chase. Some on the set were skeptical of the outcome, thanks to some bad blood between the two after Murray replaced Chase on SNL.

Ramis, Murray, and Chase met to discuss things when production broke for lunch, and they worked together to come up with an outline of a scene where Ty stumbles into Carl’s shed, and the two talk about Carl's rather unique strain of grass, which can be used both on golf courses and to smoke like marijuana. Like much of the comedic bits from the film, the scene was ultimately improvised by the SNL alums and was shot without incident. Murray would later talk about a fight that broke out between the two when Chase returned to co-host SNL while Murray was still on the cast, saying "It was kind of a non-event. It was just the significance of it. It was an Oedipal thing, a rupture.”

12. The Gopher wasn’t originally a big part of the movie.

When shooting concluded in September 1979, Ramis and editor William Carruth had a lot of footage to work with. With so much plot and so many jokes, their first rough cut of the film ran 4.5 hours long. They had already decided to abandon Danny as the main focal point in favor of the comedic heavyweights in Murray, Dangerfield, Chase, and Knight. Still, the filmmakers felt that they needed something to package the film and make the story more coherent. Executive producer Jon Peters suggested, on a whim, that they increase the role of the gopher, turning it into the narrative through-line that tied the film's bits together. The only problem? They didn’t really have a gopher.

During filming, Murray acted his scenes “hunting” the gopher by himself, and the only scene they shot with him trying to catch it involved a hand puppet made out of mink fur. (This cheap puppet can also be seen in the scene where Dangerfield yells “Hey, that kangaroo stole my ball!”)

Ramis looked into bringing in a live, trained gopher to act out the scenes, but Peters weasled some extra money out of the studio and tasked special effects supervisor John Dykstra (an Oscar-winning FX master who had worked on on Star Wars) to create a believable gopher puppet. This explains why Murray and the dancing rodent never appear together onscreen—the scenes in the gopher holes were shot by Dykstra after principal photography had concluded, and were cleverly stitched in to make the scenes appear seamless. The sound effects used for the gopher were the same sounds used for the dolphin in the 1960s TV series Flipper.

13. The owners of the country club were not happy about the explosions on the golf course.

The climactic scene of Murray’s gopher-killing plastic explosives knocking in Danny’s putt to win the unfriendly wager between Al Czervik (Dangerfield) and Judge Smails (Knight) were real pyrotechnics set aflame at Rolling Hills. To pull off the effect, an artificial green was rigged with several incendiary packs and put into place between two fairways.

This was news to the owners of the country club, who had made it clear to filmmakers that the outrageous climax couldn't be shot anywhere near their golf course. To get them to “comply,” producer Jon Peters invited them out for a swanky lunch away from the country club to “thank them for letting the film use the location.” Ramis then had the special effects crew blow up the fake green while they were away. The fireball from the explosion was so large that a pilot landing a plane at nearby Fort Lauderdale-Hollywood International Airport radioed in to air traffic control that he thought he might have witnessed a crash.  

14. Harold Ramis made some unusual choices for the songs in the film.

As the 1980s began, it seemed like every movie was accompanied by a custom theme song or a catchy pop single, and Caddyshack was no different. But Harold Ramis’ first choice for the artist behind that song was a little unorthodox for the type of silly comedy he was making. The director first approached Pink Floyd—who had just released their sprawling concept double-album The Wall—to come up with a song to play over the film's opening and closing credits. The band politely declined, and soft rock icon Kenny Loggins stepped in to provide the song “I’m Alright” for the film. Loggins would go on to find additional soundtrack fame with 1986’s “Danger Zone” from the film Top Gun.

15. You can experience Caddyshack yourself at the Murray Bros. Caddyshack Restaurant.

On June 7, 2001, all six Murray brothers (Ed, Brian, Bill, Andy, John, and Joel) opened a Caddyshack-themed restaurant at the World Golf Village in St. Augustine, Florida. Designed to “look and feel like a country club gone awry,” the restaurant's menu includes a Double Bogey Cheeseburger, Pulled Pork Sandwedge, and the CaddyShake. Wall displays provide pictures and quotes from the film, and hidden gophers litter the décor. It's said that Bill Murray even stops in from time to time to sing a little karaoke.

Additional Source: Caddyshack DVD commentary

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20 Things You Might Not Have Known About Firefly
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© 2002 Twentieth Century Fox

As any diehard fan will be quick to tell you, Firefly's run was far, far too short. Despite its truncated run, the show still offers a wealth of fun facts and hidden Easter eggs. On the 15th anniversary of the series' premiere, we're looking back at the sci-fi series that kickstarted a Browncoat revolution.

1. A CIVIL WAR NOVEL INSPIRED THE FIREFLY UNIVERSE.

The Pulitzer Prize-winning novel The Killer Angels from author Michael Shaara was Joss Whedon’s inspiration for creating Firefly. It follows Union and Confederate soldiers during four days at the Battle of Gettysburg during the American Civil War. Whedon modeled the series and world on the Reconstruction Era, but set in the future.

2. ORIGINALLY, THE SERENITY CREW INCLUDED JUST FIVE MEMBERS.

When Whedon first developed Firefly, he wanted Serenity to only have five crew members. However, throughout development and casting, Whedon increased the cast from five to nine.

3. REBECCA GAYHEART WAS ORIGINALLY CAST TO PLAY INARA.

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Before Morena Baccarin was cast as Inara Serra, Rebecca Gayheart landed the role—but she was fired after one day of shooting because she lacked chemistry with the rest of the cast. Baccarin was cast two days later and started shooting that day.

4. NEIL PATRICK HARRIS WAS ALMOST DR. SIMON TAM.

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Before it went to Sean Maher, Neil Patrick Harris auditioned for the role of Dr. Simon Tam.

5. JOSS WHEDON WROTE THE THEME SONG.

Whedon wrote the lyrics and music for Firefly’s opening theme song, “The Ballad of Serenity.”

6. STAR WARS SPACECRAFT APPEAR IN FIREFLY.

Star Wars was a big influence on Whedon. Captain Malcolm Reynolds somewhat resembles Han Solo, while Whedon used the Millennium Falcon as inspiration to create Serenity. In fact, you can spot a few spacecraft from George Lucas's magnum opus on the show.

When Inara’s shuttle docks with Serenity in the pilot episode, an Imperial Shuttle can be found flying in the background. In the episode “Shindig,” you can see a Starlight Intruder as the crew lands on the planet Persephone.

7. HAN SOLO FROZEN IN CARBONITE POPS UP THROUGHOUT FIREFLY.

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Nathan Fillion is a big Han Solo fan, so the Firefly prop department made a 12-inch replica of Han Solo encased in Carbonite for the Canadian-born actor. You can see the prop in the background in a number of scenes.

8. ALIEN'S WEYLAND-YUTANI CORPORATION MADE AN APPEARANCE.

In Firefly’s pilot episode, the opening scene features the legendary Battle of Serenity Valley between the Browncoats and The Union of Allied Planets. Captain Malcolm Reynolds takes control of a cannon with a Weyland-Yutani logo inside of its display. Weyland-Yutani is the large conglomerate corporation in the Alien film franchise. (Whedon wrote Alien: Resurrection in 1997.)

9. ZAC EFRON'S ACTING DEBUT WAS ON FIREFLY.

A 13-year-old Zac Efron made his acting debut in the episode “Safe” in 2002. He played Young Simon in a flashback.

10. CAPTAIN MALCOLM REYNOLDS'S HORSE IS A WESTERN TROPE.

At its core, Firefly is a sci-fi western—and Malcolm Reynolds rides the same horse on every planet (it's named Fred).

11. FOX AIRED FIREFLY'S EPISODES OUT OF ORDER.

Fox didn’t feel Firefly’s two-hour pilot episode was strong enough to air as its first episode. Instead, “The Train Job” was broadcast first because it featured more action and excitement. The network continued to cherry-pick episodes based on broad appeal rather than story consistency, and eventually aired the pilot as the show’s final episode.

12. THE ALLIANCE'S ORIGINS ARE AMERICAN AND CHINESE.

The full name of The Alliance is The Anglo-Sino Alliance. Whedon envisioned The Alliance as a merger of American and Chinese government and corporate superpowers. The Union of Allied Planets’ flag is a blending of the American and Chinese national flags.

13. THE SERENITY LOUNGE SERVED AS AN ACTUAL LOUNGE.

Between set-ups and shots, the cast would hang out in the lounge on the Serenity set rather than trailers or green rooms.

14. INARA SERRA'S NAME IS MESOPOTAMIAN.

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Inara Serra is named after the Mesopotamian Hittite goddess, the protector of all wild animals.

15. THE CHARACTERS SWORE (JUST NOT IN ENGLISH).

The Firefly universe is a mixture of American and Chinese culture, which made it easy for writers to get around censors by having characters swear in Chinese.

16. THE UNIFORMS ARE RECYCLED FROM STARSHIP TROOPERS.

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The uniforms for Alliance officers and soldiers were the costumes from the 1997 science fiction film Starship Troopers. The same costumes were repurposed again for the Starship Troopers sequel.

17. "SUMMER!" MEANS SOMEONE MESSED UP.

Every time a cast member flubbed one of his or her lines, they would yell Summer Glau’s name. This was a running gag among the cast after Glau forgot her lines in the episode “Objects In Space.”

18. THE SERENITY SPACESHIP WAS BUILT TO SCALE.

The interior of Serenity was built entirely to scale; rooms and sections were completely contiguous. The ship’s interior was split into two stages, one for the upper deck and one for the lower. Whedon showed off the Firefly set in one long take to open the Serenity movie.

19. "THE MESSAGE" SHOULD HAVE BEEN THE SHOW'S FAREWELL.

Although “The Message” was the twelfth episode, it was the last episode filmed during Firefly’s short run. Composer Greg Edmonson wrote a piece of music for a funeral scene in the episode, which served as a final farewell to the show. Sadly, it was one of three episodes (the other two were “Trash” and “Heart of Gold”) that didn’t air during Firefly’s original broadcast run on Fox.

20. FIREFLY AND SERENITY WERE SENT TO THE INTERNATIONAL SPACE STATION.

American Astronaut Steven Ray Swanson is a big fan of Firefly, so when he was sent to the International Space Station for his first mission (STS-117) in 2007, he brought DVD copies of Firefly and its feature film Serenity aboard with him. The DVDs are now a permanent part of the space station’s library.

This post originally appeared in 2014.

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10 Hush-Hush Facts About L.A. Confidential
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On this day 20 years ago, a rising star director, a writer who thought he’d never get the gig, and a remarkable cast got together to make a film about the corrupt underbelly of 1950s Los Angeles, and the men and women who littered its landscape. This was L.A. Confidential, a film so complex that its creator (legendary crime writer James Ellroy) thought it was “unadaptable.” In the end, it was one of the most acclaimed movies of the 1990s, a film noir classic that made its leading actors into even bigger stars, and which remains an instantly watchable masterpiece to this day. Here are 10 facts about how it got made.

1. THE SCRIPTING PROCESS WAS TOUGH.

Writer-director Curtis Hanson had been a longtime James Ellroy fan when he finally read L.A. Confidential, and the characters in that particular Ellroy novel really spoke to him, so he began working on a script. Meanwhile, Brian Helgeland—originally contracted to write an unproduced Viking film for Warner Bros.—was also a huge Ellroy fan, and lobbied hard for the studio to give him the scripting job. When he learned that Hanson already had it, the two met, and bonded over their mutual admiration of Ellroy’s prose. Their passion for the material was clear, but it took two years to get the script done, with a number of obstacles.

"He would turn down other jobs; I would be doing drafts for free,” Helgeland said. “Whenever there was a day when I didn't want to get up anymore, Curtis tipped the bed and rolled me out on the floor."

2. IT WAS ORIGINALLY INTENDED AS A MINISERIES.

When executive producer David Wolper first read Ellroy’s novel, he saw the dense, complex story as the perfect fodder for a television miniseries, and was promptly turned down by all the major networks at the time.

3. JAMES ELLROY DIDN’T THINK THE BOOK COULD BE ADAPTED.

Though Wolper was intrigued by the idea of telling the story onscreen, Ellroy and his agent laughed at the thought. The author felt his massive book would never fit on any screen.

“It was big, it was bad, it was bereft of sympathetic characters,” Ellroy said. “It was unconstrainable, uncontainable, and unadaptable.”

4. CURTIS HANSON SOLD THE FILM WITH CLASSIC LOS ANGELES IMAGES.

To get the film made, Hanson had to convince New Regency Pictures head Arnon Milchan that it was worth producing. To do this, he essentially put together a collage of classic Los Angeles imagery, from memorable locations to movie stars, including the famous image of Robert Mitchum leaving jail after his arrest for using marijuana.

"Now you've seen the image of L.A. that was sold to get everybody to come here. Let's peel back the image and see where our characters live,” Hanson said.

Milchan was sold.

5. KEVIN SPACEY WAS ON HANSON’S WISH LIST FOR YEARS.

Though the other stars of the film were largely discoveries of the moment, Kevin Spacey was apparently someone Hanson wanted to work with for years. Spacey described Hanson as a director “who’d been trying for years and years and years to get me cast in films he made, and the studio always rejected me.” After Spacey won an Oscar for The Usual Suspects, Hanson called the actor and said “I think I’ve got the role, and I think they’re not gonna say no this time.”

6. SPACEY’S CHARACTER IS BASED ON DEAN MARTIN.

Warner Bros.

Though he cast relative unknowns in Russell Crowe and Guy Pearce, Hanson wanted an American movie star for the role of Jack Vincennes, and decided on Kevin Spacey. In an effort to convince Spacey to take the role, Hanson invited him to dine at L.A.’s famous Formosa Cafe (where scenes in the film are actually set). While at the cafe, Spacey asked a vital question:

“If it was really 1952, and you were really making this movie, who would you cast as Jack Vincennes? And [Hanson] said ‘Dean Martin.’”

At that point, Spacey looked up at the gallery of movie star photos which line the cafe, and realized Martin’s photo was right above him.

“To this day, I don’t know whether he sat us in that booth on purpose, but there was Dino looking down at me,” Spacey said.

After his meeting with Hanson, Spacey watched Martin’s performances in Some Came Running (1958) and Rio Bravo (1959), and realized that both films featured characters who mask vulnerability with a layer of cool. That was the genesis of Jack Vincennes.

7. HANSON CHOSE MUCH OF THE MUSIC BEFORE FILMING.

To help set the tone for his period drama, Hanson began selecting music of the early 1950s even before filming began, so he could play it on set as the actors went to work. Among his most interesting choices: When Jack Vincennes sits in a bar, staring at the money he’s just been bribed with, Dean Martin’s “Powder Your Face With Sunshine (Smile! Smile! Smile!)” plays, a reference to both the character’s melancholy, and to Spacey and Hanson’s decision to base the character on Martin.

8. THE CINEMATOGRAPHY WAS INSPIRED BY ROBERT FRANK PHOTOGRAPHS.

To emphasize realism and period accuracy, cinematographer Dante Spinotti thought less about the moving image, and more about still photographs. In particular, he used photographer Robert Frank’s 1958 collection "The Americans" as a tool, and relied less on artificial light and more on environmental light sources like desk lamps.

"I tried to compose shots as if I were using a still camera,” Spinotti said. “I was constantly asking myself, 'Where would I be if I were holding a Leica?' This is one reason I suggested shooting in the Super 35 widescreen format; I wanted to use spherical lenses, which for me have a look and feel similar to still-photo work.”

9. THE FINAL STORY TWIST IS NOT IN THE BOOK.

Warner Bros.

[SPOILER ALERT] In the film, Jack Vincennes, Ed Exley, and Bud White are all chasing a mysterious crime lord known as “Rollo Tomasi,” who turns out to be their own LAPD colleague, Dudley Smith (James Cromwell). Though Vincennes, Exley, and White are all native to Ellroy’s novel, the Tomasi name is entirely an invention of the film.

10. ELLROY APPROVED OF THE MOVIE.

To adapt L.A. Confidential for the screen, Hanson and Helgeland condensed Ellroy’s original novel, boiling the story down to a three-person narrative and ditching other subplots so they could get to the heart of the three cops at the center of the movie. Ellroy, in the end, was pleased with their choices.

“They preserved the basic integrity of the book and its main theme, which is that everything in Los Angeles during this era of boosterism and yahooism was two-sided and two-faced and put out for cosmetic purposes,” Ellroy said. “The script is very much about the [characters'] evolution as men and their lives of duress. Brian and Curtis took a work of fiction that had eight plotlines, reduced those to three, and retained the dramatic force of three men working out their destiny. I've long held that hard-boiled crime fiction is the history of bad white men doing bad things in the name of authority. They stated that case plain.”

Additional Sources:
Inside the Actors Studio: Kevin Spacey (2000)

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