A fired CIA agent, his philandering wife, and a couple of not-so-clever gym employees' lives all come crashing together in Joel and Ethan Coen’s 2008 black comedy. On the 10th anniversary of the film's release, laugh a little bit harder at Burn After Reading knowing these 10 fun facts.
1. IT MARKED JOEL AND ETHAN COEN'S THIRD COLLABORATION WITH GEORGE CLOONEY.
In Burn After Reading, George Clooney plays married federal marshal Harry Pfarrer, who's having an affair with Katie Cox (Tilda Swinton), the wife of CIA analyst Osborne Cox (John Malkovich). The film marked Clooney's third collaboration with the Coens. Clooney also starred in 2000’s O Brother Where Art Thou? and 2003’s Intolerable Cruelty. The Coens wrote the role of Pfarrer specifically for him.
2. THE COENS WROTE THE SCREENPLAY FOR BURN AFTER READING AT THE SAME TIME THEY WERE WRITING NO COUNTRY FOR OLD MEN.
While the Coens' standard practice is to work on one project at a time, they made an exception with Burn After Reading. "We actually wrote this script around the same time we were adapting No Country for Old Men," Joel Coen said. No Country for Old Men would go on to earn them Oscars for Best Adapted Screenplay, Best Director, and Best Picture in 2008.
3. THEY PUT THE ACTORS AHEAD OF THE STORY.
Burn After Reading features many of the Coens' usual players, and in some ways they were thinking about the actors they wanted to work with—and what sort of situations they could put them in—before the finer details of the story itself. “We came up with the idea thinking about different parts we wanted to write for actors that we know—who we thought might be fun to throw together; George Clooney, Richard Jenkins, Frances McDormand, and Brad Pitt, each of whom we know and all of whom we have worked with before, except for Brad," Ethan Coen said. "We thought about a mix of characters, and a story, that might be interesting to see these actors play."
4. THE ROLE OF OSBORNE COX WAS WRITTEN SPECIFICALLY FOR JOHN MALKOVICH.
Even though they had never worked with Malkovich before, the Coens wrote the lead role with the two-time Oscar nominee in mind.
“Like Brad, John Malkovich is someone we hadn’t worked with before but have wanted to for some time," Joel Coen said. "So we wrote John’s part specifically for him, which was a lot of fun to do.”
5. THE FILM MARKED THE FIRST TIME IN NEARLY 20 YEARS THAT THE COENS DIDN'T WORK WITH THEIR USUAL CINEMATOGRAPHER, ROGER DEAKINS.
Burn After Reading is one of the few films the Coens haven't shot with their longtime cinematographer Roger Deakins, who had already committed to working with Sam Mendes on Revolutionary Road. Instead, they tapped then-four-time Oscar nominee Emmanuel "Chivo" Lubezki as their director of photography for the project.
“Chivo spent a lot of time in New York City for pre-production, and we were able to go to places together and figure out where he would need to hide lights, where I would have to put in something architectural, and so on," production designer Jess Gonchor said. In the years since, Lubezki has been nominated for an additional four Oscars and won three of them. His first win came in 2014 for Alfonso Cuarón's Gravity; he won the next two years as well, for Birdman or (The Unexpected Virtue of Ignorance) in 2015and The Revenant in 2016 (both of those for Alejandro G. Iñárritu).
6. FRANCES MCDORMAND'S CHARACTER'S BOB HAIRDO HAD POLITICAL ROOTS.
It was modeled on Clinton/Lewinsky sex scandal whistleblower Linda Tripp—or, more specifically, Tripp's post-makeover hair after she helped usher the scandal into the spotlight.
7. TILDA SWINTON THOUGHT THAT SHE LOOKED LIKE A SIMPSONS CHARACTER.
McDormand's bob wasn't the movie's only statement hairdo. Tilda Swinton's character also had a look that was rather familiar. "Katie has a very rigid hairdo," Swinton said. "Straight, not a wisp of a curl, and a heart-stopping shade of iron-red, if there is such a natural color—which I doubt. I was reminded of Edna Krabappel’s, from The Simpsons.”
8. THE COENS ASKED THE ACTORS TO EMBRACE THEIR "INNER KNUCKLEHEADS."
In preparation for the film, the Coens said they "asked the actors to embrace their inner knucklehead[s]." Joel Coen elaborated: “The story is about middle-aged people, all of whom are undergoing professional, personal, and sexual crises touching on matters of national security. That’s what makes it a Washington tale. The plot concerns the Central Intelligence Agency and the world of physical fitness, and what happens when those two worlds intersect and collide; Internet dating is also in the mix.” Yes, there's a lot going on.
9. THE FILM'S THEATRICAL POSTER IS BASED ON ESPIONAGE THRILLERS FROM THE 1960S.
The typography was modeled after a similar font on the poster for the 1967 film The Comedians.
10. THE THEATRICAL POSTER FOR COMING UP DAISY, THE FICTIONAL MOVIE WITHIN THE MOVIE, SAYS IT WAS BASED ON A BOOK BY CORMAC MCCARTHY.
McCarthy, as you may know, is the author of No Country for Old Men. The small snippets of Coming Up Daisy shown in the film were actually directed by the Coens’ friend and frequent collaborator, Sam Raimi.
In 1993, Steven Spielberg’s Schindler’s List brought to the screen a story that had gone untold since the tragic events of the Holocaust. Oskar Schindler, a Nazi party member, used his pull within the party to save the lives of more than 1000 Jewish individuals by recruiting them to work in his Polish factory. Here are some facts about Spielberg’s groundbreaking film on its 25th anniversary.
1. The story was relayed to author Thomas Keneally in a Beverly Hills leather goods shop.
In October 1980, Australian novelist Thomas Keneally had stopped into a leather goods shop off of Rodeo Drive after a book tour stopover from a film festival in Sorrento, Italy, where one of his books was adapted into a movie. When the owner of the shop, Leopold Page, learned that Keneally was a writer, he begantelling him “the greatest story of humanity man to man.” That story was how Page, his wife, and thousands of other Jews were saved by a Nazi factory owner named Oskar Schindler during World War II.
Page gave Keneally photocopies of documents related to Schindler, including speeches, firsthand accounts, testimonies, and the actual list of names of the people he saved. It inspired Keneally to write the book Schindler’s Ark, on which the movie is based. Page (whose real name was Poldek Pfefferberg) ended up becoming a consultant on the film.
2. Keneally wasn't the first person Leopold Page told about Oskar Schindler.
The film rights to Page’s story were actually first purchased by MGM for $50,000 in the 1960s after Page had similarly ambushed the wife of film producer Marvin Gosch at his leather shop. Mrs. Gosch told the story to her husband, who agreed to produce a film version, even going so far as hiring Casablanca co-screenwriter Howard Koch to write the script. Koch and Gosch began interviewing Schindler Jews in and around the Los Angeles area, and even Schindler himself, before the project stalled, leaving the story unknown to the public at large.
3. Schindler made more than one list.
Seven lists in all were made by Oskar Schindler and his associates during the war, while four are known to still exist. Two are at the Yad Vashem in Israel, one is at the US Holocaust Museum in Washington, D.C., and one privately owned list was unsuccessfully auctioned off via eBay in 2013.
The movie refers to the first two lists created in 1944, otherwise known as “The Lists of Life.” The five subsequent lists were updates to the first two versions, which included the names of more than 1000 Jews who Schindler saved by recruiting them to work in his factory.
4. Steven Spielberg first learned of Schindler in the early 1980s.
Former MCA/Universal president Sid Sheinberg, a father figure to Spielberg, gave the director Keneally’s book when it was first published in 1982, to which Spielberg allegedly replied, “It’ll make a helluva story. Is it true?”
Eventually the studio bought the rights to the book, and when Page met with Spielberg to discuss the story, the director promised the Holocaust survivor that he would make the film adaptation within 10 years. The project languished for over a decade because Spielberg was reluctant to take on such serious subject matter. Spielberg’s hesitation actually stopped Hollywood veteran Billy Wilder from making Schindler’s Listhis final film. Wilder tried to buy the rights to Keneally’s book, but Spielberg and MCA/Universal scooped them up before he could.
5. Spielberg refused to accept a salary for making the movie.
Though Spielberg is already an extremely wealthy man as a result of the many big-budget movies that have made him one of Hollywood’s most successful directors, he decided that a story as important as Schindler’s List shouldn’t be made with an eye toward financial reward. The director relinquished his salary for the movie and any proceeds he would stand to make in perpetuity, calling any such personal gains “blood money.” Instead, Spielberg used the film’s profits to found the USC Shoah Foundation, which was established in 1994 to honor and remember the survivors of the Holocaust by collecting personal recollections and audio visual interviews.
6. Before Spielberg agreed to make the movie, he tried to get other directors to make it.
Part of Spielberg’s reluctance to make Schindler's List was that he didn’t feel that he was prepared or mature enough to tackle a film about the Holocaust. So he tried to recruit other directors to make the film. He first approached director Roman Polanski, a Holocaust survivor whose own mother was killed in Auschwitz. Polanski declined, but would go on to make his own film about the Holocaust, The Pianist, which earned him a Best Director Oscar in 2003. Spielberg then offered the movie to director Sydney Pollack, who also passed.
The job was then offered to legendary filmmaker Martin Scorsese, who accepted. Scorsese was set to put the film into production when Spielberg had an epiphany on the set of the revisionist Peter Pan story Hook and realized that he was finally prepared to make Schindler’s List. To make up for the change of heart, Spielberg traded Scorsese the rights to a movie he’d been developing that Scorsese would make into his next film: the remake of Cape Fear.
7. The movie was a gamble for Universal, so they made Spielberg a dino-sized deal.
When Spielberg finally decided to make Schindler’s List, it had taken him so long that Sheinberg and Universal balked. The relatively low-budget $23 million three-hour black-and-white Holocaust movie was too much of a risk, so they asked Spielberg to make another project that had been brewing at the studio: Jurassic Park. Make the lucrative summer movie first, they said, and then he could go and make his passion project. Spielberg agreed, and both movies were released in 1993; Jurassic Park in June and Schindler’s Listin December.
8. Spielberg didn't want a movie star with Hollywood clout to portray Schindler.
Kevin Costner and Mel Gibson auditioned for the role of Oskar Schindler, and actor Warren Beatty was far enough along in the process that he even made it as far as a script reading. But according to Spielberg, Beatty was dropped because, “Warren would have played it like Oskar Schindler through Warren Beatty.”
For the role, Spielberg cast then relatively unknown Irish actor Liam Neeson, whom the director had seen in a Broadway play called Anna Christie. “Liam was the closest in my experience of what Schindler was like,” Spielberg toldThe New York Times. “His charm, the way women love him, his strength. He actually looks a little bit like Schindler, the same height, although Schindler was a rotund man,” he said. “If I had made the movie in 1964, I would have cast GertFrobe, the late German actor. That’s what he looked like.”
Besides having Neeson listen to recordings of Schindler, the director also told him to study the gestures of former Time Warner chairman Steven J. Ross, another of Spielberg’s mentors, and the man to whom he dedicated the film.
9. Spielberg did his own research.
In order to gain a more personal perspective on the film, Spielberg traveled to Poland before principal photography began to interview Holocaust survivors and visit the real-life locations that he planned to portray in the movie. While there, he visited the former Gestapo headquarters on Pomorska Street, Schindler’s actual apartment, and Amon Goeth’s villa.
Eventually the film shot on location for 92 days in Poland by recreating the Płaszów camp in a nearby abandoned rock quarry. The production was also allowed to shoot scenes outside the gates of Auschwitz.
10. The little girl in the red coat was real.
A symbol of innocence in the movie, the little girl in the red coat who appears during the liquidation of the ghetto in the movie was based on a real person. In the film, the little girl is played by actress Oliwia Dabrowska, who—at the age of three—promised Spielberg that she would not watch the film until she was 18 years old. She allegedly watched the movie when she was 11, breaking her promise, and spent years rejecting the experience. Later, she told the Daily Mail, “I realized I had been part of something I could be proud of. Spielberg was right: I had to grow up to watch the film.”
The actual girl in the red coat was named Roma Ligocka; a survivor of the Krakow ghetto, she was known amongst the Jews living there by her red winter coat. Ligocka, now a painter who lives in Germany, later wrote a biography about surviving the Holocaust called The Girl in the Red Coat.
11. The movie wasn't supposed to be in English.
For a better sense of reality, Spielberg originally wanted to shoot the movie completely in Polish and German using subtitles, but he eventually decided against it because he felt that it would take away from the urgency and importance of the images onscreen. According to Spielberg, “I wanted people to watch the images, not read the subtitles. There’s too much safety in reading. It would have been an excuse to take their eyes off the screen and watch something else.”
12. The studio didn't want the movie to be in black and white.
The only person at MCA/Universal who agreed with Spielberg and director of cinematography Janusz Kaminski’s decision to shoot the movie in black and white was Sheinberg. Everyone else lobbied against the idea, saying that it would stylize the Holocaust. Spielberg and Kaminski chose to shoot the film in a grimy, unstylish fashion and format inspired by German Expressionist and Italian Neorealist films. Also, according to Spielberg, “It’s entirely appropriate because I’ve only experienced the Holocaust through other people’s testimonies and through archival footage which is, of course, all in black and white.”
13. Spielberg's passion project paid off in Oscars.
Schindler’s Listwas the big winner at the 66th Academy Awards. The film won a total of seven Oscars, including Best Picture and Best Director awards for Spielberg. Neeson and Ralph Fiennes were both nominated for their performances, and the film also received nods for Costume Design, Makeup, and Sound.
14. Schindler's List is technically a student film.
Nicholas Hunt, Getty Images
Thirty-three years after dropping out of college, Spielberg finally received a BA in Film and Video Production from his newly minted alma mater, Cal State Long Beach, in 2002. The director re-enrolled in secret, and gained his remaining credits by writing essays and submitting projects under a pseudonym. In order to pass a film course, he submittedSchindler’s List as his student project.Spielberg describes the time gap between leaving school and earning his degree as his “longest post-production schedule.”
15. Spielberg thinks the film may be even more important to watch today.
In honor of the film's 25th anniversary, it's currently back in theaters. But Spielberg believes that the film may be even more important for today's audiences to see. "I think this is maybe the most important time to re-release this film," the director said in a recent interview with Lester Holt on NBC Nightly News. Citing the spike in hate crimes targeting religious minorities since
2016, he said, "Hate's less parenthetical today, it's more a headline."
Additional Sources: The Making of Schindler’s List: Behind the Scenes of an Epic Film, by Franciszek Palowski
An earlier version of this article appeared in 2015.
Do you live in a Gremlins state or a Home Alone state? StreamingObserver is here to tell you. The streaming-industry site recently used Rotten Tomatoes and other public data sources to figure out the most popular Christmas movies in each state. Spoiler: It’s a Wonderful Life isn’t quite the Christmas classic you thought it was.
The list takes some liberties with what might be considered a “Christmas” movie. Die Hard (a favorite in Missouri and Wisconsin) made the list, as did Batman Returns (California’s most-searched movie) and Edward Scissorhands (popular in Nevada and Arizona). They aren’t quite the traditional Hallmark holiday fare, but they each include at least some nod to the Christmas season.
Then there’s the more standard Yuletide entertainment, like A Christmas Carol (Tennessee’s favorite) and Frosty the Snowman (South Dakota's pick). Christmas in Connecticut, oddly enough, is Montana’s favorite (unclear whether that’s the 1945 film or the 1992 TV movie), while Connecticut’s favorite is the 1983 Eddie Murphy film Trading Places. The Apartment, The Snowman, Miracle on 34th Street, and The Best Man Holiday also make an appearance. Seven states list Gremlins as their favorite, while six chose Home Alone and three chose Scrooged.
The data is based on Google searches, rather than surveys, so it's possible that the movie at the top of each state's list isn't so much beloved as it is curiosity-inspiring. It's possible that all these people are Googling Gremlins, then deciding not to watch it. But we feel fairly confident saying a lot of people will be watching Die Hard this Christmas season. (Tip: You can't stream it on Netflix right now, but you can rent it on Amazon.)
The 2018 results are fairly different from StreamingObserver's 2016 data, which you can compare here. Do you agree with your state's preferences?