CLOSE
Original image
film-grab.com

32 Facts About The Life Aquatic with Steve Zissou

Original image
film-grab.com

Let me tell you about my boat. The Life Aquatic with Steve Zissou premiered ten years ago this Christmas, so let's take another trip on the Belafonte, shall we?

1. The Life Aquatic with Steve Zissou was inspired by a single image director and co-writer Wes Anderson had of seeing the inner workings of a boat cut in half. The vision ended up in the final movie and was created using a massive set that measured 150 feet long and 40 feet high.

2. Anderson was also inspired to make the movie because of one of his childhood heroes: Jacques-Yves Cousteau, the popular oceanographer and adventurer. Many of the details in the movie mirror Cousteau’s real life. The character of Zissou was originally supposed to be named “Steve Cousteau,” and besides being an ocean-documentarian like the fictitious Zissou, Cousteau also had a research vessel named the Calypso (Zizzou’s is the Belafonte), which, like Zissou’s ship, had a mini-sub, a gyrocopter, and a research balloon. Cousteau's crew wore red knit caps and uniforms, and his son Phillipe was tragically killed in a plane crash.

3. Cousteau can also be found in other Wes Anderson movies: Max Fischer, the lead character from Rushmore, finds an inscription in the book Diving for Sunken Treasure by Jacques-Yves Cousteau and Philippe Diole, which leads him to Miss Cross. Also, a Richard Avedon portrait of Cousteau can be seen behind Owen Wilson and James Caan’s characters in Bottle Rocket when the two are at a party.

4. Besides the Cousteau influence, the now-famous blue polyester Team Zissou uniforms were also inspired by the uniforms worn by the characters on the U.S.S. Enterprise in the original Star Trek TV series.

The costumes were created by famed costume designer Milena Cononero, who is best known for working with director Stanley Kubrick on A Clockwork Orange, Barry Lyndon, and The Shining. She also worked with Anderson again on The Darjeeling Limited and The Grand Budapest Hotel,

5. Co-writers Wes Anderson and Noah Baumbach wrote the film over a series of lunches they had at a restaurant in New York’s Greenwich Village called Bar Pitti (they recorded the audio commentary for the DVD there too).

In fact, many details that found their way into the movie were inspired by the restaurant. Zissou’s homebase, called Pescespada Island, was named after the swordfish entrée on the restaurant’s menu (Pesce spada is Italian for swordfish), the three-legged dog Cody was named after a regular the two would converse with at the restaurant, and Ned’s trademark stoplight graphic on his official red Zissou cap was inspired by a similar hat that Wes Anderson saw on a teenager in Bar Pitti.

6. The character of Steve Zissou was written specifically for Bill Murray. Anderson originally told Murray about the idea for The Life Aquatic on the set of Rushmore. Anderson allegedly wanted to make the character an amalgamation of Jacques Cousteau, the character of Guido Anselmi played by Marcello Mastroianni from the Federico Fellini film 8½, and Murray himself. Murray has appeared in every Wes Anderson feature film so far except for Bottle Rocket.

7. Other roles in the film written specifically for the actors were Owen Wilson as Ned, Anjelica Huston as Eleanor, and Bud Cort as Bill the Bond Company Stooge.

8. Ned Plimpton wasn’t always the genteel southern man he was in the film. Anderson added that character detail after he heard Wilson doing an impression of Wilson’s Armageddon co-star—and South Carolinian—Will Patton.

9. Anderson and Baumbach based Steve and Ned’s paternity storyline on a similar story that alleges film director John Frankenheimer is the father of film director Michael Bay. Bay previously directed Owen Wilson in the film Armageddon.

10. The Life Aquatic marks the first collaboration between Anderson and Roman Coppola, who served as the film’s second unit director. Coppola would later go on to co-write, co-produce, and again serve as second unit director on Anderson’s The Darjeeling Limited, provide the voice of the Squirrel Contractor in Fantastic Mr. Fox, co-write Moonrise Kingdom, co-write and co-produce Anderson’s short film Castello Cavalcanti, and was a part of the special photography unit on The Grand Budapest Hotel.

11. The Loquasto Film Festival director who moderates the Q&A in the beginning of the film is real-life NYU film professor Antonio Monda. Anderson cast Monda because the two were friends and he needed somebody who could speak Italian.

12. Team Zissou’s sound man, Renzo Pietro, is played by the movie’s actual sound mixer Pawel Mdowczak. In many of his scenes he’s carrying a live microphone to capture real-time audio from each take.

13. Oseary Drakoulias, Michael Gambon’s character in the film, is based on infamous Hollywood producer Dino de Laurentiis. Drakoulias’ glasses are modeled after similar glasses worn by director Sergio Leone.

14. The film was shot almost entirely at the famed Cinecittà studios in Rome, Italy.

15. The Belafonte was a real British minesweeper ship—first launched in 1958—that was originally called the HMS Packington. It was later sold to the Navy of South Africa and renamed the SAS Walvisbaai before it was bought by the production designers on The Life Aquatic in Cape Town and towed all the way to Italy. After the film was completed, the boat was bought in 2006 by an anonymous millionaire, restored, and docked in Dubai. It now serves as a yacht named the Mojo.

16. The ship belonging to Zissou’s rival, Alistair Hennessey (played by Jeff Goldblum), was an operational NATO research vessel called the NRV Alliance that the production borrowed for various exterior shots. According to NATO and the Centre for Maritime Research and Experimentation, one of the ship’s main goals is to study the “reduction of ship-radiated noise,” as well as “to conduct a wide range of experiments in all the oceans of importance to NATO.”

17. Cate Blanchett’s character Jane Winslett-Richardson was modeled after primatologist and anthropologist Jane Goodall.

Blanchett’s character is pregnant during the film, and the actress had a body cast made in order to give her a fake pregnant stomach. Blanchett became pregnant in real life prior to shooting, so for half of the film she used the fake stomach and the other half she used her actual pregnant bulge.

18. Kumar Pallana, an actor who appeared in Anderson’s Bottle Rocket, The Royal Tenenbaums, and The Darjeeling Limited, was also supposed to appear in The Life Aquatic as Team Zissou’s cook, but his character was cut during the script phase of production.

19. The portraits of Zissou’s mentor, the fictional Lord Mandrake, are based on the likeness of photographer Jacques-Henri Lartigue. Much like Jacques Cousteau, Lartigue’s influence can be found in other works by Anderson as well. One of the most famous shots from Rushmore, which features one of main character Max Fischer’s many clubs, is based on a photo shot by Lartigue.

20. Before settling on Lartigue’s image as Lord Mandrake, Anderson wanted to use fellow director Nicolas Roeg for the part. But due to scheduling conflicts, Roeg couldn’t make it to Italy in time for what Anderson needed and the director had to back out.

21. If you look closely, one of the pirates is wearing a University of Texas knit cap. Texas is Wes Anderson’s college alma mater.

22. The moment when Steve pulls a gun on Jane while she’s interviewing him was entirely improvised by Bill Murray. Anderson thought it was so outrageously funny that he had Murray do it again in different takes and kept it in the movie.

23. Wes Anderson’s brother Eric and Owen Wilson’s father Robert both appear as Air Kentucky pilots at Ned’s funeral aboard the Belafonte.

24. All of the undersea creatures in the film were done using stop motion animation, and were created by legendary stop motion director and animator Henry Selick who is best known for directing The Nightmare Before Christmas. Selick and Anderson were originally going to re-team after The Life Aquatic on Anderson’s own stop motion animated film Fantastic Mr. Fox, but Selick dropped out of the project to direct his own animated feature, Coraline.

25. Selick’s Jaguar Shark puppet measured 3 meters long, and was the largest stop-motion puppet ever created. In order to give it a sense of floating through water, all the stop-motion animation on the Jaguar Shark was done upside down to make it sag against gravity.

26. Co-writer Noah Baumbach has a cameo in the film as Phillip, the assistant to Michael Gambon’s character Oseary Drakoulias. Anderson and Bambach would go on to work together again: Anderson produced Baumbach’s 2005 film The Squid and the Whale, and they also co-wrote Anderson’s adaptation of Fantastic Mr. Fox.

27. The stairs and door seen in the final shot of the movie is the actual a back entrance to the Quirinal Palace in Rome. Anderson discovered the location by accident while riding his bike around Rome looking for a particular gelateria.

28. The song "Let Me Tell You About My Boat" by the film’s composer Mark Mothersbaugh, which plays over the cutaway shot of the Belafonte, is actually the melody of the song “Scrapping & Yelling,” which Mothersbaugh wrote for Anderson’s film The Royal Tenenbaums, played backwards. Despite Mothersbaugh scoring all of Anderson’s films up to and including The Life Aquatic, it is the only one of Anderson’s films to include a song by Mothersbaugh’s band, Devo.

29. The Life Aquatic is the first Wes Anderson film not to include a song from The Rolling Stones on the soundtrack.

30. Musician and actor Seu Jorge, who plays Pele and can be seen singing David Bowie songs in Portuguese in the film, compiled all of the Bowie songs recorded during the movie and put them together in a record called The Life Aquatic Studio Sessions Featuring Seu Jorge.

31. The idea for the end credit sequence, in which all of the film’s characters—including Ned—return for a sort of curtain call, was taken from a similar sequence in the 1984 film The Adventures of Buckaroo Banzai Across the 8th Dimension.

32. A line in the end credits reads: “The filmmakers acknowledge that the real Steve Zissou is a prominent attorney in New York City specializing in complex federal litigation.” The movie studio had to negotiate with a real-life lawyer named Steve Zissou in order to use his name for the title character. According to the real-life Zissou, "It's been, to my surprise, a lot of fun, and I think Bill Murray is America's greatest living actor."

Additional Sources:

Blu-ray special features

The Wes Anderson Collection by Matt Zoller Seitz

Original image
Brendon Thorne/Getty Images
arrow
entertainment
30 Memorable Quotes from Carrie Fisher
Original image
Brendon Thorne/Getty Images

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.'”

Original image
Mabel Livingstone/Hulton Archive/Getty Images
arrow
entertainment
12 Surprising Facts About Bela Lugosi
Original image
Mabel Livingstone/Hulton Archive/Getty Images

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.

SECTIONS

arrow
LIVE SMARTER
More from mental floss studios