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15 Fun Facts About Pee-wee's Big Adventure

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He may be a perpetual man-child, but Pee-wee Herman has been around for nearly four decades (the character made his first appearance in 1977). His first (and so far best) feature film, Pee-wee’s Big Adventure, debuted on August 9, 1985. Since then, millions of people have no doubt pondered the question, "Does the Alamo have a basement?" The answer is, yes! Read on for more fascinating facts about Pee-wee and his big adventure. 

1. The movie was originally supposed to be a remake of Pollyanna.

Before the inspiration struck for the quest for Pee-wee’s missing bicycle, the writers planned on more or less remaking the Disney classic Pollyanna. Pee-wee would arrive in a new town in need of some fresh perspective, and by the end of the movie, he would have endeared himself to even the most curmudgeonly of the citizens.

2. And then, Warner Bros. gave Reubens a Schwinn.

Cast and crew members often take bicycles around studio lots to get from point A to point B. Reubens was given a 1940s Schwinn to ride while he was at Warner Bros. working on the movie script; he loved it so much he decided to retool the whole Pollyanna concept.

3. It’s a retelling of The Bicycle Thief.

After the idea of Pee-wee as Pollyanna bit the dust, the script ended up turning into a “surrealistic reworking” of The Bicycle Thief, an essential example of Italian Neorealism that was given an Honorary Oscar and regularly shows up on every “must-see” film list. But Pee-wee’s Big Adventure has its own champions ...

4. It made Roger Ebert’s list of “Guilty Pleasures.”

Though he never officially rated the movie, in 1987 Ebert confessed that it made his list of Guilty Pleasure movies:

“The movie is not just a strange little man acting goofy. Pee-wee has created a whole fairytale universe as consistent and fascinating as Alice’s Wonderland or the world of the Hobbits in The Lord of the Rings. Pee-wee’s Big Adventure is one of those movies like The Wizard of Oz, I think, that kids can look at in one state of mind while the grown-ups enjoy it on a completely different level.”

5. Reubens fought to get a 26-year-old Tim Burton to direct.

Although Paul Reubens had a long list of directors he wanted to work with, the studio chose one not on the list. Rather than go along for the sake of getting the movie made, Reubens put his foot down and refused to proceed. Shortly thereafter, one of Reubens’ friends mentioned a short film called Frankenweenie (the precursor to the feature-length movie that came out a few years ago) by Tim Burton. Reubens was friends with Shelley Duvall, who was in the Burton film, so he gave her a call. She agreed that Reubens and Burton would make a perfect match, and the connection was made. “It was the biggest piece of luck early on in my career that I could have had,” Reubens later said.

6. It was the first Tim Burton-Danny Elfman collaboration.

Not only was it Tim Burton’s first big movie; it was also Danny Elfman’s. Elfman wasn’t actually scoring films at the time, at least not on the scale that he is now. But Burton knew him through his work with Oingo Boingo, and Paul Reubens knew him from music he had written for a film called Forbidden Zone. After meeting with Burton to chat about the project, Elfman went home with a tune in his head. “I did a demo on a four track tape player, playing all the parts, and I made a cassette and sent it to him and never expected to hear from him again. But that piece of music became the main title of Pee-wee’s Big Adventure, and it got me the job. I was really shocked.” It was, of course, the beginning of a longtime collaboration and friendship.

7. Tim Burton has a cameo.

Check it out:

8. Elizabeth Daily, a.k.a. Dottie, is the voice of Tommy Pickles.

In addition to acting in front of the camera, Elizabeth Daily is also a talented voice actress. If you don’t know her as Tommy Pickles in Rugrats or Buttercup in The Powerpuff Girls, you’ve probably heard her in a number of small roles in Wreck-It Ralph, Happy Feet, and many, many more.

She was also on The Voice a couple of seasons ago.

9. Warner Bros. thought the movie was weird.

After seeing the finished product, the studio wasn’t so sure it wanted to put much more money behind it. Finding it all a bit bizarre, they decided to roll the film out slowly and on a regional basis. When it proved to be popular with even a limited audience, Warner cranked up the publicity machine. By the time all was said and done, Pee-wee had earned nearly $41 million at the box office.

10. Phil Hartman co-wrote the script.

Reubens and SNL legend Phil Hartman originally developed the Pee-wee character when they were in the Groundlings together. HBO picked up Pee-wee for a comedy show in 1981, which is what eventually led to the movie in 1985. Hartman was Reubens’ writing partner throughout all of that, and also for Pee-wee’s Playhouse, where he made occasional appearances as Kap’n Karl.

11. Pee-Wee’s Bicycle was sold on eBay last year.

Though Pee-wee estimated his bike’s value at “a hundred million, trillion, billion dollars” in the movie, it didn’t quite fetch that much when it was sold on eBay in 2014. It did, however, sell for $36,600.

12. There were at least 10 bikes used in the movie.

Missed out on the auction? Never fear—there could still be an authentic Pee-wee bike in your future, since at least 10 bikes were built for use in the film. The Carnegie Science Center in Pittsburgh had one of them on display for a while.

13. It wasn’t the first time Paul Reubens did the “Pee-wee Dance.”

He performed it on The Gong Show in the late 1970s, but the choreography goes back even further than that. The dance, he has said, was actually inspired by a dirty joke his dad used to tell. “The joke was something [like] you put one thumb in your [Reubens points at his backside] and one in your mouth, and then you switch.”

14. The idea for a TV show came up at the movie’s premiere.

Executives at CBS approached Reubens’ manager at the movie's premiere and wanted to know if “Pee-wee” was interested in doing a cartoon show. But Reubens had another format in mind, and asked how they would feel about something live-action. “I was thinking about how important all those kids’ shows were to me when I was a kid, and how much I feel like they affected me, and that just seemed really exciting to me," he said. "I was really excited by the idea that doing a real kids’ show could potentially affect kids in an amazingly positive and great way.” Pee-wee’s Playhouse debuted a year later.

15. Large Marge almost got the axe.

It’s one of the most memorable scenes in the entire movie, but it almost didn’t make it to the screen. “I almost cut the best thing before an audience saw it,” Burton said in Burton on Burton. “It was a special effect and those are the first things to go.” IFC lists the scene as #5 on their list of "25 Scariest Moments in Non-Horror Movies."

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