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13 Things You Might Not Know About Apollo 13

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After winning consecutive Best Actor Academy Awards for Philadelphia and Forrest Gump, Tom Hanks was nominated a third time for his role as drifting astronaut Jim Lovell in 1995’s Apollo 13. (He did not win, proving he is human after all.) The consolation prize: the dramatization of the 1970 space program crisis that kept the world on its seat was the third highest-grossing film of the year, and remains one of the most faithful depictions of NASA operations ever put on film.

As the movie celebrates the 20th anniversary of its theatrical release, we thought we’d pull these 13 facts into your orbit (and from this point forward, let go of the awful space metaphors).

1. The Movie Rights Were Sold Before the Book Was Even Written.

In 1992, Lovell—one of three astronauts on the Apollo 13 mission when an explosion cost them fuel cells and oxygen, creating a life-support crisis—decided to write a book-length account of the incident titled Lost Moon. He and co-writer Jeff Kluger finished one chapter and a proposal, which was in turn sent to publishers and production houses. A bidding war was sparked, and Ron Howard’s Imagine Entertainment wound up winning film rights. The movie actually began shooting in 1994 before Lovell’s book was even released. (It was later re-titled Apollo 13.)

2. Steven Spielberg Made a Crucial Suggestion.

To simulate the weightlessness inside the module, Howard and his crew were contemplating using wires and harnesses, a logistical decision that would’ve had his cast suspended like marionettes for months of shooting. Instead, Spielberg (a friend of Howard’s and frequent collaborator with Hanks) suggested that he look into the KC-135, a NASA-owned airplane that’s able to simulate zero gravity by maneuvering 45 degrees up and then plummeting.

Howard’s test shooting went well enough—and his producer, Todd Hallowell, was persistent enough—that NASA granted permission for a crew to film while on board the plane. That meant that ...

3. The Cast Endured Over 600 Controlled Plane Dives.

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Because the KC-135 only achieved weightlessness for its occupants for 25 seconds at a time, Howard, Hanks and co-stars Kevin Bacon and Bill Paxton had to make roughly 600 dives, called parabolas, in order to capture the amount of footage needed. Thirty to 40 of them were possible per flight, and the crew took two flights a day. Totaling more than four hours, the three actually got more experience with a reduced gravity environment than a lot of real astronauts.

4. Hanks Was Dubbed the “Accuracy Police.”

Hanks had wanted to make a film of the Apollo 13 mission even before Lovell’s book was announced, asking writers to investigate the premise and see if they could fashion a script from the events. When his agent called and told him Howard had purchased the rights, he was predisposed to accepting the role. Referred to as a “closet astronaut” by the crew, Hanks was preoccupied with getting every detail right. One day, he dragged Howard and producer Brian Grazer out of bed so they could watch an astronaut crew in action. Unfortunately, Hanks’ idea of “action” was seeing them walk across a parking lot.

5. A Friend of Jack Swigert’s Was Unhappy With His Portrayal.

Swigert, who was one of the three astronauts aboard Apollo 13, died in 1982. In the film, Bacon embodies Swigert as a roving-eyed bachelor and possibly a carrier of a sexually-transmitted disease. (Paxton’s Fred Haise comments he might’ve gotten “the clap.”) When the film was released, Barbara Zuanich-Friedman, a friend of Swigert’s, penned an op-ed for the Los Angeles Times that took producers to task for his portrayal, asserting he was not the playboy Bacon presented. “Hollywood usually stereotypes its bachelors,” she wrote, “and Jack, 25 years after the fact, fell prey to that chintzy ploy ... He would have loved the film. He would have hated his character.”

6. Howard Refused to Use Any Stock Footage.

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Both NASA and news crews had been meticulous in their coverage of the crew’s departure and subsequent re-entry, and Howard had investigated the possibility of using it for the film. But when his team began studying the footage, they realized most of it had been seen and that it had little coherence—shots jumped around, and no aircraft could get close to the rocket during blast-off. Instead, Howard created all shots of the mission, replicating actual scenes and then augmenting them with angles that would’ve been impossible in real life. It was so convincing that Buzz Aldrin went up to effects supervisor Rob Legato after a screening and asked where he had found the archived footage.

7. It Cribbed a Classic Line From Point Break.

Rumors abound—though it’s never been confirmed—that Gary Busey visited the set one day and suggested to Bill Paxton that his character, Fred Haise, dismiss a bout of nausea with the line, “I could eat the ass of a dead rhinoceros.” Circumstantial evidence is strong, however: Busey said virtually the same thing while portraying FBI agent Alex Pappas in 1991’s Point Break.

8. No One Was Sure What Re-Entry Was Supposed to Look Like.

When the three astronauts were able to attempt re-entry into the earth’s atmosphere, there wasn’t a frame of reference for the special effects team to draw from—just the verbal recollections of Lovell and Haise, who described the scene from inside the module as akin to being in a fluorescent tube. To create the effect of the module’s fire-covered arrival, cameras filmed a blaze at only four frames per second, which gave it a flickering, smeared appearance to mimic the real thing.

9. “Houston, We Have a Problem” Was Not the Exact Quote.

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One of the most popular lines in culture, Lovell’s grim delivery of his module’s malfunctions to Mission Control was not quoted word for word in the film. In reality, NASA received the message, “Houston, I believe we’ve had a problem,” not, “Houston, we have a problem.” (Maybe present tense made it more impactful.) Filmmakers also decided to have Hanks’ Lovell deliver the line; in fact, it was Swigert who first said it, though Lovell repeated it immediately as “Houston, we’ve had a problem.”  

10. Tom Hanks’ Head Kept Kevin Bacon From Puking.

Because the parabolas came so frequently, prompting queasiness, the actors took antiemetic medication. While none “spewed,” as Hanks put it, it was because they tried to distract themselves. Bacon recalled focusing on the back of Hanks’ head during periods of extreme stomach upset. It worked, though not everyone was soothed by the sight of famous performers. “One of the camera operators threw up all over Bill Paxton,” Howard said.

11. It Beat Stallone and the Power Rangers at the Box Office.

Apollo 13 debuted in a crowded summer movie season, with Batman Forever, Braveheart, and Die Hard with a Vengeance all vying for a piece of the box office. Fortunately, its direct competition on opening weekend was the widely-panned Mighty Morphin’ Power Rangers and the Sylvester Stallone flop Judge Dredd. Apollo 13 made roughly $25 million in its first three days, or nearly as much as both of the other debuting movies combined.

12. The Checklist Fetched $388,375 at Auction.

Because it was shown so prominently in the feature film, Jim Lovell’s original checklist book filled with equations and other notes addressing their mission's issues sold for $388,375 in a November 2011 auction. But the purchase was held up when NASA inquired whether Lovell actually owned the artifact outright. In 2012, President Obama signed a bill into law clarifying that astronauts had ownership of such materials.

13. A Preview Audience Member Hated the Ending.

Test screenings of the film were generally a success, but Howard was fascinated by the opinion of one 23-year-old who seemed to be aggravated at the film's climax, where the astronauts plop into the ocean unharmed. This, he wrote on a comments card, was “Terrible. More Hollywood BS. They would never survive.”

Additional Sources:
The Making of Apollo 13

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Shout! Factory
10 Surprising Facts About Mr. Mom
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Shout! Factory

John Hughes penned the script for 1983's Mr. Mom, a comedy about a family man named Jack Butler (Micheal Keaton) who loses his job. To ensure their three kids are taken care of, his wife, Caroline (Teri Garr), goes back to work—leaving Jack to fight off a vacuum cleaner and learn why it's never a good idea to feed chili to a baby.

In 1982, Keaton turned in a star-making role in Ron Howard’s Night Shift, but Mr. Mom marked the first time he headlined a movie, and it launched his career. Hughes had written National Lampoon's Vacation, which—oddly enough—was released in theaters the weekend after Mr. Mom. But Hughes himself was still a relative unknown, as it would be another year before he entered the teen flick phase of his career, which would make him iconic.

In the meantime, Mr. Mom hit home for a lot of viewers, as the economy was on the downturn and more and more women were entering (or reentering) the workforce. But some people think that the movie's ending—which sees the couple revert to traditional gender roles—sidelined the movie's message. Still, on the 35th anniversary of its release, Mr. Mom remains an ahead-of-its-time comedy classic.

1. IT'S BASED ON A TRUE STORY.

Mr. Mom producer Lauren Shuler Donner came across a funny article John Hughes had written for National Lampoon. Based on that, she contacted him and the two became friends. “One day, he was telling me that his wife had gone down to Arizona and he was in charge of the two boys and he didn’t know what he was doing,” Donner told IGN. “It was hilarious! I was on the floor laughing. He said, ‘Do you think this would make a good movie?’ And I said, ‘Yeah, this is really funny.’ So he said, ‘Well, I have about 80 pages in a drawer. Would you look at it?’ So I looked at it and I said, ‘This is great! Let’s do it!’ We kind of developed it ourselves.” In the book Movie Moguls Speak, Donner mentioned how Hughes “had never been to a grocery store, he had never operated a vacuum cleaner. John was so ignorant, that in his ignorance, he was hilarious.”

The players involved with the movie told Donner and Hughes they thought it should be a TV movie. Hughes had a TV deal with Aaron Spelling, who came aboard to executive produce. “Then the players involved were upset because John was writing out of Chicago instead of L.A.,” Donner said in Movie Moguls Speak. “They fired John and brought in a group of TV writers. In the end, John and I were muscled out. It was a good movie, but if you ever read John’s original script for Mr. Mom, it’s far better.”

2. JOHN HUGHES REJECTED THE IDEA OF DIRECTING MR. MOM.

Stan Dragoti ended up directing the film, but only after Hughes turned it down, because he preferred to make his movies in Chicago, not Hollywood. “I don’t like being around the people in the movie business,” Hughes told Roger Ebert. “In Hollywood, you spend all of your time having lunch and making deals. Everybody is trying to shoot you down. I like to get my actors out here where we can make our movies in privacy.” Hughes remained in Chicago and filmed his directorial debut, Sixteen Candles, there.

3. MICHAEL KEATON GOT THE ROLE BECAUSE OF NIGHT SHIFT.

In 1982’s Night Shift, Keaton’s character works at a morgue and starts a prostitution ring with co-worker Henry Winkler. Donner had an agent friend, Laurie Perlman, who represented the not-yet-famous actor. She contacted Donner and pitched Keaton to her. “’Look, I represent this guy who is really funny. Would you meet with him?’" Donner recalled of the conversation. "So I met with him. Usually I don’t like to do this unless we’re casting, but I met with him because she was my friend. And then she said, ‘You have to see this movie Night Shift that he’s in.’ So I went to see Night Shift, and midway through I couldn’t wait to get out of that theater to give Mr. Mom to Michael Keaton. Fortunately, he liked it."

Keaton told Grantland that he turned down one of the main roles in Splash to play Jack Butler. “I just remember at the time thinking I wanted to get away from what I’d just done on Night Shift,” he said. “I thought if I do it again, I might get myself stuck. So then Mr. Mom came along. So I said no [to Splash] so I could set up this framework right away where I could do different things.”

4. THE FILM BROKE NEW GROUND.

Teri Garr, Michael Keaton, Taliesin Jaffe, Frederick Koehler, and Martin Mull in Mr. Mom (1983)
Shout! Factory

In 1983, more women stayed at home than worked, so it was a novelty for a man to be a stay-at-home dad. Today, an estimated 1.4 million men are stay-at-home dads, and 7 million men are their children's primary caregiver. “Mr. Mom became part of the vernacular,” Donner told Newsweek. “Mr. Mom represented a segment of men who were at home dealing with the kids who, up until then, really hadn’t been heard from. That’s what really told me about the power of film, because it spoke for a lot of men. It also helped women, because I think that women sometimes, if you’re a housewife, you’re not really appreciated for what you do. This sort of made women feel better about what they did because they knew that men were understanding it.”

5. TODAY, “MR. MOM” IS CONSIDERED A PEJORATIVE TERM.

More than 30 years after the film’s release, stay-at-home dads feel the term “Mr. Mom” should die. The National At-Home Dad Network launched a campaign to terminate the phrase and instead have people refer to men as “Dad.” In 2014 Lake Superior State University voted to banish “Mr. Mom” from the lexicon.

“At least, the pop-culture image of the inept dad who wouldn’t know a diaper genie from a garbage disposal has begun to fade,” wrote The Wall Street Journal, after declaring “Mr. Mom is dead.”

6. TERI GARR DIDN’T KNOW IT WAS A MESSAGE MOVIE.

The movie redefined gender roles, but when the producers pitched the premise to Garr, they hid the plot reversal. “They just told me it was about a guy who does the work that a woman does, because it’s so easy,” she told The A.V. Club. “And I went, ‘Oh, yeah. Ha ha.’ It’s so easy. All the women I know who stay home and take care of their kids, they go, ‘Oh yeah, this is easy.’ Hmm.”

7. MARTIN MULL IMPROVISED THE “220, 221” LINE.

The quote everyone remembers from the movie comes from Jack, holding a chainsaw, standing next to Ron Richardson (Martin Mull) and discussing what kind of wiring Jack will use in renovating the house: “220, 221, whatever it takes,” Jack says.

“We’re doing the scene and it was okay,” Keaton told Esquire. “And I remember saying to the prop guy, ‘Go find me a chainsaw.’ When he comes back with it, he says, ‘You wanna wear these?’ And he holds up some goggles. I go, ‘Yeah.’ You know, they make me look crazy. And when Martin shows up, I know I should look under control, I’m not sweating it. I’m a dude. So we’re standing there, Martin pulls me aside and says, ‘You know what you ought to say? When I ask about the wiring, you oughta just deadpan: ‘220, 221.’ I died. It was perfect. I may have added ‘whatever it takes.’ But it was his.”

“That was a little ad-lib that we just threw in, but every carpenter or construction person I’ve ever worked with, they’re always quoting that line from Mr. Mom,” Mull told The A.V. Club.

8. MR. MOM OUTGROSSED HUGHES’S OTHER 1983 SUMMER MOVIE—VACATION.

Mr. Mom only opened on 126 screens on July 22, 1983, but managed to gross $947,197 during its opening weekend. Once the film went wide a month later to 1235 screens, it hit number one at the box office and spent five weeks at the top. By the end of its run, the film had grossed just shy of $65 million, making it the ninth highest-grossing film of 1983 (just between Staying Alive and Risky Business). National Lampoon’s Vacation, Hughes’s other film that summer, came out July 29 and ended its theatrical run with $61,399,552 (at its height, it showed on 1248 screens). Vacation finished the year in 11th place.

9. THE MOVIE LED TO HUGHES BEING CALLED “A PURVEYOR OF HORNY SEX COMEDIES.”

During a 1986 interview with Seventeen magazine, Molly Ringwald asked the writer-director why he never showed teen sex in Sixteen Candles or The Breakfast Club. “In Sixteen Candles, I figured it would only be gratuitous to show Samantha and Jake in anything more than a kiss,” he said. “The kiss is the most beautiful moment. I was really amused when someone once called me a ‘purveyor of horny sex comedies.’ He listed The Breakfast Club and Mr. Mom in parentheses. I thought, ‘What kind of sex?’ Yes, in Mr. Mom there’s a baby in a bathtub and you see its bare butt.”

10. MR. MOM WAS MADE INTO A TV MOVIE AFTER ALL.

In the beginning, producers wanted Mr. Mom to be a TV movie, not a feature film. But a year after the film came out in theaters, ABC produced a TV movie called Mr. Mom, with the same characters and premise. Barry Van Dyke played Jack and Rebecca York played Caroline. A People magazine review of the movie stated: “They and their three kids are immediately likable … But it goes downhill from there as the script lobotomizes all its characters. Here’s a textbook case in how TV takes a cute idea—and a script that does have some good lines—and leeches the wit out of it.”

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Ernest Hemingway’s Guide to Life, In 20 Quotes
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Central Press/Getty Images

Though he made his living as a writer, Ernest Hemingway was just as famous for his lust for adventure. Whether he was running with the bulls in Pamplona, fishing for marlin in Bimini, throwing back rum cocktails in Havana, or hanging out with his six-toed cats in Key West, the Nobel and Pulitzer Prize-winning author never did anything halfway. And he used his adventures as fodder for the unparalleled collection of novels, short stories, and nonfiction books he left behind, The Sun Also Rises, A Farewell to Arms, Death in the Afternoon, For Whom the Bell Tolls, and The Old Man and the Sea among them.

On what would be his 119th birthday—he was born in Oak Park, Illinois on July 21, 1899—here are 20 memorable quotes that offer a keen perspective into Hemingway’s way of life.

ON THE IMPORTANCE OF LISTENING

"I like to listen. I have learned a great deal from listening carefully. Most people never listen."

ON TRUST

"The best way to find out if you can trust somebody is to trust them."

ON DECIDING WHAT TO WRITE ABOUT

"I never had to choose a subject—my subject rather chose me."

ON TRAVEL

"Never go on trips with anyone you do not love."


Ernest Hemingway Photograph Collection, John F. Kennedy Presidential Library and Museum, Boston. [1], Public Domain, Wikimedia Commons

ON THE RELATIONSHIP BETWEEN INTELLIGENCE AND HAPPINESS

"Happiness in intelligent people is the rarest thing I know."

ON TRUTH

"There's no one thing that is true. They're all true."

ON THE DOWNSIDE OF PEOPLE

"The only thing that could spoil a day was people. People were always the limiters of happiness, except for the very few that were as good as spring itself."

ON SUFFERING FOR YOUR ART

"There is nothing to writing. All you do is sit down at a typewriter and bleed."

ON TAKING ACTION

"Never mistake motion for action."

ON GETTING WORDS OUT

"I wake up in the morning and my mind starts making sentences, and I have to get rid of them fast—talk them or write them down."


Photograph by Mary Hemingway, in the Ernest Hemingway Photograph Collection, John F. Kennedy Presidential Library and Museum, Boston., Public Domain, Wikimedia Commons

ON THE BENEFITS OF SLEEP

"I love sleep. My life has the tendency to fall apart when I'm awake, you know?"

ON FINDING STRENGTH 

"The world breaks everyone, and afterward, some are strong at the broken places."

ON THE TRUE NATURE OF WICKEDNESS

"All things truly wicked start from innocence."

ON WRITING WHAT YOU KNOW

"If a writer knows enough about what he is writing about, he may omit things that he knows. The dignity of movement of an iceberg is due to only one ninth of it being above water."

ON THE DEFINITION OF COURAGE

"Courage is grace under pressure."

ON THE PAINFULNESS OF BEING FUNNY

"A man's got to take a lot of punishment to write a really funny book."


By Ernest Hemingway Photograph Collection, John F. Kennedy Presidential Library and Museum, Boston. - JFK Library, Public Domain, Wikimedia Commons

ON KEEPING PROMISES

"Always do sober what you said you'd do drunk. That will teach you to keep your mouth shut."

ON GOOD VS. EVIL

"About morals, I know only that what is moral is what you feel good after and what is immoral is what you feel bad after."

ON REACHING FOR THE UNATTAINABLE

"For a true writer, each book should be a new beginning where he tries again for something that is beyond attainment. He should always try for something that has never been done or that others have tried and failed. Then sometimes, with great luck, he will succeed."

ON HAPPY ENDINGS

"There is no lonelier man in death, except the suicide, than that man who has lived many years with a good wife and then outlived her. If two people love each other there can be no happy end to it."

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