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15 Things You May Not Have Known About Beverly Hills Cop

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Beverly Hills Cop confirmed Eddie Murphy's status as a superstar. The action/comedy was, financially speaking, the number one movie of 1984, and its screenplay was nominated for an Oscar. What ended up becoming one of AFI's Top 100 comedies of all time was very close to becoming a completely different movie featuring Sylvester Stallone, more gunplay, and far less humor. Thirty years after its premiere is as good a time as any to read about the crazy behind-the-scenes journey that got Axel Foley from Detroit to Beverly Hills.

1. THE ORIGINAL IDEA FOR THE MOVIE CAME FROM A SPEEDING TICKET

In 1975, long before he would become the CEO of Disney, Michael Eisner was driving a beat-up station wagon around Hollywood, despite his impressive title of president at Paramount Studios. After he got a speeding ticket from a cop with "an air of superiority and quiet condescension," he bought himself a Mercedes and came up with the germ of an idea to make a movie about a Hollywood police officer. For what it's worth, Paramount executive Don Simpson allegedly claims Eisner was wrong, and that he came up with the idea himself.

2. IT TOOK OVER FIVE YEARS FOR SOMEONE TO GET THE SCRIPT RIGHT

Danillo Bach was hired to write the script, and in 1981 he submitted a draft titled Beverly Drive. In Beverly Drive, a Pittsburgh cop named Elly Axel shows up in Beverly Hills to investigate his friend's death. That loose plot remained throughout the remainder of the creative process. Michael Eisner felt that the draft, and all the others before it from different screenwriters, didn't capture the fish-out-of-water aspect enough.

Daniel Petrie Jr.'s script was the one Eisner, Don Simpson, and his fellow Paramount producer Jerry Bruckheimer liked. Petrie injected comedy into his version after talking to cops and noticing that they told "tremendously funny stories, punctuated by the most gruesome violence." He also nailed the outsider aspect Eisner desired, drawing from his experience as a poor writer walking to his expensive-looking Beverly Hills office past stores full of high-priced clothes and art that he could never afford.

3. MICKEY ROURKE WAS INITIALLY PAID TO PLAY AXEL FOLEY

With the project fast-tracked in 1983, Mickey Rourke was a hot commodity, fresh off his Diner performance as Boogie. Rourke made $400,000 by signing a holding contract, going back and forth with the studio and the writers on ideas for the script, and then walking away when his contract expired to look for work elsewhere.

4. SYLVESTER STALLONE SIGNED ON TO PLAY AXEL AND REWROTE THE MOVIE AS A SYLVESTER STALLONE MOVIE

Stallone reflected that when he first received the action/comedy script in the mail, he thought it was sent to the wrong house. The actor, who by 1983 had already written the first three Rocky movies and First Blood, re-wrote Beverly Hills Cop to better suit his strengths, making it into a pure action flick as it had been before Petrie Jr. took over script duties. In Stallone's ending, Axel drives a stolen Lamborghini towards a freight train being driven by the Big Bad.

5. STALLONE LEFT WEEKS BEFORE SHOOTING BECAUSE OF ORANGE JUICE. MAYBE.

The Hollywood legend is that Sylvester Stallone abandoned the project thanks to failed negotiations over what type of orange juice was to be kept in his trailer. The official explanation was that Stallone's script made the budget skyrocket, and Paramount did not want to spend all the extra money. A majority of Stallone's script went into his 1986 movie Cobra, and as a nod to Stallone's involvement, Judge Reinhold's character Billy Rosewood has posters of both Cobra and Rambo in his room in Beverly Hills Cop II.

6. EDDIE MURPHY IMPROVISED A LOT OF THE MOVIE

Murphy, coming off roles in 48 Hours and Trading Places, was brought in to save the day. Petrie Jr. came back and finished a final version of his script, but both he and director Martin Brest weren't completely satisfied. Brest encouraged Murphy to make up funny stuff on the spot, and Murphy came through on multiple occasions. The former SNL cast member rarely drank caffeine, but after drinking a cup of coffee, he ad-libbed his spirited "supercops" monologue.

7. AN ACTOR HELD THE MOVIE'S SCRIPT IN HIS HANDS WHILE SHOOTING, AND IT WAS KEPT IN THE FILM

With the screenplay reworked constantly, sometimes actors were given their lines right before they were supposed to say them. This was an issue for actor Stephen Elliott, who was caught with his rolled-up script in his hand as he was playing police chief Hubbard. Fortunately for him, his director thought it made him more look the part, and in the film, Elliott is holding those script pages.

8. MARTIN SCORCESE WAS THE FIRST CHOICE TO DIRECT

When Stallone was still signed up to play the lead, Scorcese was offered the director's chair. Scorcese was "bewildered," and dismissed the concept as too similar to the movie Coogan's Bluff. In that film, Clint Eastwood was a deputy sheriff from Arizona who travels to New York City to hand over a fugitive.

9. MARTIN BREST REPEATEDLY REFUSED TO DIRECT THE MOVIE

Martin Brest was fired from his second directing job, WarGames, and the industry thought he was damaged goods. Don Simpson and Jerry Bruckheimer disagreed, and the two Paramount executives continually called Brest and asked him to direct Beverly Hills Cop. He kept declining, before eventually taking his phone off the hook. Simpson took the hint, but Bruckheimer kept trying, and to end the harassment, Brest decided to flip a coin to make his decision. The coin told him to take the job.

10. BRONSON PINCHOT ALMOST DIDN'T DO THE MOVIE BECAUSE HE WANTED TO GO TO ITALY

Pinchot's performance as Serge the gallerist, which led Brest to call Pinchot the "American Peter Sellers," helped him obtain his iconic role of Mypos native Balki Bartokomous on Perfect Strangers for seven seasons. But because of the movie's repeated production delays and his scheduled trip to Florence, Italy, Pinchot grew restless and said that if they didn't start production, he would have to drop out. Pinchot made this ultimatum despite being a virtual unknown.

11. THE REAL DETROIT POLICE WOULDN'T GO PLACES THE DIRECTOR WOULD

Most of the scenes set in Detroit were actually shot there. An off-duty police officer accompanied Martin Brest and his crew during filming, but he refused to go with them when they entered a housing project. Detroit PD was more helpful when producers were researching police procedures, though, when a detective took them to a murder site. Since the incident occurred across the street from Mumford High School, Eddie Murphy wears a Mumford shirt throughout the movie.

12. THREE SYNTHESIZERS WERE NEEDED TO RECORD 'AXEL F'

The classic instrumental theme written and performed by Harold Faltermeyer was made using a Roland Jupiter 8, a Roland JX-3P, and a Yamaha DX-7. The song reached #3 on the Billboard U.S. charts. Faltermeyer also co-wrote the Glenn Frey song "The Heat is On" for the film's soundtrack.

13. THE BEVERLY HILLS POLICE DEPARTMENT SET WAS BASED ON 'WARGAMES'

The Beverly Hills PD did not provide access to their headquarters, so Martin Brest and staff simply built a set that would look like the exact opposite of the Detroit police department, "like private security for all rich people." The set was influenced by Brest's original conceptual designs for the NORAD scenes in WarGames. Like Stallone would do with Cobra, Brest recycled his unused work because he felt that he spent too much time on it to never use it.

14. THE BANANA IN THE TAIL PIPE WAS A LAST SECOND FOOD CHOICE

In the script, Axel stuffs potatoes he stole from the hotel kitchen into the tail pipe of Rosewood and Taggart's car. Due to time constraints, no scene from the kitchen could be shot. Because the hotel lobby was already a location for a few scenes, the script was re-written so Axel takes bananas, with Damon Wayans' approval, from a buffet in the lobby.

15. 'BEVERLY HILLS COP 4' IS SLATED TO PREMIERE IN 2016

Beverly Hills Cop II was released in 1987 to mixed reviews but still made over $135 million, and the third movie only made $42 million in the United States. An updated TV series was pitched to CBS in 2013, but despite Eddie Murphy's participation, the network passed after seeing the pilot. All is not lost, because a primarily Detroit-based Beverly Hills Cop IV is due to arrive in March 2016, with Murphy reprising his role as Axel.

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30 Memorable Quotes from Carrie Fisher
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Just days after suffering a heart attack aboard a flight en route to Los Angeles, beloved actress, author, and screenwriter Carrie Fisher passed away at the age of 60 on December 27, 2016. Though she’ll always be most closely associated with her role as Princess Leia in Star Wars, Fisher’s life was like something out of its own Hollywood movie. Born in Beverly Hills on this day in 1956, Fisher was born into show business royalty as the daughter of singer Eddie Fisher and actress Debbie Reynolds.

In addition to her work in front of the camera, Fisher built up an impressive resume behind the scenes, too, most notably as a writer; in addition to several memoirs and semi-autobiographical novels, including Wishful Drinking, Surrender the Pink, Delusions of Grandma, The Best Awful, Postcards from the Edge, and The Princess Diarist (which was released last month), she was also an in-demand script doctor who counted Sister Act, Hook, Lethal Weapon 3, and The Wedding Singer among her credits.

Though she struggled with alcoholism, drug addiction, and mental illness, Fisher always maintained a sense of humor—as evidenced by the 30 memorable quotes below.

ON GROWING UP IN HOLLYWOOD

“I am truly a product of Hollywood in-breeding. When two celebrities mate, someone like me is the result.”

“I was born into big celebrity. It could only diminish.”

“At a certain point in my early twenties, my mother started to become worried about my obviously ever-increasing drug ingestion. So she ended up doing what any concerned parent would do. She called Cary Grant.”

“I was street smart, but unfortunately the street was Rodeo Drive.”

“If anything, my mother taught me how to sur-thrive. That's my word for it.”

ON AGING

“As you get older, the pickings get slimmer, but the people don't.”

ON INSTANT GRATIFICATION

“Instant gratification takes too long.”

ON THE LEGACY OF STAR WARS

“People are still asking me if I knew Star Wars was going to be that big of a hit. Yes, we all knew. The only one who didn't know was George.”

“Leia follows me like a vague smell.”

“I signed my likeness away. Every time I look in the mirror, I have to send Lucas a couple of bucks.”

“People see me and they squeal like tropical birds or seals stranded on the beach.”

“You're not really famous until you’re a Pez dispenser.”

ON THE FLEETING NATURE OF SUCCESS

“There is no point at which you can say, 'Well, I'm successful now. I might as well take a nap.'”

ON DEALING WITH MENTAL ILLNESS

“I'm very sane about how crazy I am.”

ON RESENTMENT

“Resentment is like drinking poison and waiting for the other person to die."

ON LOVE

“Someone has to stand still for you to love them. My choices are always on the run.”

“I've got to stop getting obsessed with human beings and fall in love with a chair. Chairs have everything human beings have to offer, and less, which is obviously what I need. Less emotional feedback, less warmth, less approval, less patience, and less response. The less the merrier. Chairs it is. I must furnish my heart with feelings for furniture.”

“I don’t hate hardly ever, and when I love, I love for miles and miles. A love so big it should either be outlawed or it should have a capital and its own currency.”

ON EMOTIONS

“The only thing worse than being hurt is everyone knowing that you're hurt.”

ON RELATIONSHIPS

“I envy people who have the capacity to sit with another human being and find them endlessly interesting, I would rather watch TV. Of course this becomes eventually known to the other person.”

ON HOLLYWOOD

“Acting engenders and harbors qualities that are best left way behind in adolescence.”

“You can't find any true closeness in Hollywood, because everybody does the fake closeness so well.”

“It's a man's world and show business is a man's meal, with women generously sprinkled through it like overqualified spice.”

ON FEAR

“Stay afraid, but do it anyway. What’s important is the action. You don’t have to wait to be confident. Just do it and eventually the confidence will follow.”

ON LIFE

“I don’t want life to imitate art. I want life to be art.”

“No motive is pure. No one is good or bad-but a hearty mix of both. And sometimes life actually gives to you by taking away.”

“If my life wasn't funny it would just be true, and that is unacceptable.”

“I shot through my twenties like a luminous thread through a dark needle, blazing toward my destination: Nowhere.”

“My life is like a lone, forgotten Q-Tip in the second-to-last drawer.”

ON DEATH

“You know what's funny about death? I mean other than absolutely nothing at all? You'd think we could remember finding out we weren't immortal. Sometimes I see children sobbing at airports and I think, 'Aww. They've just been told.'”

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12 Surprising Facts About Bela Lugosi
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On October 20, 1882—135 years ago today—one of the world's most gifted performers was born. In his heyday, Bela Lugosi was hailed as the undisputed king of horror. Eighty-five years after he first donned a vampire’s cape, Lugosi's take on Count Dracula is still widely hailed as the definitive portrayal of the legendary fiend. But who was the man behind the monster?

1. HE WORKED WITH THE NATIONAL THEATER OF HUNGARY.

To the chagrin of his biographers, the details concerning Bela Lugosi’s youth have been clouded in mystery. (In a 1929 interview, he straight-up admitted “for purposes of simplification, I have always thought it better to tell [lies] about the early years of my life.”) That said, we do know that he was born as Béla Ferenc Dezső Blaskó on October 20, 1882 in Lugoj, Hungary (now part of Romania). We also know that his professional stage debut came at some point in either 1901 or 1902. By 1903, Lugosi had begun to find steady work with traveling theater companies, through which he took part in operas, operettas, and stage plays. In 1913, Lugosi caught a major break when the most prestigious performing arts venue in his native country—the Budapest-based National Theater of Hungary—cast him in no less than 34 shows. Most of the characters that he played there were small Shakespearean roles such as Rosencrantz in Hamlet and Sir Walter Herbert in Richard III.

2. HE FOUGHT IN WORLD WAR I.

The so-called war to end all wars put Lugosi’s dramatic aspirations on hold. Although being a member of the National Theater exempted him from military service, he voluntarily enlisted in the Austro-Hungarian Army in 1914. Over the next year and a half, he fought against Russian forces as a lieutenant with the 43rd Royal Hungarian Infantry. While serving in the Carpathian mountains, Lugosi was wounded on three separate occasions. Upon healing from his injuries, he left the armed forces in 1916 and gratefully resumed his work with the National Theater.

3. WHEN HE MADE HIS BROADWAY DEBUT, LUGOSI BARELY KNEW ANY ENGLISH.

In December 1920, Lugosi boarded a cargo boat and emigrated to the United States. Two years later, audiences on the Great White Way got their first look at this charismatic stage veteran. Lugosi was cast as Fernando—a suave, Latin lover—in the 1922 Broadway stage play The Red Poppy. At the time, his grasp of the English language was practically nonexistent. Undaunted, Lugosi went over all of his lines with a tutor. Although he couldn’t comprehend their meaning, the actor managed to memorize and phonetically reproduce every single syllable that he was supposed to deliver on stage.

4. UNIVERSAL DIDN’T WANT TO CAST HIM AS COUNT DRACULA.

The year 1927 saw Bela Lugosi sink his teeth into the role of a lifetime. A play based on the novel Dracula by Bram Stoker had opened in London in 1924. Sensing its potential, Horace Liveright, an American producer, decided to create an U.S. version of the show. Over the summer of 1927, Lugosi was cast as the blood-sucking Count Dracula. For him, the part represented a real challenge. In Lugosi’s own words, “It was a complete change from the usual romantic characters I was playing, but it was a success.” It certainly was. Enhanced by his presence, the American Dracula remained on Broadway for a full year, then spent two years touring the country.

Impressed by its box office prowess, Universal decided to adapt the show into a major motion picture in 1930. Horror fans might be surprised to learn that when the studio began the process of casting this movie’s vampiric villain, Lugosi was not their first choice. At the time, Lugosi was still a relative unknown, which made director Tod Browning more than a little hesitant to offer him the job. A number of established actors were all considered before the man who’d played Dracula on Broadway was tapped to immortalize his biting performance on film.

5. MOST OF HIS DRACULA-RELATED FAN MAIL CAME FROM WOMEN.

The recent Twilight phenomenon is not without historical precedent. Lugosi estimated that, while he was playing the Count on Broadway, more than 97 percent of the fan letters he received were penned by female admirers. A 1932 Universal press book quotes him as saying, “When I was on the stage in Dracula, my audiences were composed mostly of women.” Moreover, Lugosi contended that most of the men who’d attended his show had merely been dragged there by female companions.   

6. HE TURNED DOWN THE ROLE OF FRANKENSTEIN’S MONSTER.

Released in 1931, Dracula quickly became one of the year's biggest hits for Universal (some film historians even argue that the movie single-handedly rescued the ailing studio from bankruptcy). Furthermore, its astronomical success transformed Lugosi into a household name for the first time in his career. Regrettably for him, though, he’d soon miss the chance to star in another smash. Pleased by Dracula’s box office showing, Universal green-lit a new cinematic adaptation of Mary Shelley’s Frankenstein. Lugosi seemed like the natural choice to play the monster, but because the poor brute had few lines and would be caked in layers of thick makeup, the actor rejected the job offer. As far as Lugosi was concerned, the character was better suited for some “half-wit extra” than a serious actor. Once the superstar tossed Frankenstein aside, the part was given to a little-known actor named Boris Karloff.

Moviegoers eventually did get to see Lugosi play the bolt-necked corpse in the 1943 cult classic Frankenstein Meets the Wolf Man. According to some sources, he strongly detested the guttural scream that the script forced him to emit at regular intervals. “That yell is the worst thing about the part. You feel like a big jerk every time you do it!” Lugosi allegedly complained.

7. LUGOSI’S RELATIONSHIP WITH BORIS KARLOFF WAS MORE CORDIAL THAN IT’S USUALLY MADE OUT TO BE.

It’s often reported that the two horror icons were embittered rivals. In reality, however, Karloff and Lugosi seemed to have harbored some mutual respect—and perhaps even affection for one another. The dynamic duo co-starred in five films together, the first of which was 1934’s The Black Cat; Karloff claimed that, on set, Lugosi was “Suspicious of tricks, fearful of what he regarded as scene stealing. Later on, when he realized I didn’t go in for such nonsense, we became friends.” During one of their later collaborations, Lugosi told the press “we laughed over my sad mistake and his good fortune as Frankenstein is concerned.”

That being said, Lugosi probably didn’t appreciate the fact that in every single film which featured both actors, Karloff got top billing. Also, he once privately remarked, “If it hadn’t been for Boris Karloff, I could have had a corner on the horror market.”

8. HE LOVED SOCCER.

In 1935, Lugosi was named Honorary President of the Los Angeles Soccer League. An avid fan, he was regularly seen at Loyola Stadium, where he’d occasionally kick off the first ball during games held there. Also, on top of donating funds to certain Hungarian teams, Lugosi helped finance the Los Angeles Magyar soccer club. When the team won a state championship in 1935, one newspaper wrote that the players were “headed back to Dracula’s castle with the state cup.” [PDF]

9. HE WAS A HARDCORE STAMP COLLECTOR.

Lugosi's fourth wife, Lillian Arch, claimed that Lugosi maintained a collection of more than 150,000 stamps. Once, on a 1944 trip to Boston, he told the press that he intended to visit all 18 of the city's resident philately dealers. “Stamp collecting,” Lugosi declared, “is a hobby which may cost you as much as 10 percent of your investment. You can always sell your stamps with not more than a 10 percent loss. Sometimes, you can even make money.” Fittingly enough, the image of Lugosi’s iconic Dracula appeared on a commemorative stamp issued by the post office in 1997.

10. LUGOSI ALMOST DIDN’T APPEAR IN ABBOTT AND COSTELLO MEET FRANKENSTEIN—BECAUSE THE STUDIO THOUGHT HE WAS DEAD.

The role of Count Dracula in this 1948 blockbuster was nearly given to Ian Keith—who was considered for the same role in the 1931 Dracula movie. Being a good sport, Lugosi helped promote the horror-comedy by making a special guest appearance on The Abbott and Costello Show. While playing himself in one memorable sketch, the famed actor claimed to eat rattlesnake burgers for dinner and “shrouded wheat” for breakfast.

11. A CHIROPRACTOR FILLED IN FOR HIM IN PLAN 9 FROM OUTER SPACE.

Toward the end of his life, Lugosi worked on three ultra-low-budget science fiction pictures with Ed Wood, a man who’s been posthumously embraced as the worst director of all time. In the 1953 transvestite picture Glen or Glenda?, Lugosi plays a cryptic narrator who offers such random and unsolicited bits of advice as “Beware of the big, green dragon who sits on your doorstep.” Then came 1955’s Bride of the Monster, in which Lugosi played a mad scientist who ends up doing battle with a (suspiciously limp) giant octopus.

Before long, Wood had cooked up around half a dozen concepts for new films, all starring Lugosi. At some point in the spring of 1956, the director shot some quick footage of the actor wandering around a suburban neighborhood, clad in a baggy cloak. This proved to be the last time that the star would ever appear on film. Lugosi died of a heart attack on August 16, 1956;  he was 73 years old.

Three years after Lugosi's passing, this footage was spliced into a cult classic that Wood came to regard as his “pride and joy.” Plan 9 From Outer Space tells the twisted tale of extraterrestrial environmentalists who turn newly-deceased human beings into murderous zombies. Since Lugosi could obviously no longer play his character, Wood hired a stand-in for some additional scenes. Unfortunately, the man who was given this job—California chiropractor Tom Mason—was several inches taller than Lugosi. In an attempt to hide the height difference, Wood instructed Mason to constantly hunch over. Also, Mason always kept his face hidden behind a cloak.

12. HE WAS BURIED IN HIS DRACULA CAPE.

Although Lugosi resented the years of typecasting that followed his breakout performance in Dracula, he asked to be laid to rest wearing the Count’s signature garment. Lugosi was buried under a simple tombstone at California's Holy Cross Cemetery.

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