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12 Surprising Facts About Unforgiven

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Unforgiven, released on August 7, 1992, was Clint Eastwood's 16th movie as a director and his 34th as a lead actor. But it was the first one to earn him an Oscar nomination—three of them, actually: for Best Actor, Best Picture, and Best Director. He won the latter two, and was at the time the oldest person to ever take home the director trophy. Despite decades of popular success, both as an actor and a filmmaker, it wasn't until Unforgiven that Eastwood began to be recognized by the esteemed members of the Academy of Motion Picture Arts and Sciences.

Of course, one could argue that it wasn't until Unforgiven that Eastwood deserved Oscar attention. We'll leave that for you to discuss. In the meantime, here are a dozen tidbits to enhance your appreciation for what remains one of Eastwood's greatest movies on the 25th anniversary of its release. Never mind whether you deserve them; deserve's got nothing to do with it. 

1. FRANCIS FORD COPPOLA ALMOST MADE IT.

The director of The Godfather and Apocalypse Now optioned the screenplay in the early 1980s, but couldn't get the movie financed. When his option on the script expired in 1985, Clint Eastwood picked it up ... and kept it for another several years before he finally made the movie. 

2. THE SCREENPLAY HAD BEEN KICKING AROUND SINCE 1976.

David Webb Peoples was a film editor in the '70s, writing scripts on the side. His first big break in that field came when he was hired to co-write Blade Runner for Ridley Scott, and he subsequently worked on Ladyhawke and Leviathan. (His post-Unforgiven work includes Hero, Twelve Monkeys, and Soldier.) Originally, Peoples' Unforgiven screenplay was alternately known as The William Munny Killings and The Cut-Whore Killings, which might go a long way toward explaining why nobody wanted to make it. 

3. TAXI DRIVER CONVINCED THE SCREENWRITER TO GO MEGA-VIOLENT. 

The jury's out on how much movie violence inspires real-life violence, but there's no question it inspires more movie violence. Case in point: David Webb Peoples, turned off by the way film deaths tended to be unrealistic and devoid of consequences, had intended to write something murder-free. Then Taxi Driver changed his mind. He later explained: "All of a sudden I see Taxi Driver, and people are getting killed, and the characters maintained how they would be in real life. But at the same time, it's an entertaining movie, and that was always important to me ... I wanted to write entertainment. Taxi Driver opened up what entertainment could be. It said, 'Yeah, you can write this kind of stuff and it'll be entertaining.'" 

4. EASTWOOD WAS INITIALLY STEERED AWAY FROM THE MOVIE.

Sonia Chernus, a longtime associate of Eastwood's (and screenwriter of The Outlaw Josey Wales), read The Cut-Whore Killings in the 1980s and was appalled by it. She wrote Eastwood this memo: "We would have been far better off not to have accepted trash like this piece of inferior work ... I can't think of one good thing to say about it. Except maybe, get rid of it FAST." (It may be worth noting that Chernus was in her seventies at the time, and the script was full of profanity and violence.) Eastwood took her advice and didn't read the script. Then, while looking for someone to rewrite a different project, he read The Cut-Whore Killings as a sample of Peoples' work, not realizing it was the screenplay Chernus had warned him away from. 

5. EASTWOOD PUT OFF MAKING THE MOVIE BECAUSE HE WANTED TO BE OLDER.

True, he had other irons in the fire in the second half of the 1980s—plenty of other movies to work on—but he has said that part of the reason he kept pushing Unforgiven back was that he wanted to wait until he was old enough to play the lead himself. 

6. IT WAS FILMED IN CANADA BECAUSE EASTWOOD GOT A "FAMILY" DISCOUNT. 


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Eastwood is famously loyal to his crew, with a few dozen technicians, designers, and other cogs in the moviemaking machine having worked with him for decades. His longtime cinematographer, Jack Green, was shooting a non-Eastwood project in Canada once when an official for a filmmaking union asked whether Clint was ever going to make a movie in the Great White North. Green told him never, "because he can't bring his 'family.'" (Normally, if you're going to shoot a film in a foreign country, you hire a local crew for all but the most crucial positions.) The Canadian union offered a deal: They'd waive the normal work rules for any Eastwood crew member who could prove he or she had worked on at least five Eastwood movies. That turned out to be most of them—around 50 people. "And that," said Green, "is how Unforgiven came to be shot in Canada." 

7. THEY BUILT A PRETTY CONVINCING WESTERN TOWN.

Eastwood's production designer, Henry Bumstead, and his team built the main set for the 1880s town of Big Whiskey, Wyoming on a lonesome prairie in Alberta from which no signs of modern civilization could be seen in any direction. The nearest big city was Calgary, 60 miles away. For authenticity—and since so much of the movie was to be shot on this set—all of the buildings were fully functional (and expensive), not just facades.

8. NO CARS WERE ALLOWED ON THE SET.

Eastwood wanted the painstakingly built set to maintain its Old West feel, so no modern vehicles were permitted. 

9. GENE HACKMAN WAS INITIALLY TURNED OFF BY THE FILM'S VIOLENCE.

"I swore I would never be involved in a picture with this much violence in it," he said in a DVD interview. "But the more I read it and the more I came to understand the purpose of the film, the more fascinated I became." 

10. HACKMAN'S PERFORMANCE WAS BASED IN PART ON FORMER L.A. POLICE CHIEF DARYL GATES.


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Gates, a 40-year veteran of the LAPD, had been criticized for what many considered to be a heavy-handed, militarized, and racist approach to policing. It came to a head with the Rodney King beating in March of 1991, followed by the acquittal of the officers and the ensuing riots a year later. Hackman saw parallels between Gates and Sheriff Daggett, especially since the character most abused by Daggett was to be played by a black actor (Morgan Freeman).

Eastwood biographer Richard Schickel, who was on the Unforgiven set, wrote that Hackman referred to the scene where Daggett oversees Ned Logan's torture as "my Rodney King scene." (Gates resigned from the LAPD about six weeks before Unforgiven hit theaters and passed away in 2010.) 

11. THE FINAL PRODUCT SHOWS ALMOST NO CHANGES FROM THE ORIGINAL SCRIPT.

That's a rarity in Hollywood, where even the best screenplays are tinkered with as they're converted from words on a page into images on a screen. Eastwood had some ideas for revising Peoples' script, too, only to discover that "the more I fiddled with it, the more I realized I was screwing it up." All he ended up changing was the title. According to Peoples, Frances Fisher—who plays Strawberry Alice—told him "that this was the first time she saw a shooting script that was entirely in white. Most of them are multicolored, full of blue and red pages or whatever representing various changes in the screenplay." 

12. EASTWOOD HELPED WRITE THE MUSIC.

Though the movie's beautiful score is attributed to frequent Eastwood collaborator Lennie Niehaus, who indeed did most of the heavy lifting, the main melody came from Eastwood. The director has subsequently written the scores for several more of his movies entirely by himself. 

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30 Memorable Quotes from Carrie Fisher
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Just days after suffering a heart attack aboard a flight en route to Los Angeles, beloved actress, author, and screenwriter Carrie Fisher passed away at the age of 60 on December 27, 2016. Though she’ll always be most closely associated with her role as Princess Leia in Star Wars, Fisher’s life was like something out of its own Hollywood movie. Born in Beverly Hills on this day in 1956, Fisher was born into show business royalty as the daughter of singer Eddie Fisher and actress Debbie Reynolds.

In addition to her work in front of the camera, Fisher built up an impressive resume behind the scenes, too, most notably as a writer; in addition to several memoirs and semi-autobiographical novels, including Wishful Drinking, Surrender the Pink, Delusions of Grandma, The Best Awful, Postcards from the Edge, and The Princess Diarist (which was released last month), she was also an in-demand script doctor who counted Sister Act, Hook, Lethal Weapon 3, and The Wedding Singer among her credits.

Though she struggled with alcoholism, drug addiction, and mental illness, Fisher always maintained a sense of humor—as evidenced by the 30 memorable quotes below.

ON GROWING UP IN HOLLYWOOD

“I am truly a product of Hollywood in-breeding. When two celebrities mate, someone like me is the result.”

“I was born into big celebrity. It could only diminish.”

“At a certain point in my early twenties, my mother started to become worried about my obviously ever-increasing drug ingestion. So she ended up doing what any concerned parent would do. She called Cary Grant.”

“I was street smart, but unfortunately the street was Rodeo Drive.”

“If anything, my mother taught me how to sur-thrive. That's my word for it.”

ON AGING

“As you get older, the pickings get slimmer, but the people don't.”

ON INSTANT GRATIFICATION

“Instant gratification takes too long.”

ON THE LEGACY OF STAR WARS

“People are still asking me if I knew Star Wars was going to be that big of a hit. Yes, we all knew. The only one who didn't know was George.”

“Leia follows me like a vague smell.”

“I signed my likeness away. Every time I look in the mirror, I have to send Lucas a couple of bucks.”

“People see me and they squeal like tropical birds or seals stranded on the beach.”

“You're not really famous until you’re a Pez dispenser.”

ON THE FLEETING NATURE OF SUCCESS

“There is no point at which you can say, 'Well, I'm successful now. I might as well take a nap.'”

ON DEALING WITH MENTAL ILLNESS

“I'm very sane about how crazy I am.”

ON RESENTMENT

“Resentment is like drinking poison and waiting for the other person to die."

ON LOVE

“Someone has to stand still for you to love them. My choices are always on the run.”

“I've got to stop getting obsessed with human beings and fall in love with a chair. Chairs have everything human beings have to offer, and less, which is obviously what I need. Less emotional feedback, less warmth, less approval, less patience, and less response. The less the merrier. Chairs it is. I must furnish my heart with feelings for furniture.”

“I don’t hate hardly ever, and when I love, I love for miles and miles. A love so big it should either be outlawed or it should have a capital and its own currency.”

ON EMOTIONS

“The only thing worse than being hurt is everyone knowing that you're hurt.”

ON RELATIONSHIPS

“I envy people who have the capacity to sit with another human being and find them endlessly interesting, I would rather watch TV. Of course this becomes eventually known to the other person.”

ON HOLLYWOOD

“Acting engenders and harbors qualities that are best left way behind in adolescence.”

“You can't find any true closeness in Hollywood, because everybody does the fake closeness so well.”

“It's a man's world and show business is a man's meal, with women generously sprinkled through it like overqualified spice.”

ON FEAR

“Stay afraid, but do it anyway. What’s important is the action. You don’t have to wait to be confident. Just do it and eventually the confidence will follow.”

ON LIFE

“I don’t want life to imitate art. I want life to be art.”

“No motive is pure. No one is good or bad-but a hearty mix of both. And sometimes life actually gives to you by taking away.”

“If my life wasn't funny it would just be true, and that is unacceptable.”

“I shot through my twenties like a luminous thread through a dark needle, blazing toward my destination: Nowhere.”

“My life is like a lone, forgotten Q-Tip in the second-to-last drawer.”

ON DEATH

“You know what's funny about death? I mean other than absolutely nothing at all? You'd think we could remember finding out we weren't immortal. Sometimes I see children sobbing at airports and I think, 'Aww. They've just been told.'”

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12 Surprising Facts About Bela Lugosi
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On October 20, 1882—135 years ago today—one of the world's most gifted performers was born. In his heyday, Bela Lugosi was hailed as the undisputed king of horror. Eighty-five years after he first donned a vampire’s cape, Lugosi's take on Count Dracula is still widely hailed as the definitive portrayal of the legendary fiend. But who was the man behind the monster?

1. HE WORKED WITH THE NATIONAL THEATER OF HUNGARY.

To the chagrin of his biographers, the details concerning Bela Lugosi’s youth have been clouded in mystery. (In a 1929 interview, he straight-up admitted “for purposes of simplification, I have always thought it better to tell [lies] about the early years of my life.”) That said, we do know that he was born as Béla Ferenc Dezső Blaskó on October 20, 1882 in Lugoj, Hungary (now part of Romania). We also know that his professional stage debut came at some point in either 1901 or 1902. By 1903, Lugosi had begun to find steady work with traveling theater companies, through which he took part in operas, operettas, and stage plays. In 1913, Lugosi caught a major break when the most prestigious performing arts venue in his native country—the Budapest-based National Theater of Hungary—cast him in no less than 34 shows. Most of the characters that he played there were small Shakespearean roles such as Rosencrantz in Hamlet and Sir Walter Herbert in Richard III.

2. HE FOUGHT IN WORLD WAR I.

The so-called war to end all wars put Lugosi’s dramatic aspirations on hold. Although being a member of the National Theater exempted him from military service, he voluntarily enlisted in the Austro-Hungarian Army in 1914. Over the next year and a half, he fought against Russian forces as a lieutenant with the 43rd Royal Hungarian Infantry. While serving in the Carpathian mountains, Lugosi was wounded on three separate occasions. Upon healing from his injuries, he left the armed forces in 1916 and gratefully resumed his work with the National Theater.

3. WHEN HE MADE HIS BROADWAY DEBUT, LUGOSI BARELY KNEW ANY ENGLISH.

In December 1920, Lugosi boarded a cargo boat and emigrated to the United States. Two years later, audiences on the Great White Way got their first look at this charismatic stage veteran. Lugosi was cast as Fernando—a suave, Latin lover—in the 1922 Broadway stage play The Red Poppy. At the time, his grasp of the English language was practically nonexistent. Undaunted, Lugosi went over all of his lines with a tutor. Although he couldn’t comprehend their meaning, the actor managed to memorize and phonetically reproduce every single syllable that he was supposed to deliver on stage.

4. UNIVERSAL DIDN’T WANT TO CAST HIM AS COUNT DRACULA.

The year 1927 saw Bela Lugosi sink his teeth into the role of a lifetime. A play based on the novel Dracula by Bram Stoker had opened in London in 1924. Sensing its potential, Horace Liveright, an American producer, decided to create an U.S. version of the show. Over the summer of 1927, Lugosi was cast as the blood-sucking Count Dracula. For him, the part represented a real challenge. In Lugosi’s own words, “It was a complete change from the usual romantic characters I was playing, but it was a success.” It certainly was. Enhanced by his presence, the American Dracula remained on Broadway for a full year, then spent two years touring the country.

Impressed by its box office prowess, Universal decided to adapt the show into a major motion picture in 1930. Horror fans might be surprised to learn that when the studio began the process of casting this movie’s vampiric villain, Lugosi was not their first choice. At the time, Lugosi was still a relative unknown, which made director Tod Browning more than a little hesitant to offer him the job. A number of established actors were all considered before the man who’d played Dracula on Broadway was tapped to immortalize his biting performance on film.

5. MOST OF HIS DRACULA-RELATED FAN MAIL CAME FROM WOMEN.

The recent Twilight phenomenon is not without historical precedent. Lugosi estimated that, while he was playing the Count on Broadway, more than 97 percent of the fan letters he received were penned by female admirers. A 1932 Universal press book quotes him as saying, “When I was on the stage in Dracula, my audiences were composed mostly of women.” Moreover, Lugosi contended that most of the men who’d attended his show had merely been dragged there by female companions.   

6. HE TURNED DOWN THE ROLE OF FRANKENSTEIN’S MONSTER.

Released in 1931, Dracula quickly became one of the year's biggest hits for Universal (some film historians even argue that the movie single-handedly rescued the ailing studio from bankruptcy). Furthermore, its astronomical success transformed Lugosi into a household name for the first time in his career. Regrettably for him, though, he’d soon miss the chance to star in another smash. Pleased by Dracula’s box office showing, Universal green-lit a new cinematic adaptation of Mary Shelley’s Frankenstein. Lugosi seemed like the natural choice to play the monster, but because the poor brute had few lines and would be caked in layers of thick makeup, the actor rejected the job offer. As far as Lugosi was concerned, the character was better suited for some “half-wit extra” than a serious actor. Once the superstar tossed Frankenstein aside, the part was given to a little-known actor named Boris Karloff.

Moviegoers eventually did get to see Lugosi play the bolt-necked corpse in the 1943 cult classic Frankenstein Meets the Wolf Man. According to some sources, he strongly detested the guttural scream that the script forced him to emit at regular intervals. “That yell is the worst thing about the part. You feel like a big jerk every time you do it!” Lugosi allegedly complained.

7. LUGOSI’S RELATIONSHIP WITH BORIS KARLOFF WAS MORE CORDIAL THAN IT’S USUALLY MADE OUT TO BE.

It’s often reported that the two horror icons were embittered rivals. In reality, however, Karloff and Lugosi seemed to have harbored some mutual respect—and perhaps even affection for one another. The dynamic duo co-starred in five films together, the first of which was 1934’s The Black Cat; Karloff claimed that, on set, Lugosi was “Suspicious of tricks, fearful of what he regarded as scene stealing. Later on, when he realized I didn’t go in for such nonsense, we became friends.” During one of their later collaborations, Lugosi told the press “we laughed over my sad mistake and his good fortune as Frankenstein is concerned.”

That being said, Lugosi probably didn’t appreciate the fact that in every single film which featured both actors, Karloff got top billing. Also, he once privately remarked, “If it hadn’t been for Boris Karloff, I could have had a corner on the horror market.”

8. HE LOVED SOCCER.

In 1935, Lugosi was named Honorary President of the Los Angeles Soccer League. An avid fan, he was regularly seen at Loyola Stadium, where he’d occasionally kick off the first ball during games held there. Also, on top of donating funds to certain Hungarian teams, Lugosi helped finance the Los Angeles Magyar soccer club. When the team won a state championship in 1935, one newspaper wrote that the players were “headed back to Dracula’s castle with the state cup.” [PDF]

9. HE WAS A HARDCORE STAMP COLLECTOR.

Lugosi's fourth wife, Lillian Arch, claimed that Lugosi maintained a collection of more than 150,000 stamps. Once, on a 1944 trip to Boston, he told the press that he intended to visit all 18 of the city's resident philately dealers. “Stamp collecting,” Lugosi declared, “is a hobby which may cost you as much as 10 percent of your investment. You can always sell your stamps with not more than a 10 percent loss. Sometimes, you can even make money.” Fittingly enough, the image of Lugosi’s iconic Dracula appeared on a commemorative stamp issued by the post office in 1997.

10. LUGOSI ALMOST DIDN’T APPEAR IN ABBOTT AND COSTELLO MEET FRANKENSTEIN—BECAUSE THE STUDIO THOUGHT HE WAS DEAD.

The role of Count Dracula in this 1948 blockbuster was nearly given to Ian Keith—who was considered for the same role in the 1931 Dracula movie. Being a good sport, Lugosi helped promote the horror-comedy by making a special guest appearance on The Abbott and Costello Show. While playing himself in one memorable sketch, the famed actor claimed to eat rattlesnake burgers for dinner and “shrouded wheat” for breakfast.

11. A CHIROPRACTOR FILLED IN FOR HIM IN PLAN 9 FROM OUTER SPACE.

Toward the end of his life, Lugosi worked on three ultra-low-budget science fiction pictures with Ed Wood, a man who’s been posthumously embraced as the worst director of all time. In the 1953 transvestite picture Glen or Glenda?, Lugosi plays a cryptic narrator who offers such random and unsolicited bits of advice as “Beware of the big, green dragon who sits on your doorstep.” Then came 1955’s Bride of the Monster, in which Lugosi played a mad scientist who ends up doing battle with a (suspiciously limp) giant octopus.

Before long, Wood had cooked up around half a dozen concepts for new films, all starring Lugosi. At some point in the spring of 1956, the director shot some quick footage of the actor wandering around a suburban neighborhood, clad in a baggy cloak. This proved to be the last time that the star would ever appear on film. Lugosi died of a heart attack on August 16, 1956;  he was 73 years old.

Three years after Lugosi's passing, this footage was spliced into a cult classic that Wood came to regard as his “pride and joy.” Plan 9 From Outer Space tells the twisted tale of extraterrestrial environmentalists who turn newly-deceased human beings into murderous zombies. Since Lugosi could obviously no longer play his character, Wood hired a stand-in for some additional scenes. Unfortunately, the man who was given this job—California chiropractor Tom Mason—was several inches taller than Lugosi. In an attempt to hide the height difference, Wood instructed Mason to constantly hunch over. Also, Mason always kept his face hidden behind a cloak.

12. HE WAS BURIED IN HIS DRACULA CAPE.

Although Lugosi resented the years of typecasting that followed his breakout performance in Dracula, he asked to be laid to rest wearing the Count’s signature garment. Lugosi was buried under a simple tombstone at California's Holy Cross Cemetery.

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