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Disney / Mushi Production
Disney / Mushi Production

10 Hollywood Movies That May Have Been Inspired by Anime

Disney / Mushi Production
Disney / Mushi Production

The recent Tom Cruise vehicle Edge of Tomorrow looks and feels like an anime—partly because it is based on an actual Japanese manga property (albeit one that has so far not been given the animated treatment). And we can speculate that a bunch of other Hollywood movies not credited as being based on any specific anime actually were.

While hyper-real fantasy pictures like Real Steel and Sucker Punch borrow the semiotics/visual vocabulary of Japanese animation, there are some films that lift whole storylines or shots from pretty famous properties developed by our neighbors in the east. Sometimes the filmmakers cop to it, sometimes they don't—but here are ten examples of movies inspired by anime to get you thinking.

1. The Lion King (1994)

Influence: Kimba the White Lion

In the early '90s, the VHS revolution was in full swing, but the internet was in its infancy—it would be a few more years before many people would be talking smack on message boards. So unless you were trading bootlegs at a convention, you were mostly ignorant of animation from other parts of the globe—which is probably what Disney was counting on when they totally ganked elements of The Lion King from Kimba the White Lion wholesale. Created by Osamu Tezuka as a manga in the 1950s, then broadcast as an animated series in the mid-1960s (including syndication in the U.S.!), the similarities to Disney's 1994 feature-film blockbuster go as far as exact shots (Mufasa on Pride Rock, his ghost appearing to Simba in the sky) to identical characters and story elements. In fact, Lion King star Matthew Broderick thought he was initially working on a version of Kimba.

2. The Matrix (1999)

Influence: Ghost in the Shell

Unlike filmmakers who are sheepish to discuss their influences, Lana and Andy Wachowski could not have been more direct: They pitched The Matrix to producer Joel Silver by showing him 1995's cyberpunk actioner Ghost in the Shell, saying "We want to do that in live-action." And indeed they did! From the green digital typography used to descend into the virtual world to jacking-in through ports in the back of a person's neck, the Wachowskis borrowed lovingly from Mamoru Oshii's Ghost as well as the overall cinematic speed-ramping language of anime. They even wore their thievery proudly with side-by-side comparisons on the making-of features! Talk about owning it. Oshii himself became tired of discussing the comparison, stating, "It is an entertaining movie, but I prefer their debut, Bound."

But the directors weren't done with anime: The 2003 direct-to-video feature The Animatrix saw the Wachowskis utilizing some of Japan's finest directors (Yoshiaki Kawajiri, Mahiro Maeda) to take The Matrix franchise back to its anime roots. Then they went on to 2008's Speed Racer, the closest anyone’s come to approximating the actual psychedelic flourish of anime in live-action… for better or worse.

3. Van Helsing (2004)

Influence: Vampire Hunter D

This one really only goes so far as an iconic costume. The movie finds Hugh Jackman playing the eponymous vampire hunter who originally appeared in Bram Stoker's Dracula—only in that story, Abraham Van Helsing was an old, half-mad doctor. Here, he's a hunky stud vigilante who turns out to be the earthly incarnation of angel Gabriel. Van Helsing's signature Johnny Cash-style black duds and wide-brimmed hat also happen to be style of choice for a certain Vampire Hunter D, the bloodsucker slayer immortalized in dozens of novels by Hideyuki Kikuchi and two classic anime features that rely heavily on western motifs. Its concept of a "dhampir" (half vampire/half human vampire hunter) was also borrowed for the Blade movies.

4. Avatar (2009)

20th Century Fox / Toho

Influence: Princess Mononoke

When anything becomes successful, people tend to come out of the woodwork to claim it was stolen from this or that—especially when you're the most successful thing ever projected onto a plethora of large screens. Such was the case with James Cameron's Avatar, which was a target even before it hit theaters. There were charges of Ferngully-this and Pocahontas-that, but the spirit that the director's "Dances With Wolves-in-space" was really channeling was Hayao Miyazaki's Princess Mononoke. It was the first anime feature to really gain worldwide box office traction, and featured many of Miyazaki's signature motifs, including environmental degradation, malevolent black goo, and a strong female heroine. Those are also signatures of James Cameron (well, maybe not the black goo), but both feature a human interloper entering a wilderness society, being "chosen" by the elements, falling in love with a warrior chick and ultimately fighting against the human oppressors who want to mine a metal out of the ground. 

5. Inception (2010)

Influence: Paprika

Christopher Nolan acknowledged that Satoshi Kon's colorful 2006 fantasia Paprika was a source of inspiration for him, in that both stories involve an electronic device that allows an outsider to access and affect a person's dreams. Of course, like The Matrix, Inception’s influences are myriad—from Total Recall to James Bond to Philip K. Dick's Ubik—though the most striking thing you can say when you put the two films side-by-side is how vastly better Paprika is, in the sense that it truly revels in dreams as a mental plane where anything the subconscious can muster will happen. Wolfgang Peterson (The Perfect Storm) announced he was working on a live-action version of Paprika just before Inception came out, and it's not hard to believe that Nolan's movie might have stolen his thunder considering we haven't heard a peep in four years.

6. Black Swan (2010)

Influence: Perfect Blue

Another masterpiece by Satoshi Kon was given the (informal) Hollywood treatment in 2010 in the form of Academy Award-winning psychodrama Black Swan, which took both specific shots and story details from Perfect Blue. Filmmaker Darren Aronofsky had previously used several frames from this 1997 animated film for scenes with Jennifer Connelly in Requiem For a Dream, going so far as to buy the rights from Kon. When touting his ballet drama Swan during awards season, he acknowledged similarities—a talented young woman with a tenuous grasp on reality alienates her friends and overbearing mother in order to achieve fame, all while being tormented by a doppelganger who appears in reflections—but insisted he did not draw any inspiration from it.

7. Scott Pilgrim Vs The World (2010)

Universal Pictures / Shueisha

Influence: 'Naruto'

Yes, director Edgar Wright was looking to the world of video games and martial arts movies as the primary ingredients in Scott Pilgrim vs. the World. However, being that the original comic book's creator Bryan Lee O'Malley was deliberately aping the style and formatting of Japanese manga, the whole thing has anime in its DNA. The film pulls liberally from the old 8-bit Street Fighter and Mario Bros. games, but during the final boss confrontation with Gideon Graves (Jason Schwartzman) the baddie uses hand signs straight from popular manga/anime Naruto to summon his deadly digitized sword.

8. Looper (2012)

TriStar Pictures / Toho

Influence: Akira

Arguably the most revered anime feature of all-time, Katsuhiro Otomo's 1988 breakthrough Akira was a cyberpunk landmark that took sensory overload to new heights. Rian Johnson's Looper is a clever pastiche of sci-fi tropes—particularly The Terminator—and tells the tale of a young buck (Joseph Gordon-Levitt) who murders people sent back in time by the mob, and what happens when he fails to kill his future self (Bruce Willis). Besides the time travel element, you also have a kid named Cid whose psychokinetic abilities will eventually turn him into a monster, something that also plays heavily into the Tetsuo character in Akira. The futuristic setting is much less Blade Runner and more Detroit ten years from now, but Johnson freely admits to cribbing from not only Akira but also Otomo's other manga work in the uncontrolled-id genre, Domu.

9. Pacific Rim (2013)

Influence: Neon Genesis Evangelion/Mobile Suit Gundam/Patlabor/etc

If Japan were to have a pop culture ambassador to the United Nations, it would be a giant robot. Since the dawn of Astro Boy and Gigantor, their culture has literally been stupid with big mechanical marvels, whether they're duking it out with Godzilla or transforming into a boombox. It's fair to say Japanimation has ripped itself off so many times it would be impossible to pinpoint one influence on Guillermo del Toro's mech-vs.-monster epic Pacific Rim. Besides the obvious "nations banding together to defeat giant creatures with big robot defenders" angle, popular anime series Evangelion has the drivers of said robots given a neural link to their rigs. Rim doubled up on this concept by having two drivers telepathically connected and sharing memories, but the influence is there. Both del Toro and screenwriter Travis Beacham have denied watching Evangelion, but do cite Gigantor (originally Tetsujin 28-go) or Mobile Police Patlabor.

10. Her (2013)

Influence: Chobits

Spike Jonze's Her and the anime Chobits (created by Japanese manga collective Clamp) are both about average, antisocial dudes who fall in love with an artificial being. Although they both boast this central idea—and despite impassioned cries by anime fans—it really is hard to get past a fundamental difference, which is that Chobits' female A.I. named Chi has a body in which to "interact" with her man Hideki, whereas Samantha in Her is a disembodied voice (Scarlett Johansson) with which Theodore Twombly (Joaquin Phoenix) can impart all of his innermost desires in order to simulate true intimacy. Eventually, both Chi and Samantha become transcendent beings, but Her is so different both aesthetically and emotionally that it's hard to say there's more than the kernel of the idea in Jonze's work.

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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.


Universal Home Video

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.


Getty Images

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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