CLOSE
universal pictures
universal pictures

24 Surprising Facts About Love Actually

universal pictures
universal pictures

Though it's officially classified as a romantic comedy, Love Actually—Richard Curtis's intertwining tale of love and loss in London in the midst of the Christmas season—has become a staple of holiday movie marathons everywhere. Here are 24 things you might not have known about the hit 2003 film.

1. THE AIRPORT FOOTAGE WAS SHOT WITH HIDDEN CAMERAS.

Footage of passengers being welcomed and embraced by loved ones at Heathrow Airport was shot on location with hidden cameras for a week. In the film's DVD commentary, writer-director Richard Curtis explains that when something special was caught on camera, a crew member would race out to have its subjects sign a waiver so the moment might be included in Love Actually. This was a fitting production device, as Curtis claims that watching the love expressed at the arrival gate of LAX is what inspired him to write the ensemble romance in the first place.

2. FOUR PLOT LINES WERE CUT FROM THE FILM.

Curtis initially aimed to include 14 love stories in the film. Two were clipped in the scripting phase, but two were shot and cut in post. Those lost before production involved a girl with a wheelchair, and one about a boy who records a love song for a classmate who ultimately hooks up with his drummer. Shot but cut for time was a brief aside featuring an African couple supporting each other during a famine, and another storyline that followed home a school headmistress, revealing her long-time commitment to her lesbian partner.

3. A FIFTH OF THE MOVIE IS COMMONLY CUT FROM TELEVISION BROADCASTS.


Universal Studios

It might be of little surprise that the raciest element of this holiday movie rarely makes it on TV. The love story of John and Judy has Martin Freeman and Joanna Page playing a pair of stand-ins on an erotic drama. Their scenes have the pair mimicking sex acts, but even as simulations of simulated sex, their storyline is usually deemed too hot for TV.

4. MARTINE MCCUTCHEON'S PART WAS PENNED JUST FOR HER.

Curtis wrote his screenplay with some stars in mind, including Hugh Grant, Emma Thompson, and McCutcheon, the charismatic English ingénue best known for her role on BBC drama EastEnders. So sure was Curtis that he wanted McCutcheon for the role of the love interest to the Prime Minister that he had the character's name as "Martine" in early drafts. Curtis explained in the DVD commentary that the name was changed to "Natalie" before McCutcheon's audition, "so she wouldn't get cocky."

5. RICHARD CURTIS SENT REQUEST LETTERS TO HIS AMERICAN TALENT.

Laura Linney, Billy Bob Thornton, and Denise Richards received letters asking them to consider a role in the film. Both actresses were impressed by the unconventional move, but Linney told The Daily Beast she was even more flattered by its contents. "I got a letter in the mail from Richard Curtis saying that he’d been trying to cast this part, and he’d kept saying to his partner, Emma Freud, that he’d been looking for a ‘Laura Linney-type,’ and she said, 'Why don’t you ask Laura Linney?'"

6. BILL NIGHY DIDN'T REALIZE HE HAD AUDITIONED FOR THE FILM.


Peter Mountain/Universal Pictures

This was the first collaboration between Nighy and Curtis, with the former playing the shameless, comeback-seeking rocker Billy Mack. On the film's 10-year anniversary, Nighy recalled to The Daily Beast, "I did a rehearsal reading of the script as a favor to the great casting director, Mary Selway, who had been trying to get me into a film for a long time. I thought it was simply to help her hear the script aloud and to my genuine surprise I was given the job."

7. THE ACTORS HAD THEIR OWN TRAILER PARK VILLAGE DURING PRODUCTION.

Nighy told The Guardian, "We didn't all film together, but we had a big trailer park for all the cast. There were so many famous people in there, we used to talk about being on Liam Neeson Way or Emma Thompson Road or Hugh Grant Avenue. And it was a masterpiece of diplomacy, too; we all had the same size and type of trailer." Linney remembered the place having a warm sense of community.

8. ONE SCENE WAS LIFTED DIRECTLY FROM FOUR WEDDINGS AND A FUNERAL.

In Four Weddings and a Funeral, also penned by Curtis, Grant's character Charles flirts with a woman at a wedding by mocking the terrible catering, only to discover she is the caterer. The scene was cut from the 1994 film, but was reshot nearly a decade later with Kris Marshall acting out the flirtatious faux pas. In the commentary track, Curtis admits that some drafts of the Love Actually script still had Charles's name on portions of the scene.

9. THE LATE JOANNA WAS PLAYED BY A REAL-LIFE CURTIS CRUSH.

In the commentary, Curtis also confessed his affection and admiration for writer-director Rebecca Frayn and how it led to a heartbreaking scene in Love Actually. She's uncredited in the film because she never has a scene to perform. But when Curtis needed images to create a slideshow of Sam's beloved mum/Daniel's departed wife, he turned to Frayn, asking for "all the prettiest pictures of her from her whole life." In real-life, Frayn is married to Oscar-nominated Scottish producer Andy Harries.

10. EMMA THOMPSON SHOT HER CRYING SCENE 12 TIMES.

Arguably the saddest moment in Love Actually is when Thompson's character realizes her husband is unfaithful. In the privacy of their bedroom, she listens to Joni Mitchell's "Both Sides Now" and weeps. "We decided to do it like how Mike Newell did it in Four Weddings—I shot in medium-wide, and didn’t move the camera," Curtis recalled. "We just let it happen, and Emma walked into the room 12 times in a row and sobbed. It was an amazing feat of acting." He also noted this was the only scene she was asked to perform that day.

11. HUGH GRANT DID NOT WANT TO DANCE.

Though he and Curtis had worked together on Notting Hill, Bridget Jones's Diary, and Four Weddings and a Funeral, they had a deep disagreement on how the Prime Minister should be played. Grant wanted it to be a grounded performance and resented Curtis's push to make the part more whimsical. This came to a head when shooting the dance number, which Grant refused to rehearse.

"He kept on putting it off, and he didn’t like the song—it was originally a Jackson 5 song, but we couldn’t get it—so he was hugely unhappy about it," Curtis explained. "We didn’t shoot it until the final day and it went so well that when we edited it, it had gone too well, and he was singing along with the words!" It was a tricky thing to cut, but the final result with Girls Aloud’s cover of “Jump (For My Love)” speaks for itself.

12. TONY BLAIR FOUND IT IMPOSSIBLE TO LIVE UP TO GRANT'S FICTIONAL PRIME MINISTER.

In 2005, when facing criticism for his dealings with the United States, Blair responded by saying, "I know there's a bit of us that would like me to do a Hugh Grant in Love Actually and tell America where to get off. But the difference between a good film and real life is that in real life there's the next day, the next year, the next lifetime to contemplate the ruinous consequences of easy applause."

13. IT TOOK 45 MINUTES TO PICK OUT AURELIA'S UNDERWEAR.

When the loose pages of Jamie's in-progress novel blow into a nearby lake, Aurelia (Lúcia Moniz) is quick to strip down and dive in to rescue them. But in the DVD commentary, Curtis admits that what she wore beneath her cozy sweater was a major matter of debate that involved a lengthy meeting with his producers and 20 different sets of bras and panties to be considered.

14. SIMON PEGG AUDITIONED FOR THE FILM.

Before he broke out with 2004's Shaun of the Dead, Pegg was best known for his work on the British sitcom Spaced. It was in this stage of his career that he was eyed for the role of Rufus, the jewelry salesman in Love Actually. However, Curtis ended up casting Rowan Atkinson, who was not only a bigger star but a longtime friend from their college days; the two had previously worked together on Four Weddings and A Funeral, Mr. Bean, and Black Adder.

15. ROWAN ATKINSON'S CHARACTER WAS MEANT TO BE AN ANGEL.

Rather than just an overenthusiastic gift wrapper with a good Samaritan streak at the airport, Atkinson's Rufus was initially written as a heavenly helper in disguise. A scene was even shot were he'd evaporate after helping Sam get past security at Heathrow. "But in the end," Curtis said in commentary, "the film turned out so sort of multiplicitous that the idea of introducing an extra layer of supernatural beings was (too much)."

16. SARAH'S APARTMENT IS BASED ON HELEN FIELDING'S.

When Sarah (Laura Linney) takes her office crush Karl (Rodrigo Santoro) back to her flat, a crane shot reveals that her bedroom is perched above the first floor, with a half-wall serving as a sort of balcony. In the DVD commentary track, Curtis mentioned this layout was poached from the Bridget Jones's Diary author's home. To him, it seemed a charming staging place for this tender seduction scene.

17. TEST AUDIENCES SPURRED A CHANGE TO THE ENDING OF SARAH'S STORY.

Curtis originally intended for Sarah and Karl's love story to fizzle out after the phone call from her brother. However, when Love Actually was screened to test audiences, the feedback begged for a clearer resolution. So Curtis provided it, creating an extra scene in reshoots that made it unmistakable that Sarah and Karl would not end up together. "Be careful what you wish for," he warned on the DVD commentary.

18. ANDREW LINCOLN HAND-WROTE THOSE ROMANTIC SIGNS.

In 2013, The Walking Dead star reminisced about his climactic gesture in Love Actually with Entertainment Weekly, and revealed, "It is my handwriting! It’s funny, because the art department did it, and then I said, 'Well, can I do it?' because I like to think that my handwriting is really good. Actually, it ended up with me having to sort of trace over the art department’s, so it is my handwriting, but with a sort of pencil stencil underneath."

19. THE AMERICAN BAR SCENE INCLUDED SOME IMPROV.


Peter Mountain/Universal Studios

Regarding the scene where three American girls (Elisha Cuthbert, January Jones, and Ivana Milicevic) flirt with Kris Marshall, Cuthbert told VH1, "It was such a creative space and we were allowed to improvise and try different things and it wasn’t just completely set into Richard’s writing. I mean we were allowed to sort of venture … It was nice that we got to sort of play around.” Curtis remembers it differently, noting in the commentary track that the Brits were "respectful" with his script, but these Americans wanted to "pep it up a bit."

20. BERNARD IS A RUNNING JOKE BASED ON A REAL MAN.

Every film Curtis writes contains a "Bernard," and he's always the butt of a joke. In Love Actually, he's the son of Thompson's character who is described as "horrid." This all dates back to a love triangle that didn't turn in Curtis's favor. Bernard was the name of a young man who won the heart of Curtis's crush Anne, and so he will forever be lampooned. In real life, Bernard is a successful politician, namely Bernard Jenkin, Member of Parliament for Harwich and North Essex.

21. OLIVIA OLSON WAS TOO GOOD FOR THE ROLE OF SAM'S CRUSH.

Over 200 girls auditioned for the part of Joanna, the talent show star that young Sam (Thomas Brodie-Sangster) falls hard for. But with pipes that blew away the casting director, Olson won the part with aplomb. In the commentary track, Curtis notes that Olson sang the song "All I Want For Christmas Is You" so flawlessly that he feared it sounded manufactured. He had sound editors cut in breaths to the performance to make it more believable.

22. SAM AND JOANNA REUNITED ON KIDS' TELEVISION.

Child stars Thomas Brodie-Sangster and Olivia Olson were utterly adorable together as drum-playing Sam and his grade school crush Joanna. But Love Actually wasn't the end of the pair's onscreen romance. They were reunited in 2008 when Olson joined the voice cast of the Disney Channel cartoon show Phineas and Ferb. While Brodie-Sangster lends his voice to the oft-silent Ferb, Olson often sings as Ferb's crush, the sleek and cool Vanessa Doofenshmirtz.

23. THE MOVIE HAS ALREADY BEEN REMADE. THREE TIMES!

The central concept of a movie packed with stars and intertwining love stories has been translated into a trio of films. The first is the Indian offering A Tribute To Love, an unofficial remake in the Hindi language. Next, Poland took a turn with Letters to St. Nicolas. The most recent version is Japan's It All Began When I Met You, which borrows the concept as well as the film's poster layout.

24. EARLIER THIS YEAR, IT GOT A SEQUEL.

In March 2017, in celebration of Red Nose Day, Curtis and several members of the original cast—including Grant, Knightley, Firth, Neeson, Nighy, Lincoln and Atkinson—reprised their characters for a short film, Red Nose Day Actually, that caught viewers up on what the characters are doing today.

"I would never have dreamt of writing a sequel to Love Actually, but I thought it might be fun to do 10 minutes to see what everyone is now up to," Curtis said when the project was announced. "Who has aged best?—I guess that’s the big question ... or is it so obviously Liam?" The short debuted in the U.K. on March 24, 2017, but American audiences had to wait until May 25, 2017 to see what happened to their favorite characters. (Here's a cheat sheet.)

nextArticle.image_alt|e
iStock
arrow
holidays
Bleat Along to Classic Holiday Tunes With This Goat Christmas Album
iStock
iStock

Feeling a little Grinchy this month? The Sweden branch of ActionAid, an international charity dedicated to fighting global poverty, wants to goat—errr ... goad—you into the Christmas spirit with their animal-focused holiday album: All I Want for Christmas is a Goat.

Fittingly, it features the shriek-filled vocal stylings of a group of festive farm animals bleating out classics like “Jingle Bells,” “Rudolph the Red-Nosed Reindeer,” and “O Come All Ye Faithful.” The recording may sound like a silly novelty release, but there's a serious cause behind it: It’s intended to remind listeners how the animals benefit impoverished communities. Goats can live in arid nations that are too dry for farming, and they provide their owners with milk and wool. In fact, the only thing they can't seem to do is, well, sing. 

You can purchase All I Want for Christmas is a Goat on iTunes and Spotify, or listen to a few songs from its eight-track selection below.

nextArticle.image_alt|e
Columbia Pictures
arrow
entertainment
15 Things You May Not Know About Close Encounters of the Third Kind
Columbia Pictures
Columbia Pictures

We are not alone. Here are a few facts about Steven Spielberg’s 1977 UFO classic, on its 40th anniversary.

1. IT WAS INITIALLY A VERY DIFFERENT FILM.

Spielberg’s initial story outline involved UFOs and shady government dealings following the Watergate scandal, which became a script entitled “Watch the Skies.” The idea involved a police or military officer working on Project Blue Book, the Air Force’s official study into UFOs in the 1950s and 1960s, who would become the whistleblower on the government cover-up of aliens. There were numerous rewrites—Taxi Driver scribe Paul Schrader even took a crack at it, penning a political UFO thriller titled “Kingdom Come” that Spielberg and the movie studio rejected—before the story we know today emerged.

2. IT’S NAMED AFTER LEGITIMATE UFO RESEARCH.


Columbia Pictures

Spielberg partly based his idea on the research of Dr. J. Allen Hynek, a civilian scientific advisor to Project Blue Book who eventually admitted that 11 percent of the study’s findings about unidentified flying objects could not be explained using science.

The title (which is never specifically explained in the movie) is actually derived from Hynek’s own alien close encounter classification system: A close encounter of the first kind is sighting of a UFO; the second kind is physical evidence to prove the existence of an alien; and the third kind is actual contact with alien life forms.

3. THERE’S A CAMEO FROM THE GODFATHER OF UFO RESEARCH.

Hynek, who also served as a technical advisor on the movie, makes an uncredited cameo in the final scene of the movie. You can spot him pretty easily—he’s the goateed man smoking a pipe and wearing a powder blue suit who pushes through the crowd of scientists to get a better look at the aliens.

4. NOBODY WANTED THE STARRING ROLE.

Richard Dreyfuss in Close Encounters of the Third Kind (1977)
Columbia Pictures

The director first offered the part of Roy Neary to actor Steve McQueen, who turned it down because he said he couldn’t cry on cue, something he saw as essential to the character. Spielberg then went to Dustin Hoffman, Al Pacino, Jack Nicholson, Gene Hackman, and James Caan who all turned him down as well before asking his friend Richard Dreyfuss, who previously worked with Spielberg on Jaws, to take the part.

5. BUT IT WASN'T THE MOST DIFFICULT ROLE TO CAST.

Spielberg approached French actors like Lino Ventura, Yves Montand, and Jean-Louis Trintignant to play Claude Lacombe—who was based on famous UFO researcher Jacques Vallée—before settling on director and sometimes-actor François Truffaut. The initially skeptical Truffaut, who was nervous about appearing in a big budget Hollywood movie, accepted the role because he wanted to compile research for a book about acting (he never did write the book).

6. MERYL STREEP COULD HAVE PLAYED ROY'S WIFE.

Many actresses—including a then-unknown Yale Drama School grad named Meryl Streep—auditioned for the part of Roy’s wife Ronnie, but he ultimately cast actress Teri Garr because he saw her in a coffee commercial and loved the way she was able to convey a wide range of emotions in a 30-second clip.

7. THEY SHOT IN A DISUSED AIR FORCE HANGAR.


Columbia Pictures

Spielberg wanted to shoot in real suburban locations rather than studio backlots, but the production had trouble finding locations. The biggest question: Where could Spielberg shoot the climactic canyon sequence with the mothership?

The production looked for huge indoor enclosures that would allow for the massive scale of the scene, though they only found ones with center support dividers that spoiled the openness Spielberg wanted for the UFO runway. The only location producers found without center dividers was a 300 foot by 300 foot disused hangar that had been used for dirigibles during World War II at Brookley Air Force base in Mobile, Alabama.

8. THE TEAM BOUGHT A HOUSE FOR THE PRODUCTION—AND SOLD IT FOR A PROFIT.

The Nearys' house, which is located at 1613 Carlisle Drive East in Mobile, was actually purchased by the production for $35,000 so they could do whatever they wanted with the interiors. It was later sold for $50,000 after production wrapped, netting a $15,000 surplus that went back into the film’s budget.

9. THE MEMORABLE 5-NOTE TONES TOOK A LONG TIME TO FIGURE OUT

Composer John Williams worked with Spielberg to come up with the movie’s distinct five-note musical method of communication between humans and aliens—which Spielberg partly based on the Solfège system of musical education—a year before shooting began.

Williams initially wanted a seven-note sequence, but it was too long for the simple musical “greeting” Spielberg wanted. The composer enlisted a mathematician to calculate the number of five-note combinations they could potentially make from a 12-note scale. When that number proved to be somewhere upwards of 134,000 combinations, Williams created 100 distinct versions, and they simply whittled the combinations down one by one until they had a winner.

10. SPIELBERG USED TRICKS TO GET THE PERFORMANCE OUT OF HIS CHILD ACTOR.


Columbia Pictures

Cary Guffey, who plays little Barry Guiler, had never acted before, so Spielberg set up ways to coax a performance out of the 3-year-old. To get a shot of Guffey reacting to the aliens first approaching the Guiler house, Spielberg slowly unwrapped a present for the young actor just off camera, making him smile. Guffey even exclaims “Toys! Toys!” in the final take.

To get the boy to react to the aliens offscreen, Spielberg had Guffey walk up to his mark where—unbeknownst to the little actor—two crewmembers were dressed as a gorilla and a clown standing behind cardboard blinds. When Guffey entered the kitchen, Spielberg dropped the first blind revealing the clown to scare him, and then dropped the other blind to reveal the gorilla, which scared him even more. The gorilla then took off his mask, revealing the film’s makeup man, Bob Westmoreland, who Guffey recognized, causing him to laugh and smile in the final take.

11. THE MOVIE NEARLY FEATURED VERY EARLY CGI.

Spielberg originally toyed with the idea of using computer generated images to create the aliens and their ships, even going so far as to have animator Colin Cantwell create a CGI test of three UFOs floating over a stadium. The single-shot test, which took three weeks to complete and was one of the first computer generated images ever created for a film, proved to be unfeasible for the whole movie—so the idea was dropped.

12. THERE WERE SOME UNORTHODOX IDEAS FOR CREATING THE ALIENS.

Spielberg wanted the aliens to be non-human beings that glided instead of walked, and he had a weird idea to pull it off: An orangutan dressed in a specially-made suit. For a screen test, the production team outfitted an orangutan in grey spandex and strapped it into roller skates. The orangutan immediately took off the skates and crawled to its owner, so a full test couldn’t be completed, and the team scrapped the idea. The majority of the small aliens in the final movie were played by local elementary school girls from Mobile in specially made grey suits and masks who were heavily backlit to create the final alien silhouette effect.

13. CLOSE ENCOUNTERS FEATURES A PRECURSOR TO E.T.


Columbia Pictures

To create the alien who bids farewell using the musical hand signals at the end of the film, Spielberg enlisted the help of Italian special effects artist Carlo Rambaldi, who designed a fully articulated steel, aluminum, and fiberglass animatronic puppet that Spielberg nicknamed “Puck.” Puck’s expressions were based on photos of Guffey. The puppet was operated by a crew of seven puppeteers, with Spielberg himself controlling the final articulation before the alien leaves to go to the mothership.

Puck would help inspire E.T. after Spielberg asked himself, “What if this little guy didn’t get back on the mothership?” Rambaldi would also go on to design the character of E.T.

14. SPIELBERG BET AGAINST HIS OWN MOVIE—AND REALLY CASHED IN.

Spielberg and his buddy George Lucas both had new movies coming out in 1977; Lucas’s was a little movie called Star Wars. Lucas thought his ramshackle space movie wouldn’t make back its budget, and he knew his friend’s new movie would break box office records just like Jaws had done, so he offered Spielberg a friendly wager. Both agreed to give the other 2.5 percent of the profits of their respective films. Lucas grossly underestimated his movie, which went on to become the second highest grossing movie of all time if adjusted for inflation (in comparison, Close Encounters is #71). The difference ended up being $40 million.

15. SPIELBERG DIDN'T LIKE THE VERSION THAT WAS INITIALLY RELEASED.

Spielberg wanted to release Close Encounters in the summer of 1978, which would have given him ample time to edit the film and finish its special effects—but Columbia Pictures, which was going through major financial troubles, insisted he have it ready for a November 1977 release, leaving the director with a final cut on a movie he didn’t feel was completely ready. 

Three years later, the company allowed Spielberg to “finish” the movie under one condition: That he show the inside of the mothership, which would give the studio’s marketing department an angle to sell this new version. The director capitulated, adding new scenes and cutting others to create a “Special Edition.” The director was unhappy with the scene, though, and later cut it for the Collector's Edition home video release.

ADDITIONAL SOURCES:Blu-ray special features; Close Encounters of the Third Kind: The Making of Steven Spielberg’s Classic FilmClose Encounters of the Third Kind Diary.

SECTIONS

arrow
LIVE SMARTER
More from mental floss studios