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16 Things You Might Not Know About Rambo

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Happy 70th birthday, Sylvester Stallone! In honor of the big guy's big day, we thought we’d round up a few facts you may not have known about one of Sly’s most iconic characters. Lock and load!

1. RAMBO IS NAMED AFTER AN APPLE AND A POET.

First Blood (1982) was adapted from writer David Morrell’s 1972 novel of the same name. Morrell named the character “Rambo” after a type of apple cultivated by a 17th-century Swedish settler named Peter Gunnarson Rambo. In the book the character didn’t have a first name, but in the movie he was given the full name John Rambo.

While writing the book, the author was struggling with what to name his main character when one day he had an apple as a snack. According to Morrell, “I took a bite of the apple and discovered that it was in fact delicious. ‘What's it called?’ I asked [my wife]. ‘Rambo,’ she replied … Instantly, I recognized the sound of force. It also reminded me of the way some people pronounce the name of a French poet I'd been studying, Rimbaud, whose most famous work is ‘A Season In Hell,’ which I felt was an apt metaphor for the prisoner-of-war experiences that I imagined Rambo suffering.”

2. HE’S BASED ON A REAL-LIFE WAR HERO.

Morrell first thought of writing a book about a decorated war hero struggling to assimilate back to civilian life when he read about the real-life exploits of World War II soldier Audie Murphy. Murphy was the most decorated American soldier in World War II, earning every possible U.S. military decoration for valor as well as five separate decorations from foreign countries including France and Belgium.

Following the war, Murphy starred as himself in the film adaptation of his own autobiography, To Hell and Back, and would go on to have a film career, appearing in 44 feature films. Murphy—who later suffered from severe post-traumatic stress disorder, which also inspired Morrell’s characterization of Rambo—tragically died in a plane crash in 1971. The Canadian-born Morrell decided to update his novel to the post-Vietnam era due to the political and cultural climate he saw as a grad student at Penn State in the late 1960s.

Morrell would go on to write the novelizations of the second and third Rambo movies. Since he had Rambo die at the end of the first book he had to retroactively change that to have his hero alive and well in the subsequent books.

3. SYLVESTER STALLONE DIDN’T WANT TO BE RAMBO.

The film rights to Morrell’s book were optioned by Columbia Pictures in the early 1970s, then passed to Warner Bros. and continued through the studio system for 10 years. It became the most optioned project in Hollywood between 1972 and 1982, until the rights were bought by independent producers Mario Kassar and Andrew Vajna.

More than 26 drafts of the story were written during the decade of development and dozens of actors signed on and dropped out of the role of Rambo including Steve McQueen, Paul Newman, Clint Eastwood, Al Pacino, Robert De Niro, Nick Nolte, John Travolta, and Dustin Hoffman.

Stallone was brought on when director Ted Kotcheff offered him the part because of his popularity in the Rocky franchise, but Stallone turned him down because he felt that the role had passed through too many actors and the movie would never really get made. He later committed to the role when he was offered the opportunity to rewrite the screenplay (his $3.5 million salary may also have helped) in order to make Rambo more sympathetic as opposed to the PTSD-crazed madman the character resembled in the novel.

4. RAMBO DOESN’T ACTUALLY KILL ANYONE IN THE FIRST MOVIE.

Despite his notorious reputation for shooting first and asking questions later, Rambo doesn’t actually do anyone in in First Blood—he only severely wounds the people trying to hunt and harm him. This was a conscious effort on Stallone’s part in his script to change the character into an underdog from the character in the book who, due to his PTSD, goes on a wild killing rampage, which Stallone felt would alienate the audience.

The one character who does die is Deputy Galt, who tracks Rambo through the mountains in a helicopter. Galt, who attempts to shoot Rambo with a rifle, loses his balance and falls from the helicopter after Rambo merely throws a rock toward it to defend himself.

Like the book, Rambo himself was to die at the end of the movie at the hands of Colonel Trautman. The scene where Rambo is killed was filmed, but was scrapped after test audiences hated the fact that it seemed to imply the only way for veterans returning home to cope was by dying.

5. KIRK DOUGLAS WAS SUPPOSED TO PLAY COLONEL TRAUTMAN.

The veteran movie star actually made it to set and appeared in early advertisements for First Blood, but left the production when he demanded the right to rewrite the script. Douglas favored the ending of the book, and felt that Rambo should die in the end. The actor gave the filmmakers an ultimatum: if the production didn’t let him do what he wanted with the script he’d quit. Kotcheff and Stallone wanted to leave the door open for the possibility for Rambo to live or die at the end of the movie, so they let Douglas quit.

Actor Richard Crenna was then cast with a single day’s notice to fill Douglas’ shoes as Rambo’s mentor and father figure, Colonel Trautman. Crenna would reprise his role in two more Rambo movies before he passed away in 2003. He is the only actor besides Stallone to appear in multiple Rambo movies.

The unused alternate ending of First Blood, in which Trautman shoots and kills Rambo, can be seen briefly in the dream sequence in the fourth film, Rambo.

6. RAMBO’S KNIFE WAS CUSTOM MADE.

Stallone personally selected famed knifemaker Jimmy Lile to design and create the iconic knife first used by Rambo in First Blood. The goal was to create a knife that could be reliable for extreme survival situations, including being long and sharp enough to slice food or cut wood; waterproof and able to hold necessities like matches and medicine; able to carry a nylon string for fishing or snaring; and have an alternate blade of sawteeth for defense and in order to cut poles for shelter.

In all, six knives were created to be used during production of First Blood, with additional updated versions made for subsequent movies in the series.

7. FOR RAMBO: FIRST BLOOD PART II, JAMES CAMERON WROTE THE ACTION AND STALLONE WROTE THE POLITICS.

Initial drafts of the screenplay for the sequel to First Blood were written by James Cameron, who at the time was still looking for his big break. Cameron’s script, which was titled First Blood II: The Mission and was written simultaneously with the scripts for The Terminator and Aliens (two movies which ultimately gave him that big break), differed substantially from what ended up on screen.

According to Cameron: “I was trying to create a semi-realistic, haunted character, the quintessential Vietnam returnee, not a political statement." Cameron’s draft picked up with Colonel Trautman finding Rambo in a psychiatric ward (a concept Cameron would recycle for his Sarah Connor character in Terminator 2), and also featured a sidekick role named Lieutenant Brewer that producers hoped would be filled by John Travolta, who Stallone had recently directed in the 1983 Saturday Night Fever sequel, Staying Alive (yes, you read that correctly, Sly directed the sequel to Saturday Night Fever). Eventually Stallone took over scriptwriting duties, and excised the first half of Cameron’s screenplay to add the film’s prominent POW/MIA message and the love story beats with the character Co-Bao.

Rambo: First Blood Part II is the only Rambo movie to be nominated for an Oscar. It received a nod for Best Sound Effects Editing in 1986 but lost to Back to the Future.

8. THE VIETNAMESE JUNGLE IS ACTUALLY MEXICO.

Director George P. Cosmatos, who was hired by the producers because they loved his previous movie Of Unknown Origin, originally wanted to shoot the movie in the city of Chiang Mai in northern Thailand, which proved to be logistically and financially impossible for such a massive production. Instead, they shot the movie entirely on location in Acapulco, Mexico because it was cheaper and closer to the U.S.—not to mention they could stay on the beautiful beaches in the area while shooting.

The Mexican jungles doubled for Vietnam, and the production cleverly inserted small details in an effort to make it seem like they were in Asia. For instance, the massive Buddha statue seen in the opening credit sequence was created entirely out of gold-painted Styrofoam and shot in the parking lot of the production’s Acapulco beach resort hotel. It was then painted over again and used in the jungle temple where Rambo meets Co Bao, which was a set created by the production only 10 minutes away from their hotel as well. The U.S. military base where Murdock oversees the operation actually belonged to the Mexican Air Force, as did most of the aircraft seen in the movie. The most costly location was an actual rice paddy that was planted by the production and used during the scene where Rambo attempts to escape with the POWs.

The only thing that Cosmatos requested but couldn’t get were native Vietnamese water buffalo; they proved too costly to import to Mexico.

9. MEXICO WASN’T THE PARADISE THE FILMMAKERS THOUGHT IT WOULD BE.

The beachfront digs at least made the potentially grueling production a bit easier … that is until Hurricane Odile destroyed most of the sets during shooting in September of 1984. The setback caused the production to shut down temporarily, which forced Cosmatos and Stallone to have to think fast. In order to make up for lost days, they decided to shoot insert shots and close-ups at their hotel while production got back up and running. One of these scenes was the famous “suit-up scene” showing Rambo prepping the arsenal of weapons he initially takes on his mission. The influential scene has since been copied and parodied numerous times in subsequent films.

10. TO BECOME RAMBO, STALLONE HAD A RIDICULOUS WORKOUT SCHEDULE.

First Blood required Stallone to be ripped (he shot Rocky III shortly before starring in the first Rambo movie, which helped), but for the second outing he really needed to pump some iron. The actor trained for eight months prior to the film’s start date in late 1984, but he maintained a strict regimen during shooting as well.

He would begin with a two- to three-hour morning workout, then he’d move on to the 10- to 12-hour shooting day on the movie. After that, instead of going home like the rest of the cast and crew, he’d cap off the day with another two- to three-hour workout. After six hours of sleep or so he’d be up and ready to do it all again. Maintaining that physique definitely helped Stallone for his next movie as well: he began shooting Rocky IV immediately after First Blood Part II.

11. A LINE IN RAMBO: FIRST BLOOD PART II INSPIRED A NEW SLY STALLONE TRILOGY.

During a scene on a sampan midway through the movie, Co Bao asks Rambo why he was chosen to go on this alleged suicide mission, to which Rambo replies, “I’m expendable.”

Twenty-five years later, Stallone would develop and co-write The Expendables, an ensemble action movie starring Stallone and a handful of his fellow 1980s action stars, about an elite group of mercenaries given high-risk missions. Stallone confirmed that the title of the film came from dialogue in First Blood Part II. The Expendables movie would go on to spawn two sequels with a potential fourth installment, a TV series, and an all-female spinoff—cheekily titled “The Expendabelles”—in development.

12. RAMBO III’S ORIGINAL DIRECTOR LEFT TWO WEEKS INTO PRODUCTION.

Russell Mulcahy, the original director of the third installment of the Rambo series, was fired two weeks into the production of the movie due to creative differences. The eventual director, Peter MacDonald—who was originally hired as a second unit director—was given only two days notice before picking up where Mulcahy left off (only portions of the footage directed by Mulcahy remain in the final film).

The prospect of picking up any job, let alone a multi-million dollar franchise, with only two days’ notice would be extremely tough. Not only was Rambo III MacDonald’s debut as a director, but the $63 million production was also the most expensive movie ever made up until that point.

13. THE TIMING OF RAMBO III’S RELEASE WAS REALLY POOR.

The plot of the third movie involves Rambo teaming up with Mujahideen fighters in Afghanistan (funny enough, the movie was mostly shot in the deserts of Israel) to combat Russian soldiers and save Colonel Trautman during the Soviet-Afghan War. The storyline attempted to continue the anti-Soviet slant of the series that began in the second installment … that is until history stepped in.

Around the time the movie was in post-production in late 1987, aiming for a May 1988 release, Soviet leader Mikhail Gorbachev began implementing glasnost, the official easing of tensions and increased transparency between the U.S. and the USSR toward the end of the Cold War. Then, 10 days before Rambo III’s release, the Soviet Union began withdrawing troops from Afghanistan altogether, deflating the main thrust of the movie’s anti-Soviet premise.

14. THE END DEDICATION WAS CHANGED AFTER 9/11.

The movie currently ends with the quote, “This film is dedicated to the gallant people of Afghanistan,” but when it was first released in 1988 the dedication read, “This film is dedicated to the brave Mujahideen fighters of Afghanistan.” The change was made because Mujahideen fighters had been linked to Al Qaeda following the September 11th attacks.

15. RAMBO COULD HAVE BEEN IN A DIFFERENT SITUATION IN THE FOURTH MOVIE.

When Stallone decided to revisit the story of Rambo 20 years after the third movie, the original idea for the fourth installment involved Rambo helping to rescue a woman in Tijuana, Mexico. According to Stallone, early ideas for the movie were to emphasize illegal immigration as a focal point but the idea was scrapped because he wanted to keep the character in a jungle setting.

Stallone introduced the idea of setting the movie in Burma after reading about protests that led to the events of the Saffron Revolution and the ongoing civil war conflict between the Myanmar military and Karen rebels, which he felt wasn’t being properly covered in the Western media.

16. RAMBO IS BANNED IN PRESENT DAY MYANMAR.

Stallone, who directed and co-wrote the fourth movie, sought input from the Burmese people to tell their story, going so far as to cast many non-actors as extras. Maung Maung Khin, who plays the evil Myanmar General Tint, is actually a former Karen rebel freedom fighter. Because of this anti-Myanmar government perspective, the film is banned throughout the country.

Additional Sources: Blu-ray special features

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10 Witty Facts About The Marx Brothers
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Talented as individuals and magnificent as a team, the Marx Brothers conquered every medium from the vaudeville stage to the silver screen. Today, we’re tipping our hats (and tooting our horns) to Groucho, Harpo, Chico, Zeppo, and Gummo—on the 50th anniversary of Groucho's passing.

1. A RUNAWAY MULE INSPIRED THEM TO TAKE A STAB AT COMEDY.

Julius, Milton, and Arthur Marx originally aspired to be professional singers. In 1907, the boys joined a group called “The Three Nightingales.” Managed by their mother, Minnie, the ensemble performed covers of popular songs in theaters all over the country. As Nightingales, the brothers enjoyed some moderate success, but they might never have found their true calling if it weren’t for an unruly equid. During a 1907 gig at the Nacogdoches Opera House in East Texas, someone interrupted the performance by barging in and shouting “Mule’s loose!” Immediately, the crowd raced out to watch the newly-liberated animal. Back inside, Julius seethed. Furious at having lost the spotlight, he skewered his audience upon their return. “The jackass is the finest flower of Tex-ass!” he shouted, among many other ad-libbed jabs. Rather than boo, the patrons roared with laughter. Word of his wit soon spread and demand for these Marx brothers grew.

2. THEY RECEIVED THEIR STAGE NAMES DURING A POKER GAME.

In May of 1914, the five Marxes were playing cards with standup comedian Art Fisher. Inspired by a popular comic strip character known as “Sherlocko the Monk,” he decided that the boys could use some new nicknames. Leonard’s was a no-brainer. Given his girl-crazy, “chick-chasing” lifestyle, Fisher dubbed him “Chicko” (later, this was shortened to “Chico”). Arthur loved playing the harp and thus became “Harpo.” An affinity for soft gumshoes earned Milton the alias “Gummo.” Finally, Julius was both cynical and often seen wearing a “grouch bag”—wherein he’d store small objects like marbles and candy—around his neck. Thus, “Groucho” was born. For the record, nobody knows how Herbert Marx came to be known as “Zeppo.”

3. GROUCHO WORE HIS TRADEMARK GREASEPAINT MUSTACHE BECAUSE HE HATED MORE REALISTIC MODELS.

Michael Ochs Archives/Hulton Archive/Getty Images

Phony, glue-on facial hair can be a pain to remove and reapply, so Groucho would simply paint a ‘stache and some exaggerated eyebrows onto his face. However, the mustache he later rocked as the host of his famous quiz show You Bet Your Life was 100 percent real.

4. HARPO WAS A SELF-TAUGHT HARPIST.

Without any formal training (or the ability to read sheet music), the second-oldest Marx brother developed a unique style that he never stopped improving upon. “Dad really loved playing the harp, and he did it constantly,” his son, Bill Marx, wrote. “Maybe the first multi-tasker ever, he even had a harp in the bathroom so he could play when he sat on the toilet!”

5. THE VERY FIRST MARX BROTHERS MOVIE WAS NEVER RELEASED.

Financed by Groucho, Chico, Harpo, Zeppo, and a handful of other investors, Humor Risk was filmed in 1921. Accounts differ, but most scholars agree that the silent picture—which would have served as the family’s cinematic debut—never saw completion. Despite this, an early screening of the work-in-progress was reportedly held in the Bronx. When Humor Risk failed to impress there, production halted. By Marx Brothers standards, it would’ve been an unusual flick, with Harpo playing a heroic detective opposite a villainous Groucho character.

6. GUMMO AND ZEPPO BECAME TALENT AGENTS.

World War I forced Gummo to quit the stage. Following his return, the veteran decided that performing was no longer for him and instead started a raincoat business. Zeppo—the youngest brother—then assumed Gummo’s role as the troupe’s straight-talking foil. A brilliant businessman, Zeppo eventually break away to found the talent agency Zeppo Marx Inc., which grew into Hollywood’s third-largest, representing superstars like Clark Gable, Lucille Ball, and—of course—the other three Marx Brothers. Gummo, who joined the company in 1935, was charged with handling Groucho, Harpo, and Chico’s needs.

7. CHICO ONCE LAUNCHED A BIG BAND GROUP.

Chico took advantage of an extended break between Marx brothers movies to realize a lifelong dream. A few months before The Big Store hit cinemas in 1941, he co-founded the Chico Marx Orchestra: a swinging jazz band that lasted until July of 1943. Short-lived as the group was, however, it still managed to recruit some amazing talent—including singer/composer Mel Tormé, who would go on to help write the “The Christmas Song (Chestnuts Roasting on an Open Fire)” in 1945.

8. THEY TESTED OUT NEW MATERIAL FOR A NIGHT AT THE OPERA IN FRONT OF LIVE AUDIENCES.

With the script still being drafted, MGM made the inspired choice to let the brothers perform key scenes in such places as Seattle, Salt Lake City, and San Francisco. Once a given joke was made, the Marxes meticulously timed the ensuing laughter, which let them know exactly how much silence to leave after repeating the gag on film. According to Harpo, this had the added benefit of shortening A Night at the Opera’s production period. “We didn’t have to rehearse,” he explained. “[We just] got onto the set and let the cameras roll.”

9. GROUCHO TEMPORARILY HOSTED THE TONIGHT SHOW.

Jack Paar bid the job farewell on March 29, 1962. Months before their star’s departure, NBC offered Paar’s Tonight Show seat to Groucho, who had established himself as a razor-sharp, well-liked host during You Bet Your Life’s 14-year run. Though Marx turned the network down, he later served as a guest host for two weeks while Johnny Carson prepared to take over the gig. When Carson finally made his Tonight Show debut on October 1, it was Groucho who introduced him.

10. SPY MAGAZINE USED A MARX BROTHERS MOVIE TO PRANK U.S. CONGRESSMEN.

Duck Soup takes place in Freedonia, a fictional country over which the eccentric Rufus T. Firefly (Groucho) presides. In 1993, 60 years after the movie’s release, this imaginary nation made headlines by embarrassing some real-life politicians. Staffers from Spy got in touch with around 20 freshmen in the House of Representatives, asking some variation on the question “Do you approve of what we’re doing to stop ethnic cleansing in Freedonia?” A few lawmakers took the bait. Representative Corrine Brown (D-Florida) professed to approve of America’s presence in Freedonia, saying “I think all of those situations are very, very sad, and I just think we need to take action to assist the people.” Across the aisle, Steve Buyer (R-Indiana) concurred. “Yeah,” he said, “it’s a different situation than the Middle East.”

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The Night the Brat Pack Was Born
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If Emilio Estevez had opted to pay for his movie ticket, the Brat Pack might never have been born. It was spring 1985, and Estevez—then the 23-year-old co-star of St. Elmo’s Fire—was being profiled in New York Magazine. The angle was that Estevez had just signed a deal to write, direct, and star in his own feature, That Was Then... This is Now, an opportunity that was rarely afforded to young Hollywood talent. Estevez was two years younger than Orson Welles was when he performed similar duties for 1941’s Citizen Kane.

That youthful exuberance was on display as New York writer David Blum followed Estevez in and around Los Angeles for several days gathering material for the story. With Blum in tow, Estevez decided that he wanted to catch a screening of Ladyhawke, a fantasy film starring Matthew Broderick. For reasons not made entirely clear, he preferred not to have to pay for a ticket. According to Blum, Estevez called the theater and politely asked for free admission before entering an 8 p.m. screening.

It's likely Estevez was just having a little fun with his celebrity. But to Blum, it was indicative of a mischievous, slightly grating sense of entitlement. Blum’s assessment was that Estevez was acting “bratty,” an impression he felt was reinforced when he witnessed a gathering of other young actors at LA’s Hard Rock Cafe for the same story.

What was supposed to be a modest profile of Estevez turned into a cover story declaration: Hollywood’s “Brat Pack” was here, and they had decided to forego the earnest acting study preferred by their predecessors to spend their nights partying instead.

The day the story hit newsstands, Blum received a call from Estevez. “You’ve ruined my life,” he said.

The June 1985 cover of New York magazine
New York, Google Books

Blum’s label had its roots in the Rat Pack of the 1960s, so named for the carousing boys' club led by Frank Sinatra, Dean Martin, and Sammy Davis Jr. Whether it was accurate or not, the performers developed reputations for squeezing every last drink, perk, and joke they could out of their celebrity well into middle age.

That dynamic was on Blum’s mind when New York dispatched him to cover Estevez. After he arrived in California, Blum took note of the fact that a tight cluster of actors seemed to have formed a group, both on- and off-screen. Estevez was close friends with Rob Lowe and Tom Cruise, and all of them appeared in 1983’s The Outsiders; Lowe and Estevez were co-starring in St. Elmo’s Fire, a coming-of-age drama that also featured Andrew McCarthy and Judd Nelson; Estevez and Nelson gained a lot of attention for 1984’s The Breakfast Club.

To Blum, Estevez was more than just a multi-hyphenate; he appeared to be the nucleus of a group that spent a lot of time working and playing together. And in fairness to Blum, Estevez didn’t dissuade the writer from that take: Fearing he was coming off as too serious in the profile, Estevez asked Lowe and Nelson to hang out with him at Los Angeles’s Hard Rock Cafe so Blum could see the actor's lighter side.

Nelson would later recall that he felt uneasy around Blum. “Why is this guy having dinner with us?” he asked Estevez. Lowe, meanwhile, was busy flirting with women approaching their table. The group later went to a "punk rock" club, with a Playboy Playmate tagging along.

As celebrity hedonism goes, it was a tame evening. But Blum walked away with the idea that Estevez was the unofficial president of an exclusive club—attractive actors who were soaking up success while idling late into the night.

Blum returned to New York with a different angle for his editors. He wanted to capture this “Brat Pack,” a “roving band” of performers “on the prowl” for good times. Although the magazine had just run a cover story about a teenage gang dubbed “the wolf pack” and feared repetition, they agreed.

As far as Estevez and the others were concerned, Blum was busy executing a piece on Estevez’s ambitions as a writer and director. When Estevez, Nelson, and Lowe appeared on the cover—taken from a publicity still for St. Elmo’s Fire—with his newly-coined phrase, they were horrified.

Blum began getting calls from angry publicists from each of the actors mentioned in the article—and there had been a lot of them. In addition to Estevez, the de facto leader, and lieutenants Lowe and Nelson, Blum had dubbed go-to John Hughes geek Anthony Michael Hall the “mascot”; Timothy Hutton was said to be on the verge of excommunication for his film “bombs”; Tom Cruise, Sean Penn, Nicolas Cage, and Matt Dillon were also mentioned.

To the actors, the effect was devastating. Independent of how they spent their free time, all of them were pursuing serious careers as performers, with producers, directors, and casting agents mindful of their portrayal in the media. Being a Brat Packer was synonymous with being listless, or not taking their craft seriously.

Nelson recalled the blowback was immediate: Managers told him to stop socializing with his friends for fear he’d be stigmatized as unreliable. “These were people I worked with, who I really liked as people, funny, smart, committed to the work,” he said in 2013. “I mean, no one was professionally irresponsible. And after that article, not only [were] we strongly encouraged not to work with each other again, and for the most part we haven’t, but it was insinuated we might not want to be hanging out with these people.”

Universal Pictures

Some of the actors went on The Phil Donahue Show to criticize the profile, asserting that their remarks to Blum had been off-the-record. (Blum denied this.) Lowe told the media that Blum had “burned bridges” and that he was “no Hunter S. Thompson.” Andrew McCarthy called Blum a “lazy … journalist” and found the idea of an actor “tribe” absurd—he had never even met Anthony Michael Hall.

Unfortunately, the name stuck. “Brat Pack” was infectious—a catch-all for the kind of young performer emerging in the ‘80s who could be seen in multiple ensemble movies. While Blum would later express regret over the label, it’s never quite left the public consciousness. In 2005, Universal released a DVD boxed set—The Breakfast Club, Weird Science, and Sixteen Candles—as The Brat Pack Collection.

Nelson, Estevez, and Lowe never again appeared in a movie together. “Personally, the biggest disappointment about it is that ‘Brat Pack’ will somehow figure in my obituary at [the] hands of every lazy and unoriginal journalist,” Estevez told a reporter in 2011. “Warning: My ghost will come back and haunt them.”

Nelson was slightly less forgiving. In a 2013 podcast, he chastised Blum for his mischaracterization of the group of young actors. “I would have been better served following my gut feeling and knocking him unconscious.”

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