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18 Creepy Facts about Arachnophobia

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This skin-crawling classic turns 25 today. Here are a few things you might not have known about the first (and last) “thrill-omedy.”

1. IT WAS A LONG-TIME SPIELBERG COLLABORATOR’S DIRECTORIAL DEBUT.

Frank Marshall had produced a number of films for Steven Spielberg’s Amblin Entertainment, including The Goonies, Poltergeist, Gremlins, Empire of the Sun, and The Color Purple (among many others). He had directed second unit photography and some short films—including making-of documentaries for the Indiana Jones movies, which he also produced—but Arachnophobia marked Marshall's feature film directorial debut. “As a producer for 20 years, I know how hard directing is, and I didn't want to do anything I'd had no experience with,” he told The New York Times. “Disney's Jeff Katzenberg sent me the script, and I felt it was something I could do. I didn't want to get into a serious dramatic piece that might stretch me beyond my capabilities.” 

2. THE ORIGINAL SCRIPT WAS MORE HORROR, LESS COMEDY.

When Jeff Daniels came on board to play Dr. Ross Jennings, Arachnophobia was a serious horror movie—one that Daniels told Philadelphia’s Daily News was pretty formulaic. "You could tell that the lines were kind of written by computer," he said. He and Marshall were hoping for a black comedy with a more ironic tone, so the script went through several revisions, and the filmmakers studied Hitchcock films and Jaws to get the tone right. One key change: Daniels’s character was given a fear of spiders.

The result, Daniels told the Orlando Sentinel, was a one-of-a-kind movie. “It's not really horror,” he said. “We don't have chainsaws going through necks and blood spurting. It's scary, but this is not The Attack of the Killer Spiders. We approached it as a comedy with a couple of thrills. We knew we had the thrills in there, so we worked hard to make sure the movie had a sense of humor about itself.” The humor, he said, “kind of relaxes the audience, so that we can come in and get them again.”

“We wanted it to be scary, but not too terrifying,” Marshall told Entertainment Weekly. “We didn’t want it to be a typical horror movie—The Spider That Ate Cleveland—so we used a lot of comedy. We tried to make it like a roller-coaster ride for the audience. It’s frightening, but in a fun way.”

3. THE PRODUCTION SHOT IN A PART OF VENEZUELA WHERE NO MOVIE PRODUCTION HAD FILMED BEFORE.

For the opening sequence, which takes place in South America—and where a photographer is bitten by a deadly spider that then hitches a ride back to the States in his coffin—the crew headed to the Tepuis of Venezuela's Canaima National Park. No movie had filmed there before, and getting to it was hard work: They set up a base camp in a location that was meant for one-night stays, and stayed for four weeks, flying in all of the necessary equipment and food. They used five helicopters to fly up to the mountains every day.

“The Tepuis rise out of the rainforest almost 10,000 feet,” Marshall said in a featurette created for the movie. “Because they’re so high up, they’re right in the cloud bank, so the weather is [always] changing. Some days I would just get one take—not one scene, one take—and it would be an hour before the sun came out again. There was one day we were trapped the whole day; we had actually built the survival camp, and 15 minutes before we were going to be stuck all night, the clouds opened up.” Abandoning their equipment, the cast and crew “jumped on the helicopter and got out just in time,” Marshall said. “It was kind of exciting.”

4. ONE SPIDER USED ON THE PRODUCTION WAS NAMED FOR A HOLLYWOOD DIRECTOR.

The production required two species of spider: The first—the arachnid that hitches a ride from South America to California—needed to measure about one foot across. The filmmakers found their star in a bird-eating tarantula native to the Amazon; there was only one such spider in the U.S. Marshall named the spider Big Bob after director Robert Zemeckis. 

5. THE SPIDER HAD TO BE MADE SCARIER FOR THE MOVIE.

As terrifying as Big Bob was, he still wasn't scary enough for Arachnophobia. So the production painted purple stripes on his back and added a prosthetic abdomen “to give him greater bulk,” according to Entertainment Weekly

6. TO CAST THE SMALLER SPIDERS, THE PRODUCTION PUT THEM THROUGH A “SPIDER OLYMPICS.”

In the movie, Big Bob arrives in California and promptly mates with a house spider, creating super deadly offspring. To find the right arachnids for the job, Marshall and his team evaluated a number of species—including wolf spiders, tarantulas, and huntsman spiders—by putting them through a “spider olympics,” running each species through 10 tests, including speed (the faster the spider, the scarier it is), climbing ability, and reaction to heat and cold. 

The “gold medalist,” according to Marshall, was the three-inch-wide Delena spider, a harmless but sinister-looking huntsman native to Australia that was introduced to New Zealand in the 1920s. Marshall joked that “we got them all little passports,” which was sort of true: The production did have to jump through hoops to bring 300 of the spiders to the U.S. for filming (and that was just the initial shipment; supplies were replenished every two weeks).  

7. JOHN GOODMAN WASN’T FREAKED OUT BY THE SPIDERS. 

Though Daniels claimed that he was fine with small spiders, he acknowledged that “anyone in his right mind” would have issues with spiders as huge as Big Bob. But John Goodman, who played exterminator Delbert McClintock, wasn’t fazed. “I don’t have any problem,” he said. “We see each other eye to eye—well, two eyes to their 16—but we get along swell.”

8. A HOUSEHOLD CLEANING AGENT PLAYED A PART IN WRANGLING THE SPIDERS.

“You can’t actually teach them to do anything,” wrangler Steven Kutcher told Entertainment Weekly. “You just watch what they do, then figure out how you can apply it to what you want them to do.” Still, he managed to come up with some solutions for controlling them: He discovered that the spiders hated Lemon Pledge—it gummed up their feet—and used lines of it on the set to control where they went; he also strung networks of wire, vibrating faster than the camera could see, to guide them. But sometimes, more extreme measures were needed. According to The New York Times,

To keep spiders in a relatively contained area, they are put to sleep with carbon dioxide, and tiny monofilament ''leashes'' are attached by wax to their abdomens. And for really complicated shots, minuscule steel plates are glued to the spiders with wax; electromagnets behind a wall then move them to the places where the script calls for them to be.

The wranglers would also sometimes chase the arachnids with hair dryers to get them to go where the camera needed them.

9. MARSHALL PLANNED HIS SHOTS VERY CAREFULLY.

“One of the things I learned in my second unit directing days is the only way it’s going to be scary is to include the spiders in the same shots with the actors,” he said. “So we’ve been designing the shots so when you start on a person you pan over, there’s a spider there, and the audience will know the spiders are very, very close to all the actors.”

10. THE ACTORS HAD TO BE PATIENT.

“This film takes a special kind of actor,” Daniels joked to The New York Times. “You have to realize from day one of shooting that the spiders come first. They're picked up first in the morning, they're first in the chair at makeup, they take lunch first. And they've also got the biggest trailer.'' 

The spiders didn’t always do what they were supposed to do on cue, or on the first try—so, Marshall told Entertainment Weekly, “You just have to keep shooting over and over again until they accidentally give you what you want.”

“You are basically waiting for the spider to get it right,” Daniels told the Orlando Sentinel. “And when he does, you better be great because that's the one [take] we are going to use.” Sometimes, they weren't even awake when the cameras were ready to roll: When Entertainment Weekly visited the set, the cast and crew had to wait for Big Bob to wake up. “This is the last time I work with insects,” Marshall said. “Next time it’s humans only.”

11. THE CREW HAD A “SPIDER LOTTO.”

The New York Times reported that one of the most often heard phrases on the set of Arachnophobia was “Spiders, take 10.” Marshall told the paper that sometimes the cast and crew had "a spider lotto; everyone puts $5 on the take they think is going to work. Twenty-one takes is the longest we've gone.” 

12. FILMING THE SCENE WHERE A SPIDER GETS STEPPED ON TOOK HOURS.

The safety of the spiders was paramount throughout the entire production, so for one scene where Goodman had to spray an arachnid with insecticide, then squash it with his boot, the production went to extreme measures: First, a dummy spider was sprayed. Then Goodman donned special boots with a hollowed out sole for the squash shot. “[The spider] would just curl up inside and wait for the next take,” Goodman told Entertainment Weekly. ”I swear, [Kutcher] was more concerned with the spiders than with us.” The sequence lasts under half a minute on screen but took hours to shoot.

13. A MECHANICAL BIG BOB DOUBLE WAS BUILT—BY A FUTURE MYTHBUSTER.

Even a painted up and tricked out spider wouldn’t be useable for all the shots. “He has to stalk Jeff Daniels; he has to stay in the right light, and if we waited for him to do that, we'd be here three or four months longer,” Marshall told The New York Times. "The main character had to become a creature, and no spider out there could give us the vicious, evil close-ups the script called for," added visual effects supervisor David Sosalla, "The evilest ones, with real ugly looking faces, were too tiny.”

So the production reached out to a Hollywood prop shop to build The General, a 15-inch mechanical Big Bob double—and it was created by none other than future MythBuster Jamie Hyneman. “Arachnophobia was one of the first films I did major effects for,” he said in 2014.

14. THE PRODUCTION SHOT THE TOUGHEST SCENE LAST.

Marshall saved the shooting of Arachnophobia’s climactic fight between Jennings and The General until the very end of production. “All the other actors have been sent home, they've been put on planes, they've been waved goodbye to, they've had parties thrown,'' Daniels told the Orlando Sentinel. “They were gone. It was like, ‘Hey, great, thanks a lot! Now, Jeff, let's go ... down to the basement.’” 

The scene, which involved fire, explosions, and many smashed bottles of fine wine, took two weeks of 13-hour days to shoot. Daniels spent two of those days pinned under a 250-pound wine rack, hurling bottles of wine at Big Bob while under strict instructions to not hit the spider—and, in fact, always miss it by three feet or more. 

“When you're lying under a 250-pound wine rack for a couple of days, it's tough to walk to your car at night,” Daniels told the Sentinel. “Movies have a way of saving those life-or-death stunts for last, so that if you lose an actor, it's a shame and it's horrible, and we'll all be there at the funeral, but at least we got our film shot."

15. DANIELS WAS NOT A FAN OF BIG BOB.

Throughout the Arachnophobia press tour, Daniels spoke openly of his animosity toward his big, hairy co-star—and we’re not talking about John Goodman. I had a problem” with Big Bob, Daniels told Entertainment Weekly. “Especially when the spider wranglers were off-camera wearing thick, heavy gloves, yelling, ‘If he comes after you, we’ll be jumping in right away.’ But meanwhile, it’s the movies, you know, and they’re going, ‘Let’s do it again. Let’s see if we can get him to crawl closer to Jeff’s hand.’ ... We had no rapport,” Daniels jokingly continued. “He’d rear up and hiss. They’d feed him a rat every weekend. It would be, ‘Have a good Saturday night, Bob. See ya Monday.”’

In an interview with Philadelphia's Daily News, Daniels recounted how Big Bob once blew a dozen takes: “I had to be great every time. Big Bob only had to be great once.” And when they were filming the climax of the film and a bottle broke near Bob, drenching the spider with wine, Daniels wasn’t that sorry—although filming did have to be delayed for a few hours to allow Bob to dry off. "The joke went that Big Bob was refusing to leave his trailer," Daniels recalled.

As for the Delenas? "I was OK with them,” he told Entertainment Weekly. "Though I’d rather they weren’t crawling on my face.”

16. THE MOVIE ORIGINALLY ENDED WITH A REFERENCE TO THE BIRDS. 

"There was one ending where we are standing outside after it's all over,” Daniels told the Orlando Sentinel in 1990. “It's like, ‘Wow, we're OK,’ and the family is all right. All of a sudden, one bird lands on the swing set and then another ... and we just turn and look. I think [executive producer Steven] Spielberg was the one who said, ‘Let's not do that. Let's just make it its own thing.’”

17. NO SPIDERS WERE KILLED DURING THE PRODUCTION.

When dead spiders were needed, the filmmakers used bodies of arachnids that had died of natural causes

18. IT WAS BILLED AS “THE FIRST THRILL-OMEDY.”

According to materials released with the film, that meant “a thriller with a sense of humor.” The Washington Post called the term “clumsy coinage,” while Entertainment Weekly dubbed it “awkward” and said in a review that it was “an awful word!—it sounds like somebody got sick from too many rides on the Whip.” It didn’t catch on.

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20 Things You Might Not Have Known About Firefly
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© 2002 Twentieth Century Fox

As any diehard fan will be quick to tell you, Firefly's run was far, far too short. Despite its truncated run, the show still offers a wealth of fun facts and hidden Easter eggs. On the 15th anniversary of the series' premiere, we're looking back at the sci-fi series that kickstarted a Browncoat revolution.

1. A CIVIL WAR NOVEL INSPIRED THE FIREFLY UNIVERSE.

The Pulitzer Prize-winning novel The Killer Angels from author Michael Shaara was Joss Whedon’s inspiration for creating Firefly. It follows Union and Confederate soldiers during four days at the Battle of Gettysburg during the American Civil War. Whedon modeled the series and world on the Reconstruction Era, but set in the future.

2. ORIGINALLY, THE SERENITY CREW INCLUDED JUST FIVE MEMBERS.

When Whedon first developed Firefly, he wanted Serenity to only have five crew members. However, throughout development and casting, Whedon increased the cast from five to nine.

3. REBECCA GAYHEART WAS ORIGINALLY CAST TO PLAY INARA.

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Before Morena Baccarin was cast as Inara Serra, Rebecca Gayheart landed the role—but she was fired after one day of shooting because she lacked chemistry with the rest of the cast. Baccarin was cast two days later and started shooting that day.

4. NEIL PATRICK HARRIS WAS ALMOST DR. SIMON TAM.

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Before it went to Sean Maher, Neil Patrick Harris auditioned for the role of Dr. Simon Tam.

5. JOSS WHEDON WROTE THE THEME SONG.

Whedon wrote the lyrics and music for Firefly’s opening theme song, “The Ballad of Serenity.”

6. STAR WARS SPACECRAFT APPEAR IN FIREFLY.

Star Wars was a big influence on Whedon. Captain Malcolm Reynolds somewhat resembles Han Solo, while Whedon used the Millennium Falcon as inspiration to create Serenity. In fact, you can spot a few spacecraft from George Lucas's magnum opus on the show.

When Inara’s shuttle docks with Serenity in the pilot episode, an Imperial Shuttle can be found flying in the background. In the episode “Shindig,” you can see a Starlight Intruder as the crew lands on the planet Persephone.

7. HAN SOLO FROZEN IN CARBONITE POPS UP THROUGHOUT FIREFLY.

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Nathan Fillion is a big Han Solo fan, so the Firefly prop department made a 12-inch replica of Han Solo encased in Carbonite for the Canadian-born actor. You can see the prop in the background in a number of scenes.

8. ALIEN'S WEYLAND-YUTANI CORPORATION MADE AN APPEARANCE.

In Firefly’s pilot episode, the opening scene features the legendary Battle of Serenity Valley between the Browncoats and The Union of Allied Planets. Captain Malcolm Reynolds takes control of a cannon with a Weyland-Yutani logo inside of its display. Weyland-Yutani is the large conglomerate corporation in the Alien film franchise. (Whedon wrote Alien: Resurrection in 1997.)

9. ZAC EFRON'S ACTING DEBUT WAS ON FIREFLY.

A 13-year-old Zac Efron made his acting debut in the episode “Safe” in 2002. He played Young Simon in a flashback.

10. CAPTAIN MALCOLM REYNOLDS'S HORSE IS A WESTERN TROPE.

At its core, Firefly is a sci-fi western—and Malcolm Reynolds rides the same horse on every planet (it's named Fred).

11. FOX AIRED FIREFLY'S EPISODES OUT OF ORDER.

Fox didn’t feel Firefly’s two-hour pilot episode was strong enough to air as its first episode. Instead, “The Train Job” was broadcast first because it featured more action and excitement. The network continued to cherry-pick episodes based on broad appeal rather than story consistency, and eventually aired the pilot as the show’s final episode.

12. THE ALLIANCE'S ORIGINS ARE AMERICAN AND CHINESE.

The full name of The Alliance is The Anglo-Sino Alliance. Whedon envisioned The Alliance as a merger of American and Chinese government and corporate superpowers. The Union of Allied Planets’ flag is a blending of the American and Chinese national flags.

13. THE SERENITY LOUNGE SERVED AS AN ACTUAL LOUNGE.

Between set-ups and shots, the cast would hang out in the lounge on the Serenity set rather than trailers or green rooms.

14. INARA SERRA'S NAME IS MESOPOTAMIAN.

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Inara Serra is named after the Mesopotamian Hittite goddess, the protector of all wild animals.

15. THE CHARACTERS SWORE (JUST NOT IN ENGLISH).

The Firefly universe is a mixture of American and Chinese culture, which made it easy for writers to get around censors by having characters swear in Chinese.

16. THE UNIFORMS ARE RECYCLED FROM STARSHIP TROOPERS.

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The uniforms for Alliance officers and soldiers were the costumes from the 1997 science fiction film Starship Troopers. The same costumes were repurposed again for the Starship Troopers sequel.

17. "SUMMER!" MEANS SOMEONE MESSED UP.

Every time a cast member flubbed one of his or her lines, they would yell Summer Glau’s name. This was a running gag among the cast after Glau forgot her lines in the episode “Objects In Space.”

18. THE SERENITY SPACESHIP WAS BUILT TO SCALE.

The interior of Serenity was built entirely to scale; rooms and sections were completely contiguous. The ship’s interior was split into two stages, one for the upper deck and one for the lower. Whedon showed off the Firefly set in one long take to open the Serenity movie.

19. "THE MESSAGE" SHOULD HAVE BEEN THE SHOW'S FAREWELL.

Although “The Message” was the twelfth episode, it was the last episode filmed during Firefly’s short run. Composer Greg Edmonson wrote a piece of music for a funeral scene in the episode, which served as a final farewell to the show. Sadly, it was one of three episodes (the other two were “Trash” and “Heart of Gold”) that didn’t air during Firefly’s original broadcast run on Fox.

20. FIREFLY AND SERENITY WERE SENT TO THE INTERNATIONAL SPACE STATION.

American Astronaut Steven Ray Swanson is a big fan of Firefly, so when he was sent to the International Space Station for his first mission (STS-117) in 2007, he brought DVD copies of Firefly and its feature film Serenity aboard with him. The DVDs are now a permanent part of the space station’s library.

This post originally appeared in 2014.

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10 Hush-Hush Facts About L.A. Confidential
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On this day 20 years ago, a rising star director, a writer who thought he’d never get the gig, and a remarkable cast got together to make a film about the corrupt underbelly of 1950s Los Angeles, and the men and women who littered its landscape. This was L.A. Confidential, a film so complex that its creator (legendary crime writer James Ellroy) thought it was “unadaptable.” In the end, it was one of the most acclaimed movies of the 1990s, a film noir classic that made its leading actors into even bigger stars, and which remains an instantly watchable masterpiece to this day. Here are 10 facts about how it got made.

1. THE SCRIPTING PROCESS WAS TOUGH.

Writer-director Curtis Hanson had been a longtime James Ellroy fan when he finally read L.A. Confidential, and the characters in that particular Ellroy novel really spoke to him, so he began working on a script. Meanwhile, Brian Helgeland—originally contracted to write an unproduced Viking film for Warner Bros.—was also a huge Ellroy fan, and lobbied hard for the studio to give him the scripting job. When he learned that Hanson already had it, the two met, and bonded over their mutual admiration of Ellroy’s prose. Their passion for the material was clear, but it took two years to get the script done, with a number of obstacles.

"He would turn down other jobs; I would be doing drafts for free,” Helgeland said. “Whenever there was a day when I didn't want to get up anymore, Curtis tipped the bed and rolled me out on the floor."

2. IT WAS ORIGINALLY INTENDED AS A MINISERIES.

When executive producer David Wolper first read Ellroy’s novel, he saw the dense, complex story as the perfect fodder for a television miniseries, and was promptly turned down by all the major networks at the time.

3. JAMES ELLROY DIDN’T THINK THE BOOK COULD BE ADAPTED.

Though Wolper was intrigued by the idea of telling the story onscreen, Ellroy and his agent laughed at the thought. The author felt his massive book would never fit on any screen.

“It was big, it was bad, it was bereft of sympathetic characters,” Ellroy said. “It was unconstrainable, uncontainable, and unadaptable.”

4. CURTIS HANSON SOLD THE FILM WITH CLASSIC LOS ANGELES IMAGES.

To get the film made, Hanson had to convince New Regency Pictures head Arnon Milchan that it was worth producing. To do this, he essentially put together a collage of classic Los Angeles imagery, from memorable locations to movie stars, including the famous image of Robert Mitchum leaving jail after his arrest for using marijuana.

"Now you've seen the image of L.A. that was sold to get everybody to come here. Let's peel back the image and see where our characters live,” Hanson said.

Milchan was sold.

5. KEVIN SPACEY WAS ON HANSON’S WISH LIST FOR YEARS.

Though the other stars of the film were largely discoveries of the moment, Kevin Spacey was apparently someone Hanson wanted to work with for years. Spacey described Hanson as a director “who’d been trying for years and years and years to get me cast in films he made, and the studio always rejected me.” After Spacey won an Oscar for The Usual Suspects, Hanson called the actor and said “I think I’ve got the role, and I think they’re not gonna say no this time.”

6. SPACEY’S CHARACTER IS BASED ON DEAN MARTIN.

Warner Bros.

Though he cast relative unknowns in Russell Crowe and Guy Pearce, Hanson wanted an American movie star for the role of Jack Vincennes, and decided on Kevin Spacey. In an effort to convince Spacey to take the role, Hanson invited him to dine at L.A.’s famous Formosa Cafe (where scenes in the film are actually set). While at the cafe, Spacey asked a vital question:

“If it was really 1952, and you were really making this movie, who would you cast as Jack Vincennes? And [Hanson] said ‘Dean Martin.’”

At that point, Spacey looked up at the gallery of movie star photos which line the cafe, and realized Martin’s photo was right above him.

“To this day, I don’t know whether he sat us in that booth on purpose, but there was Dino looking down at me,” Spacey said.

After his meeting with Hanson, Spacey watched Martin’s performances in Some Came Running (1958) and Rio Bravo (1959), and realized that both films featured characters who mask vulnerability with a layer of cool. That was the genesis of Jack Vincennes.

7. HANSON CHOSE MUCH OF THE MUSIC BEFORE FILMING.

To help set the tone for his period drama, Hanson began selecting music of the early 1950s even before filming began, so he could play it on set as the actors went to work. Among his most interesting choices: When Jack Vincennes sits in a bar, staring at the money he’s just been bribed with, Dean Martin’s “Powder Your Face With Sunshine (Smile! Smile! Smile!)” plays, a reference to both the character’s melancholy, and to Spacey and Hanson’s decision to base the character on Martin.

8. THE CINEMATOGRAPHY WAS INSPIRED BY ROBERT FRANK PHOTOGRAPHS.

To emphasize realism and period accuracy, cinematographer Dante Spinotti thought less about the moving image, and more about still photographs. In particular, he used photographer Robert Frank’s 1958 collection "The Americans" as a tool, and relied less on artificial light and more on environmental light sources like desk lamps.

"I tried to compose shots as if I were using a still camera,” Spinotti said. “I was constantly asking myself, 'Where would I be if I were holding a Leica?' This is one reason I suggested shooting in the Super 35 widescreen format; I wanted to use spherical lenses, which for me have a look and feel similar to still-photo work.”

9. THE FINAL STORY TWIST IS NOT IN THE BOOK.

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[SPOILER ALERT] In the film, Jack Vincennes, Ed Exley, and Bud White are all chasing a mysterious crime lord known as “Rollo Tomasi,” who turns out to be their own LAPD colleague, Dudley Smith (James Cromwell). Though Vincennes, Exley, and White are all native to Ellroy’s novel, the Tomasi name is entirely an invention of the film.

10. ELLROY APPROVED OF THE MOVIE.

To adapt L.A. Confidential for the screen, Hanson and Helgeland condensed Ellroy’s original novel, boiling the story down to a three-person narrative and ditching other subplots so they could get to the heart of the three cops at the center of the movie. Ellroy, in the end, was pleased with their choices.

“They preserved the basic integrity of the book and its main theme, which is that everything in Los Angeles during this era of boosterism and yahooism was two-sided and two-faced and put out for cosmetic purposes,” Ellroy said. “The script is very much about the [characters'] evolution as men and their lives of duress. Brian and Curtis took a work of fiction that had eight plotlines, reduced those to three, and retained the dramatic force of three men working out their destiny. I've long held that hard-boiled crime fiction is the history of bad white men doing bad things in the name of authority. They stated that case plain.”

Additional Sources:
Inside the Actors Studio: Kevin Spacey (2000)

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