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15 Things You Might Not Know About Who Framed Roger Rabbit

As both a groundbreaking feat for the world of animation and an enjoyable crime comedy, Who Framed Roger Rabbit stands in a class all its own. Here are a few interesting nuggets about the cartoon-live action classic. 

1. IT WAS THE MOST EXPENSIVE MOVIE EVER MADE. 

At the time of its release in June 1988, Who Framed Roger Rabbit boasted the highest budget of any film to date: a whopping $70 million (nearly $139 million in 2015). It topped the previous record holder, Rambo III (which had come out less than a month earlier) by about $12 million. Roger Rabbit held the designation until July 1991, ultimately falling to Terminator 2: Judgment Day, which cost $100 million.

2. THE FILM ALSO BROKE THE RECORD FOR LONGEST END CREDITS. 

Recognizing a cast and crew of just over 800, Who Framed Roger Rabbit featured the longest closing credit reel ever upon its release. The film’s credits ran for over 10 minutes, even without attribution for Jessica Rabbit’s voice actor, Kathleen Turner. 

3. BOB HOSKINS WAS NOT THE FIRST PICK FOR HIS ROLE. 

Director Robert Zemeckis and producer Steven Spielberg communicated with a number of big name actors in regard to the casting of human protagonist Det. Eddie Valiant.

Among those considered for the curmudgeonly private eye were Harrison Ford (who was too expensive), Chevy Chase (who was not interested in the part), and Bill Murray (who allegedly never got the message and was dismayed to learn he had missed such an opportunity). Other names tossed around included Robert Redford, Jack Nicholson, Sylvester Stallone, Wallace Shawn, Ed Harris, Charles Grodin, and Don Lane. 

4. NEITHER WAS CHRISTOPHER LLOYD.

Before landing on Zemeckis’ Back to the Future colleague Christopher Lloyd as the nefarious Judge Doom, producers considered Tim Curry (who they deemed too scary), John Cleese (not scary enough), and Christopher Lee (who turned the role down). Also in early contention: Roddy McDowell, Eddie Deezen, and Sting. 

5. LLOYD WAS MORE TERRIFYING THANKS TO ONE SIMPLE TRICK.

Prompted by a suggestion from Zemeckis, Lloyd does not blink even once while onscreen in the film. 

6. CHARLES FLEISCHER ACTUALLY DRESSED UP LIKE ROGER RABBIT WHEN PERFORMING HIS LINES. 

Voice actor Charles Fleischer was so devoted to his role as the animated title character that he asked the costume department to create a full-body Roger Rabbit suit for him to wear on set. Fleischer delivered all of his lines from inside the suit, claiming that it helped both him and costar Hoskins immerse within the fantastical world of the film (even though Fleischer admits that Hoskins initially thought he was out of his mind).

7. THE “DIP” IS REAL. 

Who Framed Roger Rabbit subverts the old maxim about cartoon characters never dying by introducing the one thing that proves fatal to the lot: a liquid concoction known as “dip.” There is actually a bit of science behind this plot device. The ingredients of the dip are revealed to be turpentine, benzene, and acetone, which are all paint thinners commonly used to erase animation cells (in other words, wipe out cartoon characters). 

8. THE FILM SENT BART SIMPSON TO STARDOM. 

One of the film’s most chilling sequences sees Judge Doom exacting his wrath upon an anthropomorphic cartoon shoe. The character never speaks, but it squeaks and whimpers as the Judge lowers it into a vat of dip. Those cries were the work of relatively unknown voice actor Nancy Cartwright, who would rise to fame one year later as the voice of Bart Simpson.

9. EARLY DRAFTS OF THE SCRIPT WERE DARKER. 

The screen adaptation of Gary K. Wolf’s 1981 novel Who Censored Roger Rabbit underwent quite a few changes before it hit the big screen. Some drafts involved Jessica Rabbit and Baby Herman each turning out to be the story’s villain, Judge Doom revealing that he was the hunter who shot Bambi’s mother, and even Roger’s death. 

10. ROGER AND EDDIE HAD FAMOUS STAND INS FOR TEST SHOOTS. 

At various stages in the film’s development, animators put together test reels for studio presentation. An early go at the project employed the vocal talents of Paul Reubens, better known as Pee-Wee Herman, for a variation of Roger marked by neurotic stammering. Some time later, Richard Williams (who eventually became Who Framed Roger Rabbit’s animation director) treated Walt Disney Pictures to a taste of his talents via a scene uniting of a more recognizable Roger with an appropriately cranky Eddie Valiant. Here, Eddie is played by future The Sopranos star Joe Pantoliano.

11. ROGER WAS MODELED AFTER BIG STARS 

In designing Roger Rabbit, Williams wanted to incorporate elements from classic animation. He has expressed that Roger is meant to embody the production caliber of Disney, the character design of Warner Bros.’ Looney Tunes, and the personality and sense of humor of animator Tex Avery. Furthermore, Roger’s anatomy and attire can be broken up by studio influence: His face is meant to resemble a Looney Tunes character’s and his torso a Disney hero’s, while his overalls are a nod to Goofy, his gloves to Mickey Mouse, and his bowtie to Porky Pig. 

12. SO WAS JESSICA 

While Jessica Rabbit’s principal aesthetic inspiration was the titular heroine of Avery’s famous short “Red Hot Riding Hood,” she had a few human influences as well. Among them were Lauren Bacall, Rita Hayworth, and Veronica Lake. 

13. THE FILM SPAWNED THE INDUSTRY TERM “BUMPING THE LAMP.”

For movie animators and special effects artists, the phrase “bumping the lamp” refers to the application of tremendous effort to a particular aesthetic feature that viewers will, more likely than not, never even notice. The saying entered the lexicon thanks to a scene that involved Bob Hoskins’ character repeatedly bonking his head on a low hanging ceiling lamp, causing it to swing around the room. Animators had to draw and redraw Roger Rabbit in a fashion that was consistent with the rapidly fluctuating illumination of the scene. While the team was well aware that absence of the effect wouldn’t bother most audiences, they were so devoted to their craft that they stuck with it. Here’s the scene: 

14. THE FILM FEATURES OVER 140 PREEXISTING ANIMATED CHARACTERS. 

Who Framed Roger Rabbit is the only film to date to unite Disney mascot Mickey Mouse and Warner Bros. icon Bugs Bunny; the pair shares a scene in the latter half of the movie, merrily skydiving next to an airborne Bob Hoskins. 

In addition to Mickey, Disney showcased 81 distinct characters, as well as 14 “groups” of characters (for instance, the titular sprites from the short “The Merry Dwarfs” or the anthropomorphic fauna from the short “Flowers and Trees”) in the movie. Meanwhile, Bugs was one of 19 Warner Bros. characters to get screen time. MGM, Paramount Pictures/Fleischer Studios, Universal Studios, 20th Century Fox, King Features Syndicate, and Al Capp’s cartoons all had characters make appearances as well. 

15. THAT SAID, THERE WERE SUPPOSED TO BE MANY MORE. 

Although Zemeckis and his crew managed to populate Who Framed Roger Rabbit with a vast array of recognizable characters, their original ambitions were even more sweeping. Contractual issues and time constraints kept characters like Popeye, Chip and Dale, Pepe Le Pew, Mighty Mouse, Tom and Jerry, Pedro from Saludos Amigos, Casper the Friendly Ghost, Witch Hazel, Heckle and Jeckle, several characters from Fantasia, and even Superman from the final cut.

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14 Deep Facts About Valley of the Dolls
The Criterion Collection
The Criterion Collection

Based on Jacqueline Susann's best-selling 1966 novel (which sold more than 30 million copies), Valley of the Dolls was a critically maligned film that somehow managed to gross $50 million when it was released 50 years ago, on December 15, 1967. Both the film and the novel focus on three young women—Neely O’Hara (Patty Duke), Jennifer North (Sharon Tate), and Anne Welles (Barbara Parkins)—who navigate the entertainment industry in both New York City and L.A., but end up getting addicted to barbiturates, a.k.a. “dolls.”

Years after its original release, the film became a so-bad-it’s-good classic about the perils of fame. John Williams received his first of 50 Oscar nominations for composing the score. Mark Robson directed it, and he notoriously fired the booze- and drug-addled Judy Garland, who was cast to play aging actress Helen Lawson (Susan Hayward took over), who was supposedly based on Garland. (Garland died on June 22, 1969 from a barbituate overdose.) Two months after Garland’s sudden demise, the Manson Family murdered the very pregnant Tate in August 1969.

Despite all of the glamour depicted in the movie and novel, Susann said, “Valley of the Dolls showed that a woman in a ranch house with three kids had a better life than what happened up there at the top.” A loose sequel, Beyond the Valley of the Dolls—which was written by Roger Ebert—was released in 1970, but it had little to do with the original. In 1981, a TV movie updated the Dolls. Here are 14 deep facts about the iconic guilty pleasure.

1. JACQUELINE SUSANN DIDN'T LIKE THE MOVIE.

To promote the film, the studio hosted a month-long premiere party on a luxury liner. At a screening in Venice, Susann said the film “appalled” her, according to Parkins. She also thought Hollywood “had ruined her book,” and Susann asked to be taken off the boat. At one point she reportedly told Robson directly that she thought the film was “a piece of sh*t.”

2. BARBARA PARKINS WAS “NERVOUS” TO WORK WITH JUDY GARLAND.

Barbara Parkins had only been working with Judy Garland for two days when the legendary actress was fired for not coming out of her dressing room (and possibly being drunk). “I called up Jackie Susann, who I had become close to—I didn’t call up the director strangely enough—and I said, ‘What do I do? I’m nervous about going on the set with Judy Garland and I might get lost in this scene because she knows how to chew up the screen,’” Parkins told Windy City Times. “She said, ‘Honey, just go in there and enjoy her.’ So I went onto the set and Judy came up to me and wrapped her arms around me and said, ‘Oh, baby, let’s just do this scene,’ and she was wonderful.”

3. WILLIAM TRAVILLA BASED THE FILM'S COSTUMES ON THE WOMEN’S LIKES.

Costume designer William Travilla had to assemble 134 outfits for the four leading actresses. “I didn't have a script so I read the book and then the script once I got one,” he explained of his approach to the film. “I met with the director and producer and asked how they felt about each character and then I met with the girls and asked them what they liked and didn’t like and how they were feeling. Then I sat down with my feelings and captured their feelings, too.”

4. SUSANN THOUGHT GARLAND “GOT RATTLED.”

In an interview with Roger Ebert, Susann offered her thoughts on why Garland was let go. “Everybody keeps asking me why she was fired from the movie, as if it was my fault or something,” she said. “You know what I think went wrong? Here she was, raised in the great tradition of the studio stars, where they make 30 takes of every scene to get it right, and the other girls in the picture were all raised as television actresses. So they’re used to doing it right the first time. Judy just got rattled, that’s all.”

5. PATTY DUKE PARTIALLY BLAMES THE DIRECTOR’S BEHAVIOR FOR GARLAND’S EXIT.

During an event at the Castro Theatre, Duke discussed working with Garland. “The director, who was the meanest son of a bitch I ever met in my life ... the director, he kept this icon, this sparrow, waiting and waiting,” Duke said. “She had to come in at 6:30 in the morning and he wouldn’t even plan to get to her until four in the afternoon. She was very down to earth, so she didn’t mind waiting. The director decided that some guy from some delicatessen on 33rd Street should talk to her, and she crumbled. And she was fired. She shouldn’t have been hired in the first place, in my opinion.”

6. DUKE DIDN’T SING NEELY’S SONGS.

All of Neely’s songs in the movie were dubbed, which disappointed Duke. “I knew I couldn’t sing like a trained singer,” she said. “But I thought it was important for Neely maybe to be pretty good in the beginning but the deterioration should be that raw, nerve-ending kind of the thing. And I couldn’t convince the director. They wanted to do a blanket dubbing. It just doesn’t have the passion I wanted it to have.”

7. GARLAND STOLE ONE OF THE MOVIE'S COSTUMES.

Garland got revenge in “taking” the beaded pantsuit she was supposed to wear in the movie, and she was unabashed about it. “Well, about six months later, Judy’s going to open at the Palace,” Duke said. “I went to opening night at the Palace and out she came in her suit from Valley of the Dolls.”

8. A SNEAK PREVIEW OF THE FILM HID THE TITLE.

Fox held a preview screening of the film at San Francisco’s Orpheum Theatre, but the marquee only read “The Biggest Book of the Year.” “And the film was so campy, everyone roared with laughter,” producer David Brown told Vanity Fair. “One patron was so irate he poured his Coke all over Fox president Dick Zanuck in the lobby. And we knew we had a hit. Why? Because of the size of the audience—the book would bring them in.”

9. IT MARKED RICHARD DREYFUSS'S FILM DEBUT.


Twentieth Century Fox

Richard Dreyfuss made his big-screen debut near the end of Valley of the Dolls, playing an assistant stage manager who knocks on Neely’s door to find her intoxicated. After appearing on several TV shows, this was his first role in a movie, but it was uncredited. That same year, he also had a small role in The Graduate. Dreyfuss told The A.V. Club he was in the best film of 1967 (The Graduate) and the worst (Valley of the Dolls). “But then one day I realized that I had never actually seen Valley of the Dolls all the way through, so I finally did it,” he said. “And I realized that I was in the last 45 seconds of the worst film ever made. And I watched from the beginning with a growing sense of horror. And then I finally heard my line. And I thought, ‘I’ll never work again.’ But I used to make money by betting people about being in the best and worst films of 1967: No one would ever come up with the answer, so I’d make 20 bucks!”

10. THE DIRECTOR DIDN’T DIG TOO DEEP.

In the 2006 documentary Gotta Get Off This Merry Go Round: Sex, Dolls & Showtunes, Barbara Parkins scolded the director for keeping the film’s pill addiction on the surface. “The director never took us aside and said, look this is the effect,” she said. “We didn’t go into depth about it. Now, if you would’ve had a Martin Scorsese come in and direct this film, he would’ve sat you down, he would’ve put you through the whole emotional, physical, mental feeling of what that drug was doing to you. This would’ve been a whole different film. He took us to one, maybe two levels of what it’s like to take pills. The whole thing was to show the bottle and to show the jelly beans kinda going back. That was the important thing for him, not the emotional part.”

11. A STAGE ADAPTATION MADE IT TO OFF-BROADWAY.

In 1995, Los Angeles theater troupe Theatre-A-Go-Go! adapted the movie into a stage play. Kate Flannery, who’d go on to play Meredith Palmer on The Office, portrayed Neely. “Best thing about Valley of the Dolls to make fun of it is to actually just do it,” Flannery said in the Dolls doc. “You don’t need to change anything.” Parkins came to a production and approved of it. Eventually, the play headed to New York in an Off-Broadway version, with Illeana Douglas playing the Jackie Susann reporter role.

12. JACKIE SUSANN BARELY ESCAPED THE MANSON FAMILY.


By 20th Century-Fox - eBayfrontback, Public Domain, Wikimedia Commons

The night the Manson Family murdered Tate, the actress had invited Susann to her home for a dinner party. According to Vanity Fair, Rex Reed came by The Beverly Hills Hotel, where Susann was staying, and they decided to stay in instead of going to Tate’s. The next day Susann heard about the murder, and cried by the pool. A few years later, when Susann was diagnosed with cancer for the second time, she joked her death would’ve been quicker if she had gone to Tate’s that night.

13. PATTY DUKE LEARNED TO EMBRACE THE FILM.

Of all of the characters in the movie, Duke’s Neely is the most over-the-top. “I used to be embarrassed by it," Duke said in a 2003 interview. "I used to say very unkind things about it, and through the years there are so many people who have come to me, or written me, or emailed who love it so, that I figured they all can’t be wrong." She eventually appreciated the camp factor. “I can have fun with that,” she said. “And sometimes when I’m on location, there will be a few people who bring it up, and then we order pizza and rent a VCR and have a Valley night, and it is fabulous.”

14. LEE GRANT DOESN’T THINK IT’S THE WORST MOVIE EVER MADE.

In 2000, Grant, Duke, and Parkins reunited on The View. “It’s the best, funniest, worst movie ever made,” Grant stated. She then mentioned how she and Duke made a movie about killer bees called The Swarm. “Valley of the Dolls was like genius compared to it,” Grant said.

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How to Perform the Star Wars Theme—On Calculators
Star Wars © & TM 2015 Lucasfilm Ltd. All Rights Reserved.
Star Wars © & TM 2015 Lucasfilm Ltd. All Rights Reserved.

The iconic Star Wars theme has been recreated with glass harps, theremins, and even cat meows. Now, Laughing Squid reports that the team over at YouTube channel It’s a small world have created a version that can be played on calculators.

The channel’s math-related music videos feature covers of popular songs like Luis Fonsi’s "Despacito," Ed Sheeran’s "Shape of You," and the Pirates of the Caribbean theme, all of which are performed on two or more calculators. The Star Wars theme, though, is played across five devices, positioned together into a makeshift keyboard of sorts.

The video begins with a math-musician who transcribes number combinations into notes. Then, they break into an elaborate practice chord sequence on two, and then four, calculators. Once they’re all warmed up, they begin playing the epic opening song we all know and love, which you can hear for yourself in all its electronic glory below.

[h/t Laughing Squid]

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