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30 Fast & Furious Facts for the Ultimate Fan

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Do you live your life a quarter mile at a time, just like Dom Toretto? In celebration of the 15th anniversary of The Fast and the Furious, the first installment in the franchise, here are some facts about the first six adventures of Dom and his crew.

The Fast and the Furious (2001)

1. THE STORY WAS INSPIRED BY A MAGAZINE ARTICLE.

The May 1998 issue of Vibe magazine featured an article by Ken Li titled “Racer X” that chronicled illegal street racing in Queens, New York. Producers optioned the article for a movie adaptation that became The Fast and the Furious.

2. THE FILM'S TITLE WAS PURCHASED FROM LEGENDARY B-MOVIE DIRECTOR ROGER CORMAN.

Throughout filming, the movie had the working title Redline—which in racing refers to the maximum rate of speed a car can go—before the filmmakers settled on calling it The Fast & The Furious. There was only one problem: That title was owned by B-movie director Roger Corman, who produced a racing movie of the same name in 1955. Instead of having the filmmakers pay for the rights to the name, Corman traded the movie title for some stock footage owned by Universal Studios.

3. THE MOVIE HAS GARNERED SOME FAMILIAR AND UNFAMILIAR COMPARISONS.

The filmmakers of The Fast and the Furious pitched the movie as West Side Story with cars instead of singing, and also incorporated themes and situations found in movies like the surfing action classic Point Break and the undercover crime drama Donnie Brasco.

Director Rob Cohen modeled the film’s third act chases through the Los Angeles hills on similar San Francisco-set scenes in the 1968 car-chase classic Bullitt, starring Steve McQueen. Cohen loved the movie so much that he cast actor Paul Walker because he thought he resembled Bullitt’s lead actor.    

FUN FACT: Eagle-eyed fans of this movie and Point Break will notice that Dom and Brian visit a restaurant called Neptune’s Net about midway through the movie. The real-life restaurant, located along Malibu’s Pacific Coast Highway, is the same restaurant where Lori Petty's character, Tyler, works in Point Break

4. THEY USED REAL STREET RACERS FOR MOST OF THE RACE SCENES.

Cohen (who visited real illegal street races in preparation for directing the movie and who can also be seen in a small cameo as the pizza delivery guy trying to get through the crowd of cars during the first racing scene) enlisted the help of 200 souped-up cars driven by actual illegal street racers for the initial racing scenes.

5. THE REAL ACTORS PUT THE PEDAL TO THE METAL … KIND OF.

In order to have the real actors behind the wheel of cars going upwards of 80 to 100 miles per hour, a special rig was built by second unit director and stunt coordinator Mic Rodgers that the filmmakers dubbed the “Mic Rig.” It consisted of a high-powered truck with a long chassis in the back on which the bodies of the custom cars in the movie could be interchanged. A stunt driver drove the high-speed truck while the actors were behind the wheel of the dummy car in back, which made it look like they were really driving at dangerous speeds. 

END CREDIT SEQUENCE: Dom can be seen evading the cops and driving through Baja, Mexico. This footage and the 1970 Chevelle SS he drives will be seen again eight years later in the fourth installment of the franchise, Fast & Furious

2 Fast 2 Furious (2003)

1. IT’S TECHNICALLY THE THIRD MOVIE (CHRONOLOGICALLY).

A six-minute short film called the Turbo-Charged Prelude was made in 2003 and bridges the gap between the events of the first and second movies. The short shows Walker as O’Connor evading police after the first movie and making his way across the country to Miami, winning countless street races along the way. Actress Minka Kelly (in an uncredited role) stars as the woman who helps him.

2. TWO PEOPLE FROM THE FIRST MOVIE DECIDED NOT TO RETURN.

Vin Diesel declined to appear in the sequel despite being offered $25 million to reprise his role because he was not happy with the script. Instead he and director Rob Cohen, who also didn’t return for the sequel, made the 2002 extreme sports star/secret agent movie, xXx. In the final drafts of the script, Dom’s character was refashioned into Tyrese Gibson’s character, Roman Pearce. It’s the only movie in the Fast & Furious franchise in which Diesel does not appear. 

John Singleton, previously known for making movies like Boyz n the Hood and the remake of Shaft, stepped into the director’s seat for 2 Fast 2 Furious, which was his first PG-13-rated movie. Singleton would bring back a few people he had worked with previously: Gibson (who plays Roman) appeared in Singleton’s 2001 movie Baby Boy; Cole Hauser (who plays the villain) appeared in his 1995 movie Higher Learning; and Mark Boone Junior (who has a small role as a corrupt cop) appeared in the 1997 movie Rosewood

3. SINGLETON HAD THREE SPECIFIC INSPIRATIONS FOR HIS SEQUEL.

He attempted to base the tone and the aesthetic of the movie on Japanese anime, an updated version of Speed Racer cartoons from the ‘60s, and the Playstation video game series “Gran Turismo.” 

4. THEY USED SOME PRETTY NOTABLE LOCATIONS.

The movie shot on location in Miami, Florida. The South Beach house owned by Hauser’s villain, Carter Verone, once belonged to Sylvester Stallone. At the time of filming, however, the house was owned by Singleton’s friend, who let the production shoot there for free. 

5. THE ACTORS DID THEIR OWN STUNTS … SOMETIMES.

Paul Walker, who returned as the cop-turned-outlaw Brian O’Connor for the sequel and who goes by the street name “Bullitt” after one of the inspirations for the first installment, actually did some of his own car stunts in the movie. 

The skid into frame in the Nissan Skyline GT-R following his character’s first race at the beginning of the movie was done by Walker himself, and the high-speed 180-degree turn in the Mitsubishi Lancer Evolution VII during the highway chase at the end of the movie was Walker's work as well. 

FUN FACT: In the highway chase after the Ford Mustang gets crushed by the tractor trailer truck, the Chevy Corvette crashing into the wreckage was a mistake and wasn’t supposed to happen, but they kept it in the movie anyway. 

The Fast and the Furious: Tokyo Drift (2006)

1. IT’S THE THIRD MOVIE IN THE SERIES, BUT THE SIXTH MOVIE CHRONOLOGICALLY.

This may get a little technical here, but real Fastards (a.k.a. Fast fans) know that Tokyo Drift takes place after Fast & Furious 6. The character of Han is introduced and dies in Tokyo Drift, but miraculously shows up alive and well in the subsequent movie, Fast & Furious. This is because the fourth through sixth movies in the series take place chronologically before Tokyo Drift

How do we know? In a bit of retroactive continuity, the mid-credits sequence in Fast & Furious 6 shows Han’s death in the Tokyo streets is actually caused by Deckard Shaw (played by Jason Statham), the brother of the villain in Fast & Furious 6 who is out for revenge for his brother’s death at the hands of Dom and his crew! This means that the chronological order of the feature length movies so far is 1, 2, 4, 5, 6, 3, 7. 

2. A NEW DIRECTOR TOOK OVER AND CAST FAMILIAR FACES IN NEW ROLES.

This is director Justin Lin’s first foray into the Fast & Furious saga (he would also go on to direct movies 4 through 6), and the first movie in the series to feature a new cast of characters. Lin, who started out small with his 2002 Sundance hit Better Luck Tomorrow, went on to make his first studio movie in 2006 with Annapolis before getting the Tokyo Drift gig. He populated the new movie with familiar actors: Brian Goodman (who plays Sean’s father) had previously appeared in Annapolis, while Sung Kang (who plays Han) and Jason Tobin (who plays Earl, one of Sean’s friends) both appeared in Better Luck Tomorrow (funnily enough, Annapolis also starred Tyrese Gibson and Jordana Brewster, who also appeared in the previous and subsequent Fast movies).     

3. IT WAS A BIG-BUDGET STUDIO MOVIE THAT USED SOME INDIE TECHNIQUES TO GET CERTAIN SHOTS.

The movie was shot primarily on location in Tokyo, which doesn’t grant filming permits. So for many shots, including the ones of lead actor Lucas Black wandering around highly populated areas like Shibuya Crossing, the director and a minimal crew just shot Black amongst real pedestrians until the police shut the production down. To make sure Lin wouldn’t get into trouble or thrown in jail and have the production halted, he had the production manager trick the police by telling them that he was the director and not Lin. 

4. THE REAL DRIFT KING MAKES A CAMEO.

Although actor Brian Tee plays D.K. (a.k.a. “Drift King”) in the movie, the real-life drift king, Japanese racing legend Keiichi Tsuchiya, makes a small appearance as the fisherman in the blue jacket who makes fun of Sean as he’s learning to drift near the fish market. Tsuchiya himself performed most of the scenes of Sean learning how to drift.

5. VIN DIESEL AGREED TO DO HIS CAMEO FOR FREE, BUT UNDER ONE CONDITION.

Lin convinced Diesel to reprise his role as Dom Toretto after showing Diesel an early rough cut of Tokyo Drift. The actor would ultimately do the cameo for free but made a deal with Universal Studios: in lieu of an acting fee, Universal would have to give him and his production company the rights to the character Riddick from 2000’s Pitch Black and 2004’s The Chronicles of Riddick

Diesel wanted to make a third entry in that franchise, but Universal stalled a new movie because The Chronicles of Riddick bombed at the box office. In the end, Diesel did the cameo, Universal gave him the Riddick rights, Diesel would go on to make a third Riddick movie in 2013, and he would be repositioned as the main character in the Fast franchise from then on. 

Fast & Furious (2009)

1. THEY GOT THE GANG BACK TOGETHER.

2009’s Fast & Furious was the first direct sequel to the events in the first film in the saga. Vin Diesel returned full-time after his cameo in Tokyo Drift, but also picked up the reins as the film’s producer for the first time (he’d go on to produce the subsequent films in the series as well). 

It was also the first time in eight years that Diesel, Walker, and Jordana Brewster had appeared on-screen together as their characters since the first film. Though Michelle Rodriguez returned as Letty Ortiz, Diesel is the only original cast member she shares screen time with, because her character (allegedly) dies off-screen after the opening sequence.

2. IT’S TECHNICALLY THE FIFTH MOVIE CHRONOLOGICALLY.

Diesel himself wrote, produced, directed, and starred in a 20-minute short film entitled Los Bandoleros with Rodriguez, Sun Kang, Tego Calderón, Don Omar, and Mirtha Michelle appearing again as Dom’s gang in the Dominican Republic. The film shows the backstory of how the characters came together, leading into the tanker truck heist that begins Fast & Furious

3. WALKER’S CHARACTER WAS GOING TO BE IN A VERY DIFFERENT SITUATION.

The screenwriters originally envisioned Walker’s cop character, last seen letting Diesel’s character escape police at the end of the first movie, as a convict locked up in jail. His introductory foot chase sequence was going to be a jailbreak before subsequent drafts of the screenplay changed him back into a reformed F.B.I. agent as seen in the final film. 

4. THEY HAD OPEN CASTING CALLS FOR CARS.

On top of regular actor casting calls, director Justin Lin, returning from Tokyo Drift, held open casting calls for cars to potentially appear in the film as well. They would post a meet-up place for people to bring their cars and the filmmakers would select drivers and cars for background sequences as needed. 

5. THERE WERE NO FULLY CGI CARS IN THE TUNNEL CHASE.

Contrary to popular belief, there were no fully-CGI cars in the smuggling sequences, which were inspired by real-life smuggling tunnels used by drug cartels in Guanajuato, Mexico. 

The production actually built out sparse areas to stand in for the tunnels in a large warehouse in San Pedro, California, and blocked out the paths for each actual car using orange road cones. The dirt, walls, and pillars of the smuggling tunnels were then added with CGI in post-production. 

Fast Five (2011)

1. THEY SPENT A LOT OF MONEY ON THE SET PIECES.

With Fast Five, director Justin Lin wanted to transition the series into more action-oriented territory, and wanted to outdo anything already seen in the previous movies by planning out set pieces that cost some serious cash. The train-heist sequence alone cost $25 million to create, and involved the production buying out a 600-yard stretch of train tracks in Arizona (standing in for Brazil) as well as an entire train in order to be able to destroy it.  

The studio initially told Lin the sequence would cost too much and told him to scrap the idea, but he showed them an entirely pre-visualized sequence using storyboards and computer re-creations for them to put up the money to shoot the sequence.

FUN FACT: Han's full name is "Han Seoul-Oh," an obvious nod to the Star Wars character Han Solo. His full name hadn't been previously mentioned before showing up in the background on Hobbs' team's computer screens during Fast Five.

2. LIN GOT HIS ENSEMBLE EXPERIENCE FROM DOING TV.

Though he’d directed ensembles in the previous two Fast & Furious movies and his debut movie Better Luck Tomorrow, Fast Five proved to be Lin’s biggest movie yet in terms of on-screen characters (there are 10 main characters in Dom’s gang alone). Lin attributes directing three episodes of the TV comedy Community in between Fast & Furious and Fast Five with getting him acclimated to being able to successfully shoot and keep track of such a large amount of speaking characters.

3. BRAZIL IS ACTUALLY PUERTO RICO … AND A COUPLE OF OTHER PLACES

Lin wanted to shoot entirely on location in Rio de Janeiro, but it proved too costly and dangerous. Scenes were shot in Rio (most notably the favela chase sequence), but the majority of the scenes that took place in Brazil in the movie were shot in San Juan, Puerto Rico (the vault heist) and in Atlanta (the street races). These cities were not only cheaper to shoot in, but were better suited for the safety regulations and logistical planning the production warranted for its action scenes.

FUN FACT: The setting of Fast Five is foreshadowed in the beginning of Fast & Furious when Letty tells Dom, “I hear Rio is good this time of year,” while the pair ponder where to escape to next. 

4. WE HAVE FACEBOOK TO THANK FOR HELPING CAST DWAYNE “THE ROCK” JOHNSON.

Prior to creating the fifth movie in the franchise, Diesel reached out to fans on his official Facebook page asking for potential ideas of where the story could go, and someone suggested writing a role for Johnson as the bad guy. During the writing phase the filmmakers reached out to Johnson to play Hobbs (he was the only choice to play the role); he agreed to sign on, and the rest is social networking history.    

5. THE PRODUCTION GOT CRAFTY FOR THE VAULT HEIST.

The logistics of the vault heist were so difficult that, like the train sequence, the scene was almost scrapped entirely. To portray a large vault being dragged by Diesel and Walker’s characters on-screen, six separate vaults were built to accommodate certain shots that were needed, including a full-size vault and a lightweight vault that could be easily towed. 

The primary stand-in vault used was actually a shortened pick-up truck chassis with a vault-shaped case that fit over it. In essence the vault was a steerable single-driver mini-car hooked to Walker and Diesel’s cars to make it look like their characters were dragging it. 

END CREDITS SEQUENCE: Eva Mendes reprises her role as U.S. Customs Agent Monica Fuentes from 2 Fast 2 Furious to let Agent Hobbs know that Michelle Rodriguez’s Letty, who was previously thought dead in Fast & Furious, is in fact alive. Rodriguez wasn’t told that her character was going to be resurrected until she saw Fast Five for herself, and the filmmakers called her after the release of the movie to ask if she would reprise her role in the next movie. Good thing she said yes!

Fast & Furious 6 (2013)

1. IT WAS SUPPOSED TO BE THE LAST MOVIE IN AN UNOFFICIAL TRILOGY.

Lin, who returned for the last time as director, and screenwriter Chris Morgan envisioned the sixth installment to be the concluding movie in an unofficial story arc that began with the fourth movie, Fast & Furious. Though the series is usually lampooned because of its irregular naming conventions, they wanted to officially call it Furious Six (after Fast & Furious, and Fast Five) for a cohesive series of titles. The idea was nixed by the studio because of marketing concerns that audiences wouldn’t understand what Furious Six meant, so they made the official title Fast & Furious 6. Lin sort of won out in the end though, as the title card on the movie itself only reads Furious 6

2. IT COULD HAVE BEEN TWO MOVIES.

During early stages of development, Furious 6 was initially going to be split into two installments shot simultaneously with the first entitled The Fast and the second entitled The Furious. The tank sequence would have been the end of The Fast and the plane sequence would have capped off The Furious, but eventually the storyline was whittled down enough to fit into one (extremely action-packed) movie.

3. THE TANK SEQUENCE WAS NEARLY ALL PRACTICAL EFFECTS.

Originally the tank sequence was supposed to take place in the streets of London, and the production planned to re-create 12 city blocks on a soundstage to shoot what they needed (London city officials wouldn’t grant the production access to city roads because the Olympics were happening at the same time they shot the movie, so most of the street scenes were shot in Glasgow, Scotland as a stand-in for the UK capital).

When that proved unfeasible they moved the sequence to Spain when they secured and were given free rein to shoot on a newly built and unopened stretch of highway in Tenerife in the Canary Islands. Ninety percent of the shots of the tank were the real thing; other shots used a lightweight tank with a fake turret, while others used a truck outfitted with fake tank treads to get low angle shots. 

4. THE FINAL PLANE SEQUENCE WAS ALMOST IN FAST FIVE.

The harrowing sequence was originally supposed to be the ending of Fast Five, and got so far into the production process of that movie that is was storyboarded and pre-visualized before being scrapped for budgetary reasons. The leftover storyboards and pre-viz were simply grafted on to Furious 6 and updated to account for new characters and the new movie’s plot. 

5. THE RUNWAY IN THE PLANE SEQUENCE WAS EXTREMELY LONG.

Though the production used movie magic, some suspension of disbelief, and multiple passes over three weeks to shoot the final plane sequence, the runway as is in the final movie would allegedly be 28.829 miles long if calculated out correctly.   

END CREDIT SEQUENCE: Han’s death from Tokyo Drift is caused by Jason Statham’s character, Deckard Shaw, the brother of Luke Evans' Furious 6 villain, Owen Shaw (who previously mentioned his brother in the scene where he confronts Dom after his street race with Letty), which leads directly into the plot of Furious 7

Additional Sources: Blu-ray special features.

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11 Surprising Facts About Fatal Attraction
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Paramount Pictures

Written by James Dearden and directed by Adrian Lyne, 1987’s Fatal Attraction showed audiences just how dangerous sex could be. Michael Douglas plays Dan Gallagher, a married man who has a weekend-long affair with single career woman Alex Forrest, played by Glenn Close. When he breaks off their affair, Alex goes a little nuts. Despite drawing the ire of feminists and frightening men everywhere, the film grossed an impressive $320 million worldwide, earned six Oscar nominations (including one for Close), and ranks number one in the “Psycho/Stalker/Blank from Hell” genre. Here are 11 scintillating facts about the movie, which was released 30 years ago today.

1. THE MOVIE IS BASED ON THE SCREENWRITER’S SHORT FILM.

In 1980, Fatal Attraction screenwriter James Dearden wrote and directed a short film called Diversion. “I was sitting at home thinking, ‘What is a minimalist story that I can do?’ My wife was out of town for the weekend, and I thought what would happen if a man who has just dropped his wife at the railroad station rings this girl who he's met at a party and says, ‘Would you like to have dinner?’” he told The New York Times. “It’s a little fable about the perils of adultery. It is something that men and women get away with 99 percent of the time, and I just thought, ‘Why not explore the one time out of 100 when it goes wrong?’”

Fatal Attraction producers Sherry Lansing and Stanley Jaffe saw the short and asked Dearden to elaborate on the story. “To turn it into a mass-audience film, I knew there would have to be an escalation of the psychological violence, which in the end becomes physical,” Dearden explained. He says he wasn’t trying to make a social statement about AIDS, but he was trying to say “we can have the most intimate sexual relationships with somebody we know nothing about.”

2. GLENN CLOSE WANTED TO PLAY AGAINST TYPE.

By the time Fatal Attraction came around, Glenn Close was a three-time Oscar nominee who had never been asked to play a sexy role. “When Glenn made it known she was prepared to test, I became fascinated with the idea of using her,” Adrian Lyne told People. “She’s a person you’d least expect to have this passion and irrational obsession. When she and Michael tested, an extraordinary erotic transformation took place. She was this tragic, bewildering mix of sexuality and rage—I watched Alex come to life.” 

Close recalled her nerve-racking audition to Entertainment Weekly: “My hair was long and crazy. I’m very bad at doing my hair. I got so nervous, I took a little bit of a Valium. I walked in and the first thing I saw was a video camera, which is terrifying, and behind the video camera in the corner was Michael Douglas. I just said, ‘Well, just let it all go wild.”’

A year after Fatal Attraction’s release, Close kept the sexiness going in Dangerous Liaisons, which garnered her yet another Oscar nod.

3. ADRIAN LYNE WANTED TO DO A DIFFERENT TYPE OF SEX SCENE.

According to Lyne, the only thing audiences remember about the movie is the spontaneous and somewhat goofy kitchen sink sex scene. “But what people take away from the movie is not Glenn Close putting acid on the car or even the last 10 minutes when they are flailing around in the bathroom,” he told MovieMaker Magazine. “What they remember is Michael f*cking her over the sink early on—which was like 30 seconds—and another 30 seconds of them making out in the elevator … but there’s another two hours and five minutes! And I guess it worked or they wouldn’t have gone to the movie.”

In John Andrew Gallagher’s book Film Directors on Directing, Lyne said he didn’t want the love scene to take place in a bed “because it’s so dreary, and I thought about the sink because I remembered I had once had sex with a girl over a sink, way back. The plates clank around and you’ll have a laugh. You always need to have a laugh in a sex scene.” During filming he yelled at the couple, praising them. “If they know that they’re turning you on, it builds their confidence.” He used a handheld camera to film it “so there was no problem with the heat going out of the scene.”

4. CLOSE HAD A HUGE PROBLEM WITH THE NEW ENDING.

Paramount Pictures

Two endings of the film were shot: The first had Alex planting Dan’s fingerprints on a knife and then killing herself while Madama Butterfly played in the background. Test audiences felt unsatisfied, so Paramount decided to re-shoot the ending and make it more violent. They had Dan’s wife, Beth (Anne Archer)—the only untainted character—shockingly shoot and kill Alex as a statement on preserving the American family.

“When I heard that they wanted to make me into basically a psychopath, where I go after someone with a knife rather than somebody who was self-destructive and basically tragic, it was a profound problem for me because I did a lot of research about the character,” Close told Oprah. “So to be brought back six months later and told, ‘You’re going to totally change that character,’ it was very hard. I think I fought against it for three weeks. I remember we had meetings. I was so mad.”

In Entertainment Weekly, Close said she thought Alex was a deeply disturbed woman, but not a psychopath. “Once you put a knife in somebody’s hand, I thought that was a betrayal of the character,” she explained. The main reason the ending was changed was because moviegoers wanted revenge. “The audience wanted somebody to kill her,” Michael Douglas told Entertainment Weekly. “Otherwise the picture was left—for lack of a better expression—with blue balls.” Though audiences wanted Alex dead, Douglas saw that as a compliment. “You were so good in the part that everybody wanted you to be killed,” he told Close on Oprah.

In hindsight, Close thinks they did the right thing in changing the ending. “Bloodshed in a dramatic sense brings catharsis,” she told Entertainment Weekly. “Shakespeare did it. The Greeks did it. That’s what we did. We gave the audience my blood. It worked.”

5. THE MOVIE CAUSED THE PHRASE “BUNNY BOILER” TO BECOME A PART OF THE LEXICON.

In probably the most disturbing scene in the movie, Alex boils Dan’s kid’s pet bunny. The phrase is listed in Urban Dictionary and on the U.K. site Phrases.org. Urban defines it as “after a relationship break-up, the person who wants some kind of revenge, like stalking, or harassment,” and Phrases says, “an obsessive and dangerous female, in pursuit of a lover who has spurned her.” Close herself was uneasy about the scene. “The only thing that bothered me was the rabbit,” she said on Oprah. “I thought it was over the top.”

6. CLOSE HAD THE KNIFE SHE TRIED TO KILL MICHAEL DOUGLAS WITH FRAMED.

In the theatrical ending of the movie, Alex comes after Dan with a knife but doesn’t succeed in getting away with murder. Close told Vanity Fair that she framed the fake knife, and that it’s hanging in her kitchen. “It’s all an illusion. It’s a cardboard prop!” she said. It’s also a rather creepy reminder of the film.

7. THE MOVIE SAVED MORE THAN A FEW MARRIAGES.

The film shows what happens when a married man lets his guard down and embarks on an affair, only to have it destroy his life. “That movie struck a very, very raw nerve,” Close told Daily Mail. “Feminists hated the movie and that was shocking to me. They felt they'd been betrayed because it was a single, working woman who was supposed to be the source of all evil. But now Alex is considered a heroine. Men still come up to me and say, ‘You scared the s**t outta me.’ Sometimes they say, ‘You saved my marriage.’”

8. CLOSE WOULD PLAY ALEX DIFFERENTLY TODAY.

One of the reasons the film was so controversial is the negative way it depicted mental illness. Psychiatrists have said Alex suffered from erotomania, a condition in which a person wrongly believes a person is in love with them. Close spoke to two psychiatrists in preparation for her role, and neither said Alex’s behavior—especially the bunny-boiling—was because of mental illness. “Never did a mental disorder come up. Never did the possibility of that come up,” Close told CBS News. “That, of course, would be the first thing I would think of now.” She also said, “I would have a different outlook on that character. I would read that script totally differently.”

9. DEARDEN ADAPTED FATAL ATTRACTION INTO A PLAY, WITH THE ORIGINAL ENDING INTACT.

In 2014 a stage version of the movie went up in London, starring Natascha McElhone as Alex and Kristin Davis as the long-suffering wife, Beth. Dearden reimagined the script in making Alex more sympathetic, Dan more blameworthy, and returning to the original ending.

“[I] wanted to return to my original conception of the characters in a sense to set the record straight,” Dearden told The Atlantic. “Because while Alex is undeniably borderline psychotic, she is also a tragic figure, worn down by a series of disappointments in love and the sheer brutality of living in New York as a single woman in a demanding career. So whilst remaining faithful to the storyline, I have introduced the ambivalence of my earlier drafts … nobody is entirely right and nobody entirely wrong.”

10. DEARDEN AND CLOSE DON’T BELIEVE ALEX IS A MONSTER.

“Alex is emphatically not a monster,” Dearden wrote in The Guardian. “She is a sad, tragic, lonely woman, holding down a tough job in an unforgiving city. Alex is not a study in madness. She is a study in loneliness and desperation.” He goes on to write that he regrets “that audiences shouted ‘Kill the bitch!’ at the screen … Did Fatal Attraction really set back feminism and career women? I honestly don’t believe so. I think that, arguably, it encouraged a vigorous debate from which feminism emerged, if anything, far stronger.”

Close doesn’t see Alex as monstrous either. “I never thought of her as the villain, ever,” she said on Oprah.

11. A TV VERSION OF FATAL ATTRACTION WAS KILLED.

In 2015 it was reported that Paramount would be bringing the film to the small screen in what was described as “a one-hour event TV series.” Mad Men producers Maria and André Jacquemetton were set to write and executive produce the show, with Deadline writing that the TV version would show how “a married man’s indiscretion comes back to haunt him,” just like in the movie. The show was set to air on Fox. But in early 2017, it was announced that the project was being killed—at least by Fox—after the producers encountered troubles with both the title and casting (The Hollywood Reporter wrote that both Megan Fox and Jenna Dewan Tatum were both said to have passed on the project.)

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13 Stylish Facts About dELiA*s
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Lucy Quintanilla

Millennial women across the United States will remember rushing to their mailboxes after school to grab the hottest catalog of the ‘90s: dELiA*s. The groundbreaking magalog, which debuted in 1994, was, by 1998, sending out 55 million catalogs a year. REaD oN fOr A fEw fUN fACts aBoUt dELiA*s.

1. THE COMPANY WAS FOUNDED BY TWO MALE YALE GRADS.

Stephen Kahn and Christopher Edgar, former Yale roommates, were in their 20s when they started dELiA*s in New York in 1993. Kahn—who, after Yale, had studied political philosophy and Victorian history at Oxford—had taken a job at the brokerage firm PaineWebber and was studying for his MBA at night. But he was bored. He wanted to run his own company. “I was interested in being more creative,” Kahn told Crain’s New York Business in 1998. “And I wanted to make a lot of money.” He convinced Edgar to leave his comparative literature Ph.D. program at Columbia University to start the company. Kahn provided $100,000 of his own money, and his father provided another $100,000.

2. DELIA*S WAS ORIGINALLY AIMED AT COLLEGE-AGED WOMEN.

In the early ‘90s, 90 percent of catalogs were aimed at women aged 30 to 50; it was seeing fashionable undergrads at Columbia that inspired Kahn and Edgar to launch a catalog aimed at selling clothes to college-aged women. They called the catalog dELiA*s. (Where that name came from is a mystery.) Initially, they created 20,000 catalogs and, in 1994, hired students to distribute them around college campuses.

But the response from college women, Kahn told Chief Marketer in 1998, was “lukewarm.” After running ads for the catalog in a few magazines, they found a new market: the college students’ little sisters. “We got a huge response from high school kids,” Kahn said. “So basically the market found us.”

They expanded their customer base to include 10- to 24-year olds with the goal of giving girls who might not live in areas with tons of shops for them an opportunity to buy cool clothes. (Fortune’s summation of the company’s strategy, from a 1997 article, is too amazing not to share: “Today’s average 14-year-old girl in Des Moines is just as hip to what’s hot as the 14-year-old in suburban Los Angeles … She, too, wants shiny avalanche pants and baby-T’s, but she’s stuck in the backwoods with nowhere to shop but her local Wal-Mart. Delia’s body glitter, like Dorothy’s red shoes, transports her from the farm to Melrose Avenue.”) “We felt that this group was not well served,” Edgar told The New York Times in 1997. “There wasn’t a recognition of these kids as real consumers.”

The first catalog hit campuses in the fall 1994, and quickly became a hit: Within four years, the company had annual sales of $158 million. When it went public in 1996, Kahn’s 57 percent share of the stock was worth $163 million.

3. KAHN AND EDGAR WOOED INVESTORS BY COMPARING dELiA*s TO MTV.

In the ‘90s, it was tough to get investors to put their money into catalogs. According to the Los Angeles Times, they “often doubted that teens will bother to leaf through pages and manipulate measuring tapes.” But dELiA*s was able to land financing by comparing its catalog to MTV’s programming. “We told them to think of us as a ‘channel’ through which you can program different types of apparel brands,” Evan Guillemin, the company's chief financial officer, told the Los Angeles Times in 1997. “We, like MTV, stay constant … but we’ll provide them with a constantly changing assortment of designs and brands.”

4. CREATIVE DIRECTOR CHARLENE BENSON HAD A DAY JOB AND WORKED ON DELIA*S AT NIGHT FOR THE FIRST YEAR.

The cover of the first-ever dELiA*s catalog
The cover of the first-ever dELiA*s catalog.
Courtesy of Charlene Benson

With its irregular capitalization and engaging photos, dELiA*s was a standout from the start. That strategy came from creative director Charlene Benson and her collaborators. Benson was the art director of Mademoiselle magazine when she got the dELiA*s gig—and she kept that day job for a full year while producing the catalog at night.

How Benson got the dELiA*s job is what she calls a “folksy” story: One of her friends, the writer Hilton Als, met Kahn at an art show, and they got to talking about the catalog. Benson went in for an interview. The office was casual; “it looked like they had collected all the furniture off the street,” Benson tells Mental Floss. “They didn’t really have an idea of what it should be yet. They wanted to know if I knew how to put together a photo shoot, how to do the layout, how to talk to printers. It was more of the business part of it.”

Given pretty much free rein—albeit on a shoestring budget—Benson hired some help and got to work … at night, after she finished at her day job. And though she loved working at Mademoiselle (which was, she says, “wonderful”), dELiA*s gave her a different kind of opportunity. “I did all of the things that I didn’t get to do at Mademoiselle—choose the pictures where the girls were making faces, and have kind of more chaotic layouts, and just have a certain kind of fun and a certain kind of real girl-ness that I always missed working at a Condé Nast fashion magazine,” she says.

That included randomly capitalized type. “We really liked that mixed up and down type,” Benson says. “Sassy had kind of done something like that [before dELiA*s] and we really liked it. But because I was such a bad typist a lot of times my typing would kind of look like that, so it was like, ‘This feels right.’”

Benson didn’t do any market research to create the catalog, but she did look at teen magazines that were available at the time. “When I looked at teen stuff it was a lot of ‘how to kiss a boy,’ or ‘how to know if he likes you.’” She and her team decided to do the opposite: “It was kind of like, ‘Let’s do something where that’s not in the picture yet or maybe it’s not the most important thing to her—that she’s more creative, and she’s more interesting, and she’s more about her friends still.”

The copy in the catalog (an example: “wOulD YoU rAtHeR bE iN a cAve oF sNakEs oR a bAthTub fUlL oF sluGs?”) also reflected that—something Benson says parents appreciated. “I got a lot of nice notes from moms that would be like, ‘Oh thank you for the funny copy. My daughter and I had a really beautiful moment reading it together.’”

The first catalog, which Benson says “wasn’t totally baked,” was a huge success; Edgar came back to Benson in two months and said they’d sold every piece of merchandise. “He was like, ‘So we want to do another one,’ and I was like ‘Wow, didn’t you find that first one really difficult?,” Benson says, laughing. “And so we did another one. ... I did that for a year and was still working at Mademoiselle and I just basically had no life,” Benson says. After that year, Kahn and Edgar asked Benson to come on full-time, and she left Mademoiselle. “That’s really when we made the catalog grow.”

5. THERE WAS A “FICTIONAL DELIA.”

Though no one knows where the name Delia came from (Benson calls it "one of the great mysteries"), according to Jim Trzaska, dELiA*s' photo producer, there was a fictional Delia who “was supposed to be a girl’s girl who loved hanging out with her friends above all else, and dressed for herself rather than to attract boys. That naturally set the tone at the photo shoots as well.”

6. THE CREW HAD A STRATEGY FOR MAKING PHOTO SHOOTS FUN.

A page from the Summer '97 dELiA*s catalog.

Rarely will you find a girl in a dELiA*s catalog smiling; she’s more likely to be making a funny face or looking like she’s having the time of her life. They were looking for a particular type of girl, Benson says—someone who was expressive. "Sometimes I would ask them, 'Do you want to be an actress someday?' The actual shoots were super fun. We just had the funniest crew, and the stylist that we worked with consistently, Galadriel Masterson, was just really, really funny and she had this way of teaching the girls how to be on set and how to express themselves. She had a really good idea for how to put the stuff together because we weren’t match-y and we weren’t outfit-y. We just shot a lot of film until we got the funny pictures we wanted." Benson brought on Kevin Hatt to photograph the early catalogs, and later, Mei Tao shot them.

According to the models who participated in those shoots—who typically had already appeared in teen mags like Seventeen—they really were awesome. “Every single one was fun,” model Kim Matulova told MTV. “There was always a lot of energy and it was very natural, unforced, and spur-of-the-moment. [The photographer] would just turn on the music and let us girls do our thing, and he’d capture it.”

The photographer shot on Polaroid, and the models would get to take some photos home at the end of the shoot. “I have a huge box at my mom’s house full of old Polaroids and outtakes,” Matulova said.

A page from the Summer '97 dELiA*s catalog.

The crew also had a strategy for getting girls to let loose. “One thing that always got a big reaction from everyone on set was a fake boy named ‘Billy’ who was invented by our lead stylist, Galadriel Masterson,” Trzaska told Refinery 29. “Depending on what kind of mood we needed from the model, ‘Billy’ could be anyone from a shady ex-boyfriend to a bratty little brother or a gay best friend. He definitely helped us get the shot on more than one occasion.”

7. YOU MIGHT FIND SOME FAMOUS FACES IN YOUR OLD CATALOGS.

Miranda Kerr, Brooklyn Decker, Rosie Huntington-Whiteley, Cassie, and Krysten Ritter all struck a pose for dELiA*s back in the day.

8. AT ITS PEAK, THE COMPANY GOT THOUSANDS OF CATALOG REQUESTS DAILY.

Courtesy of Charlene Benson

According to Chief Marketer, by August 1998, Delia’s was receiving 3000 to 5000 catalog requests every single day. (Some outlets suggest the number was as high as 7000 requests a day.) The company had a whopping 5 million names in its database, each one accompanied by its precise order history.

According to The Cut, 4 million people—or 10 percent of the 40 million female Millennials currently living in the United States—have requested a dELiA*s catalog.

9. THERE WERE PLENTY OF COPYCATS.

Not surprisingly, dELiA*s' massive success led to a number of “magalog” competitors, including Zoe, Wet Seal, moXiegirl (or mXg), Alloy, Airshop, and Just Nikki. But Kahn was not threatened by the competition. “People will try to play catch-up,” he told Chief Marketer. “There will be a shakeout on the imitator side. Most of these guys will lose a lot of money for a long time.”

10. THERE WAS A SPIN-OFF FOR BOYS.

Droog, a.k.a. dELiA*s for boys, launched in 1998. Though it, too, aimed for a market Kahn and Co. thought was untapped, its approach was different than its big sister’s: Instead of being shot in a studio, Droog was shot in fields and parking lots. Its centerfold featured a car, shot head on, bearing a license plate which read “Droog.” The name was the result of a company contest. It was, Kahn told Catalog Age in 1999, a “natural progression from dELiA*s” that featured “streetwear, workwear, and urban and athletic lines.”

Sadly, Droog did not find the same success as dELiA*s; according to Catalog Age, it folded in 2000.

11. THERE WAS A CATALOG FOR HOME FURNISHINGS, TOO.

Contents, which featured roomwares for teens, launched in the late ‘90s. Says Benson, who collaborated with a designer named Whitney Delgado on the catalog: "I love the pictures so much, and those crazy rooms that we built."

12. THE BRICK-AND-MORTAR STORES POSED A PARTICULAR CHALLENGE FOR BENSON.

A Delia's storefront.
Mike Mozart, Flickr // CC BY 2.0

Following the launch of its website in 1998 (which, according to Chain Store Age accounted for two to three percent of the company's total sales in just two weeks online), dELiA*s began opening brick-and-mortar stores in 1999. Creating the look of the stores was, according to Benson, a tough but rewarding assignment.

To help, the company enlisted visual merchandiser Renee Viola and hired store designer John Farnum, who had worked with Nike. “The tricky part was like ‘OK, we have this thing, it looks like this and feels like this in print. How do we bring what’s happening here into the stores?’” she says. “We didn’t want to lose what we had. From a design standpoint and a building creative team standpoint, it was super fun—I haven’t been in a store development process that was so collaborative since. It was quite wonderful.”

13. THE COMPANY WAS SOLD, WENT OUT OF BUSINESS, AND CAME BACK FROM THE DEAD.

In 2003, amidst decreasing sales, dELiA*s was sold to Alloy, its former competitor, for $50 million. (Catalog Age called it “one of the hottest pairings in teendom since Britney and Justin.”) Alloy at first absorbed the company; then, two years later, spun it off again so it was a separate entity. In 2014, after it lost $57 million, dELiA*s filed for bankruptcy; all of its retail locations and its website were shuttered by March 2015.

But that wasn’t the end. In early 2015, Delia’s was purchased by Steve Russo and other investors and relaunched that August. “In speaking to women who came of age in the ‘90s, they all said they couldn’t wait to receive their dELiA*s catalog in the mail after school,” Russo told The Huffington Post. “The company in those days was visionary, with its inclusive product assortment. We saw an opportunity to revive that excitement in every girl again through print catalogs, exciting new social media campaigns, and a strong e-commerce presence.” You can shop here.

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