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15 Facts About Dead Poets Society

Touchstone Pictures
Touchstone Pictures

Robin Williams' portrayal of John Keating was one of his iconic roles, and this drama about boys at a prep school in 1959 still endures. Here are 15 things you may not have known about Dead Poets Society

Carpe diem.

1. The movie was loosely based on the screenwriter's life.

Dead Poets Society was written by Tom Schulman, who also wrote Honey, I Shrunk The Kids and What About Bob? It was the first screenplay he sold to Hollywood, though not the first one he wrote—in fact, Schulman wrote four scripts before Dead Poets Society. The story is based in part on his experiences at Montgomery Bell Academy, a prep school in Nashville, Tennessee. Most of the characters were modeled on people he knew from real life.

2. The main character, John Keating, was based on two of Schulman's teachers.

Keating was based on Harold Clurman, who taught at the Actors and Directors Lab, and Samuel Pickering, who taught Schulman's sophomore English class. While Keating's inspiring speeches may have come from Clurman, his quirky teaching style came from Pickering. In an essay, Pickering says he sometimes taught class while standing on a desk (as Keating does) or in a trashcan. One of his students remembers Pickering making him stand on a chair and flap his arms every time the class said the word “nevermore” while reading Edgar Allan Poe's The Raven.

“I did such things not so much to awaken students as entertain myself,” he wrote. “If I had fun, I suppose I thought, the boys would have fun, too, and maybe even enjoy reading and writing.”

3. The studio considered turning Dead Poets Society into a musical.

They even had a title: The Sultans of Strut. Apparently, it was going to be like Fame.

4. Originally, Jeff Kanew, who did Revenge of the Nerds, was going to direct it.

Kanew wanted Liam Neeson to play Keating, but the studio wanted Robin Williams. For his part, Williams seemed reluctant to work with Kanew, which led to a disastrously botched first day of shooting, according to Schulman:

“The studio wanted Robin Williams, and Robin wouldn't say no, but he wouldn't say yes, to working with that director. In fact, we prepped the movie, built the sets—it was going to be shot outside of Atlanta—and Robin just didn't show up for the first day of shooting. He never said he would, but Disney kept trying to pressure him by moving forward. After the first day he didn't show up, they canceled the production and burned the sets. We actually have dailies of the sets burning.”

5. Dustin Hoffman was going to direct—and star in—the movie.

After Kanew, Hoffman signed on to direct, as well as play the role of Keating, but there were scheduling conflicts and arguments about the start date. Finally, the studio gave the movie to Peter Weir, who directed Witness and Gallipoli and would later direct The Truman Show.

6. In the screenplay, John Keating is dying of cancer.

The movie is faithful to Schulman's screenplay except for a scene where the boys discover that Keating has Hodgkin's disease. The scene was intended to show the audience why Keating is so intent on seizing the day, but Weir thought the movie was stronger without it. He told Schulman, “You don’t have to explain it.”

7. Filming was moved from Georgia to Delaware because of snow.

The movie was originally going to be filmed in Rome, Georgia, but the director wanted snow to enhance the feel of a New England prep school. Since snow is expensive to replicate, they moved filming to Delaware, where snow is free.

8. The movie is rife with literary references—both well-known and obscure.

Keating tells the boys to sound their “barbaric yawp” from Walt Whitman's Leaves of Grass. He quotes Henry David Thoreau's line from Walden, “The mass of men lead lives of quiet desperation.” The boys chant lines from Vachel Lindsay's almost-forgotten poem "The Congo": “Then I saw the Congo, creeping through the black, cutting through the forest with a golden track.” Shakespeare, Robert Frost, Alfred Lord Tennyson, and Lord Byron are also mentioned.

Of course, the most memorable literary reference is the use of Whitman's elegy for Abraham Lincoln. At the end of the movie, after Keating has been fired, the boys climb on their desks and declare their loyalty by saying, “Oh Captain, My Captain.”

9. Robin Williams was stiff in the role, until he started improvising.

When Williams first arrived on set, his portrayal of Keating was wooden and uncomfortable, so Weir suggested they improvise. He asked Williams what he wanted to “teach” the class, and he said Shakespeare. Then Williams did an improv of Marlon Brando and John Wayne doing Shakespeare, a scene that made it into the movie. After that, he relaxed into the role, and the movie started to work.

10. A Decent Chunk of Williams' Lines Were Improvised.

And not just the scene mentioned above. Producers estimate about 15% of Robin Williams' dialogue was improvised by the actor.

11. The director made the young actors live together.

Since the characters in Dead Poets Society live in a boarding school, Weir had the boys room together so they could bond. He also made them study movies, radio shows, and music from the 1950s.

12. The cave is fake.

The cave where the society meets wasn't an actual cave, but rather a set piece made of latex. It was, however, based on a real location—Wolf Cave in Delaware.

13. Lara Flynn Boyle had a bit part in the movie, but it was cut.

Here's the deleted scene.

14. Not everyone liked the film—Roger Ebert Especially.

While Dead PoetsSociety was generally well received, some critics thought it was emotionally manipulative and intellectually shallow. Ebert gave it two stars and said of the film: “It is, of course, inevitable that the brilliant teacher will eventually be fired from the school, and when his students stood on their desks to protest his dismissal, I was so moved, I wanted to throw up.”

15. Ethan Hawke credits a scene with Williams for introducing him to the possibilities of acting.

In an interview with Jian Ghomeshi, Ethan Hawke talks about the impact working with Robin Williams on Dead Poets Society had on his career, particularly in a scene where Keating teaches him to sound his “barbaric yawp.”

“That was the scene where I was supposed to read a poem in front of the class and it was the first time in my life that I ever experienced the thrill of acting and the thrill of losing yourself. You know, there's this whole thing in the public that acting is this huge celebration of the personality and the ego, of course, and the irony is that whenever it's any good, it's devoid of ego. It's a high that I've chased my whole life since that day with Robin. It's this way of losing yourself, where you lose yourself inside a story, a story that's in service of something way beyond you. And I felt that in Dead Poets Society.”

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The Princess Ride: Here's What a Princess Bride Theme Park Attraction Might Look Like
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MGM

Do you fight the urge to say “Hello, my name is Inigo Montoya” when introducing yourself? Have you spent the past 30 years mispronouncing the word “marriage”? If so, you may be a diehard fan of The Princess Bride. The cult film (and the book on which it’s based) has inspired board games, merchandise, and countless pop culture references. Now, two theme park designers from Universal have conceived the inconceivable. As Nerdist reports, Jon Plsek and Olivia West have designed the plans for a hypothetical attraction called “The Princess Ride.

Their idea follows the classic river boat ride structure and adds highlights from the movie around each corner. After watching Buttercup and Wesley’s love story unfold, riders are taken past the Cliffs of Insanity, through the Fire Swamp, and into the Pit of Despair. The climax unfolds at Prince Humperdinck’s castle and leads up to the two protagonists riding off into the sunset. The last thing the passengers see is Miracle Max and Valerie waving goodbye saying, “Hope ya had fun stormin’ the castle!”

The ride’s designers make a living turning stories into thrilling attractions. Plsek works as a concept artist for Universal Creative, the group behind Universal’s theme parks, and West works there as a concept writer. While The Princess Ride was just a fun side project for the pair, it isn’t hard to imagine their ride bringing Princess Bride fans to the parks in real life.

For more of Jon Plesk’s concept rides inspired by classics like Dr. Strangelove (1964) and National Lampoon’s Vacation (1983), check out his website.

[h/t Nerdist]

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13 Great Facts About Bad Lieutenant
Lionsgate Home Entertainment
Lionsgate Home Entertainment

Bad Lieutenant can be accused of many things, but one charge you can't level against it is false advertising. Harvey Keitel's title character, whose name is never given, is indeed a bad, bad lieutenant: corrupt, sleazy, drug-addled, irresponsible, and lascivious, all while he's on the job. (Imagine what his weekends must be like!)

Abel Ferrara's nightmarish character study was controversial when it was released 25 years ago today, and rated NC-17 for its graphic nudity (including a famous glimpse at Lil’ Harvey), unsettling sexual violence, and frank depiction of drug use. The film packs a wallop, no doubt. Here's some behind-the-scenes info to help you cope with it.

1. THE PLACID WOMAN WHO HELPS THE LIEUTENANT FREEBASE HEROIN WROTE THE MOVIE.

That's Zoë Tamerlis Lund, who starred in Abel Ferrara's revenge-exploitation thriller Ms. 45 (1981) more than a decade earlier, when she was 17 years old. She and Ferrara are credited together for writing Bad Lieutenant, though she always insisted that wasn't the case. "I wrote this alone," she said. "Abel is a wonderful director, but he's not a screenwriter." She said elsewhere that she "wrote every word of that screenplay," though everyone agrees the finished movie included a lot of improvisation. Lund was a fascinating, tragic character herself—a musical prodigy who became an enthusiastic and unapologetic user of heroin before switching to cocaine in the mid-1990s. She died of heart failure in 1999 at age 37.

2. CHRISTOPHER WALKEN WAS SUPPOSED TO STAR IN IT.

Christopher Walken had starred in Ferrara's previous film, King of New York (1990), and was set to play the lead in Bad Lieutenant before pulling out at almost the last minute. Ferrara was shocked. "[Walken] says, 'You know, I don't think I'm right for it.' Which is, you know, a fine thing to say, unless it's three weeks from when you're supposed to start shooting," Ferrara said. "It definitely caught me by surprise. It put me in terminal shock, actually." Harvey Keitel replaced him (though not without difficulty; see below), and the film's editor, Anthony Redman, thought Keitel was a better choice anyway. "Chris is too elegant for the part," he said. "Harvey is not elegant." 

3. HARVEY KEITEL'S INITIAL REACTION TO THE SCRIPT WAS NOT PROMISING.

"When we gave [Keitel] the script the first time, he read about five pages and threw it in the garbage," Ferrara said. Keitel's recollection was a little more diplomatic. As he told Roger Ebert, "I read a certain amount of pages and I put it down. I said, 'There's no way I'm gonna make this movie.' And then I asked myself, 'How often am I a lead in a movie? Read it, maybe I can salvage something from it …' When I read the part about the nun, I understood why Abel wanted to make it."

4. IT WAS ORIGINALLY SUPPOSED TO BE FUNNY.


Lionsgate Home Entertainment

"It was always, in my mind, a comedy," Ferrara said. He cited the scene where the Lieutenant pulls the teenage girls over as a specific example of how Christopher Walken would have played it, and how Harvey Keitel changed it. "The lieutenant was going to end up dancing in the streets with the girls as the sun came up. They'd be wearing his gun belt and hat, and they'd have the radio on, you know what I mean? But oh my God, Harvey, he turned it into this whole other thing." Boy, did he. 

5. THAT SCENE WITH THE TEENAGE GIRLS HAD A REAL-LIFE ELEMENT THAT MADE IT EVEN CREEPIER.

One of the young women was Keitel's nanny. Ferrara: "I said, 'You sure you want to do this with your babysitter?' He says, 'Yeah, I want to try something.'"

6. MUCH OF IT WAS FILMED GUERRILLA-STYLE.

Like many indie-minded directors of low-budget films, Ferrara didn't bother with permits most of the time. "We weren't permitted on any of this stuff," editor Anthony Redman admitted. "We just walked on and started shooting." For the scene where a strung-out Lieutenant walks through a bumpin' nightclub, they sent Keitel through an actual, functioning club during peak operating hours.

7. A GREAT DEAL OF THE DIALOGUE AND ACTION WERE MADE UP ON THE FLY.

The script was only about 65 pages at first, which would have made for about a 65-minute movie. "It left a lot of room for improvisation," producer Randy Sabusawa said, "but the ideas were pretty distilled. They were there."

Script supervisor Karen Kelsall said supervising the script was a challenge. "Abel didn't stick to a script," she said. "Abel used a script as a way to get the money to make a movie, and then the script was kind of—we called it the daily news. It changed every day. It changed in the middle of scenes." Ferrara was unapologetic about the script's brevity. "The idea of wanting 90 pages ... is ridiculous."

8. AND THERE WERE EVEN MORE IDEAS THAT THEY DIDN'T USE.

Ferrara said a scene that epitomized the movie for him—even though he never got around to filming it—was one where the Lieutenant robs an electronics store, leaves, then gets a call about a robbery at the electronics store. He responds in an official capacity (they don't recognize him), takes a statement, walks out, and throws the statement in the garbage. "And that to me is the Bad Lieutenant, you know?" Ferrara said. 

9. THE BASEBALL PLAYOFF SERIES IS FICTIONAL.

The Mets have battled the Dodgers for the National League championship once, in 1988. (The Dodgers beat 'em and went on to win the World Series.) For the narrative Ferrara wanted—the Mets coming back from a 3-0 deficit to win the pennant—he had to make it up. He used footage from real Mets-Dodgers games (including Darryl Strawberry's three-run homer from a game in July 1991) and added fictional play-by-play. But the statistics were accurate: No team had ever been down by three in a best-of-seven series and then come back to win. (It's happened once since then, when the 2004 Red Sox did it.)

10. THEY HAD HELP FROM THE COP WHO SOLVED A SIMILAR CASE.

The disgusting crime at the center of the film (we won't dwell on it) was inspired by a real-life incident from 1981, which mayor Ed Koch called "the most heinous crime in the history of New York City." The street cop who solved it, Bo Dietl, advised Ferrara on the film and had an on-screen role as one of the detectives in our Lieutenant's circle of friends.

11. THEY DESECRATED THE CHURCH AS RESPECTFULLY AS THEY COULD.

Production designer Charles Lagola had his team cover the church’s altar and other surfaces with plastic wrap, then painted the graffiti and other defacements on the plastic.

12. IT WAS RATED NC-17 IN THEATERS, WITH AN R-RATED VERSION FOR HOME VIDEO.

Blockbuster and some of the other retail chains wouldn't carry NC-17 or unrated films, so sometimes studios would produce edited versions. (See also: Requiem for a Dream.) The tamer version of Bad Lieutenant was five minutes and 19 seconds shorter, with parts of the rape scene, the drug-injecting scene, and much of the car interrogation scene excised.

13. THE "SEQUEL" HAD NOTHING TO DO WITH IT, NOR DID FERRARA APPROVE OF IT.


First Look International

Movie buffs were baffled in 2009, when Werner Herzog directed Bad Lieutenant: Port of Call New Orleans, starring Nicolas Cage. It sounds like a sequel (or a remake), but in fact had no connection at all to the earlier film except that both were produced by Edward R. Pressman. Herzog said he'd never seen Ferrara's movie and wanted to change the title (Pressman wouldn't let him); Ferrara, outspoken as always, initially wished fiery death on everyone involved. Ferrara and Herzog finally met at the 2013 Locarno Film Festival in Switzerland, where Herzog initiated a conversation about the whole affair and Ferrara expressed his frustration cordially. 

Additional sources:
DVD interviews with Abel Ferrara, Anthony Redman, Randy Sabusawa, and Karen Kelsall.

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