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13 Close-Up Facts About Sunset Boulevard

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Sunset Boulevard, one of Hollywood's most cruelly accurate depictions of itself, is now 65 years old—older, even, than its main character, who's washed up at 50. Sunset Boulevard is no has-been, though. If anything, its observations on the greedy machinations of Tinseltown are truer now than they were in 1950. (Norma Desmond would be quick to point out that, thanks to computers and iPads, the pictures have gotten even smaller.) 

It came out the same year as another behind-the-scenes showbiz classic, All About Eve, which took most of the Oscars. But trophies or not, Sunset Boulevard has stayed near the top of the list of great movies about moviemaking. Here's some backstage information to enhance your experience the next time you visit the Paramount lot. 

1. MAE WEST WAS BILLY WILDER'S FIRST CHOICE TO STAR.

Initially, writer-director Wilder envisioned the movie as a straightforward comedy, and the famously saucy West seemed like a perfect fit. But she wanted to rewrite her dialogue (as was her custom)—a nonstarter for Wilder, who seldom let his actors change their lines even slightly from what was on the page. It's probably just as well, since the darker, more nuanced story that eventually emerged was quite different from West's wheelhouse anyway.

2. MONTGOMERY CLIFT WAS THE FIRST CHOICE FOR JOE GILLIS.

The much sought after but highly finicky leading man accepted the role, then backed out. Some speculated it was because he was dating an older woman at the time (actress Libby Holman, 16 years his senior) and didn't want people to think the movie was a parody of that relationship. Clift's biographers say it was because he had a strong following among older women, who wrote him letters describing how they'd like to mother him, and he didn't want to encourage such behavior.

3. IT WAS PARTLY INSPIRED BY AN EVELYN WAUGH NOVEL.

The British author's satirical The Loved One was published in 1948, after Waugh had spent time in Hollywood observing the film industry and, of all things, the funeral industry. (The book is about a failed screenwriter who works for a cemetery and lives with a forgotten silent-film star.) Wilder and his co-writers reversed several elements, and there was no official connection between the movie and Waugh's book. But as commentator Steve Sailer points out, more than one contemporary source mentions it as an inspiration. Sunset Boulevard's cinematographer, John Seitz, said Wilder "had wanted to do The Loved One, but couldn't obtain the rights." And gossip columnist Hedda Hopper (who appears in the movie as herself) wrote that "Billy Wilder ... was crazy about Evelyn Waugh's book The Loved One, and the studio wanted to buy it." 

4. GLORIA SWANSON AND CECIL B. DEMILLE USED THEIR REAL PET NAMES FOR EACH OTHER.

When Norma Desmond visits her old friend at Paramount, she affectionately calls him "Mr. DeMille" (not Cecil or C.B.), and he calls her "young fellow." In real life, when Swanson and DeMille had worked together, that was what they always called each other. It's kind of sweet, actually. 

5. THE OPENING SCENE HAD TO BE SCRAPPED BECAUSE THE AUDIENCE FOUND IT TOO FUNNY. 

Sunset Boulevard now begins with police cars racing to Norma Desmond's house, where a dead body is floating in the pool. But it originally began in the L.A. county morgue, with toe-tagged corpses—including Joe's—speaking to each other (in voiceover) about how they died. It was meant to be slightly humorous in a morbid way, but the audience at the first test screening found it flat-out hysterical, setting the wrong mood for the rest of the picture. When two more test audiences reacted the same way, Wilder cut the scene and the movie was saved.

6. THE UNDERWATER SHOT WAS NOT FILMED UNDERWATER.

One of the few showy bits of camerawork in the film is near the beginning, when the corpse floating in Norma Desmond's pool is seen from underneath. But it was too difficult to put a camera underwater to get the shot, so Wilder and cinematographer John Seitz came up with an ingenious solution: they put a mirror on the bottom of the pool and filmed the reflection from above.

7. NORMA DESMOND'S HOUSE WAS ON A DIFFERENT BOULEVARD, AND WAS LATER SEEN IN ANOTHER MOVIE.

The interiors of Norma's decaying mansion were actually a set at Paramount Studios. The exterior shots were of a house located not on Sunset but Irving Boulevard, near the corner of Wilshire, owned by the J. Paul Getty family. Like most old things in L.A., the house has since been replaced by an office building. But before that happened, it appeared in Rebel Without a Cause as the abandoned mansion in which the kids hang out. Also, the house didn't have a pool, so Paramount paid to have one installed on the condition that if Mrs. Getty didn't like it, they'd remove it after filming was over. (She liked it.)

8. WILLIAM HOLDEN'S WIFE DIDN'T APPRECIATE THAT KISS.

Brenda Marshall, Holden's wife since 1941, was visiting the set when Holden and Nancy Olson had their kissing scene. Wilder, ever the merry prankster, told Holden and Olson to keep kissing until he called "cut": he was going to fade out at the end of the scene, and he needed to make sure the kiss didn't end prematurely. Well, they kissed, and kissed, and kept kissing, and the crew began to snicker, and finally Marshall's voice rang out: "Cut, dammit!" Everyone had a good laugh, though the record doesn't reflect whether Marshall joined in.

9. HEDY LAMARR WANTED $25,000 TO DO A CAMEO.

When Norma visits DeMille at Paramount, he's in the midst of shooting Samson and Delilah, which really is what he was up to at the time. For added meta-truthfulness, Wilder wanted to have that film's lead actress, Hedy Lamarr, be there too, so that DeMille could ask her to let Norma sit in her chair (you know, those behind-the-scenes chairs that have the star's name on them). For this Lamarr wanted $25,000 (which would be about $250,000 in 2015 dollars). Wilder changed the scene so that DeMille offered Lamarr's chair to Norma without Lamarr being present. But even to show a chair with her name on it, Lamarr wanted $10,000. So Wilder gave up, and DeMille (who was already being compensated) gave Norma his own chair. 

10. THE SILENT FILM NORMA WATCHES HAD GREAT BEHIND-THE-SCENES SIGNIFICANCE.

In her private screening room, with butler Max running the projector, Norma cuddles up with Joe to watch one of her own films. The footage we see is from Queen Kelly (1929), which starred Gloria Swanson and was directed by Max himself, Erich von Stroheim. Queen Kelly nearly ruined both of their careers: von Stroheim was replaced as director midway through after complaints from Swanson about the racy material and arguments with the producer (JFK's father!) over the spiraling budget.

An ending for the film was cobbled together, but the movie was never shown in the U.S. The clips in Sunset Boulevard were the first American audiences had seen of it. For Swanson, whose career was already being threatened by the advent of talkies, Queen Kelly was another blow. Still, whatever hard feelings there may have been between Swanson and von Stroheim, they were gone by the time Sunset Boulevard came along.

11. ERICH VON STROHEIM RESENTED THE MOVIE.

The actor-turned-director-turned-actor-again, who had indeed been one of the great silent-filmmakers, winced at playing a character so self-referential and demeaning, but he needed the money. He called it "that goddamned butler role" for the remaining seven years of his life.

12. IT WAS THE END OF A LONG PARTNERSHIP BETWEEN BILLY WILDER AND CHARLES BRACKETT.

Brackett was a New York-born novelist and screenwriter, head of the Screen Actors Guild in the late 1930s, and president of the Academy of Motion Picture Arts and Sciences from 1949 to 1955 (during which time he won two screenwriting Oscars—good news for conspiracy theorists). Brackett was also a frequent collaborator with Billy Wilder, co-writing and producing a dozen movies with him (including The Lost Weekend) before Sunset Boulevard proved to be their last.

Wilder was, well, the wilder of the two, often bawdy and crass, while Brackett was genteel. This dynamic served them well for years, each man's extreme tendencies being balanced by the other's, but during Sunset Boulevard it finally became unworkable. A disagreement over the montage where Norma puts herself through hell getting thinner and younger for her comeback nearly resulted in physical violence: Brackett thought it was too mean, while Wilder felt it was necessary to show what lengths a desperate actor would go to in Hollywood. Wilder's version is the one they went with (he was the director, after all), but the argument marked a turning point for him, and he decided never to work with Brackett again. Their partnership ended in a professional and gentlemanly manner—there was no airing of any dirty laundry—but it did end. 

13. THE LIVE MUSICAL VERSION WAS ALMOST 40 YEARS IN THE MAKING. 

You probably know about the Andrew Lloyd Webber version of Sunset Boulevard that premiered in London in 1993 and headed to Broadway in 1994 with Glenn Close in the lead role. But attempts to turn the movie into a stage musical began almost immediately, spearheaded by none other than Gloria Swanson. With unofficial permission from Paramount, she worked for a few years with writer Dickson Hughes and actor Richard Stapley developing a show called Starring Norma Desmond (later changed to Boulevard). But in 1957, Paramount formally asked Desmond to stop, the studio bosses having decided not to grant permission after all.

A few years later, Stephen Sondheim became interested in writing a musical version of his own, working with writer Burt Shevelove (with whom he ended up writing A Funny Thing Happened on the Way to the Forum). But when Sondheim pitched the idea to Billy Wilder at a party, Wilder said, "You can't write a musical about Sunset Boulevard. It has to be an opera. After all, it's about a dethroned queen." Sondheim respectfully stopped work on the project and, on the same grounds, later declined an offer to write the score for a proposed movie remake. 

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On Sunset Boulevard: The Life and Times of Billy Wilder, by Ed Sikov

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15 Fascinating Facts About Candyman
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Helen Lyle (Virginia Madsen) is a Chicago graduate student with a deep fascination with urban legends, which she and her friend Bernadette (Kasi Lemmons) are using as the basis for a thesis project. After they stumble across the local legend of Candyman, a well-to-do black artist who fell in love with a white woman in the late 1800s and was murdered for it, Helen wants to learn more. When she’s told that Candyman still haunts Chicago's Cabrini-Green housing project, and that his spirit can be summoned by repeating his name into a mirror five times, Helen does just that … and all hell breaks loose.

What began as a low-budget indie film has morphed into a contemporary classic of the horror genre, and essential Halloween viewing. In 1992, English filmmaker Bernard Rose—who got his start working as a gopher on The Muppet Show—turned Clive Barker’s short story “The Forbidden” into Candyman, which was released in theaters 25 years ago today. In honor of the film’s anniversary, here are 15 things you might not have known about Candyman.

1. EDDIE MURPHY WAS CONSIDERED FOR THE LEAD.

Though the role of Candyman turned Tony Todd into a horror icon, he wasn’t the only actor in consideration for the film’s title role: Eddie Murphy was also reportedly a contender for the part. Though it’s unclear exactly why he wasn’t cast, sources have reported that it had to do with everything from his height (at 5 feet 9 inches, he wouldn’t seem nearly as intimidating as the 6-foot-5 Todd) to his salary demands.

2. AN UNEXPECTED PREGNANCY LANDED VIRGINIA MADSEN THE LEAD.

Virginia Madsen stars in 'Candyman'
PolyGram Filmed Entertainment

When asked by HorrorNewsNetwork about how she got the role of Helen in Candyman, Virginia Madsen shared that it was almost by accident: She was supposed to play Bernie, Helen’s friend and classmate, the role that eventually went to Kasi Lemmons.

“I was actually very good friends with Bernard [Rose] and his wife Alexandra,” Madsen said. “She is a wonderful actress, who actually brought Clive Barker’s short story ‘The Forbidden’ to her husband. She thought this would be a great film, and he could direct her. She was supposed to be Helen. I was going to play [Kasi Lemmons'] part, until they made the character African American. Then I was out.

“Right before shooting, Alexandra found out she was pregnant. It was great for me, but it was so sad for her because this was her role; she found this story and really wanted it. So when I was asked to step in I felt like ‘I can’t take my friend’s role.’ She actually came over one day and said ‘It would just kill me to see someone else play this role, you have to be the one who plays it.’ So with her blessing I took on the role. I really tried to work my butt off just to honor her.”

3. IT COULD HAVE STARRED SANDRA BULLOCK.

On the film’s DVD commentary, producer Alan Poul said that had Madsen been unable to step into the role of Helen, the part would have likely been offered to Sandra Bullock, who was still a relative unknown actress at that point. Though she had played the role of Tess McGill in the television adaptation of Working Girl, she was still a couple of years away from Speed (1994), the role that launched her into stardom.

4. ITS OPENING SHOT WAS GROUNDBREAKING.

The film’s opening credits feature a great aerial view of Chicago, which was pretty revolutionary for its time. “We did that with an incredible new machine called the Skycam, which can shoot up to a 500mm lens with no vibration,” Rose told The Independent. “You've never seen that shot before, at least not done that smoothly.”

5. NOT ALL OF THE FILM’S CREEPY DETAILS SPRUNG FROM CLIVE BARKER’S IMAGINATION.

While investigating one of Candyman’s crime scenes, Helen and Bernie discover that the design of the apartment’s medicine cabinet made it a possible point of entry for an intruder. This was not a made-up piece of horror movie fiction. While researching the film, Rose learned that a series of murders had been committed in Chicago in this very way.

6. BERNARD ROSE SEES CANDYMAN AS A ROMANTIC FIGURE.

Tony Todd stars in 'Candyman'
PolyGram Filmed Entertainment

Viewers may think of Candyman as one of the horror genre’s most terrifying villains, but Rose said that “the idea always was that he was kind of a romantic figure. And again, romantic in sort of the Edgar Allan Poe sense—it's the romance of death. He's a ghost, and he's also the resurrection of something that is kind of unspoken or unspeakable in American history, which is slavery, as well. So he's kind of come back and he's haunting what is the new version of the racial segregation in Chicago.

“And I think there's also something very seductive and very sweet and very romantic about him, and that's what makes him interesting. In the same way there is about Dracula. In the end, the Bogeyman is someone you want to surrender to. You're not just afraid of. There's a certain kind of joy in his seduction. And Tony was always so romantic. Tony ties him in so elegantly and is such a gentleman. He was wonderful.”

7. THE BEES IN THE FILM WERE BRED SPECIFICALLY TO APPEAR ONSCREEN.

No, that is not CGI! The bees that play a key role in Candyman are indeed real. So that they looked appropriately terrifying, but were less dangerous to the cast and crew, the filmmakers used newborn bees—they were just 12 hours old—so that they looked fully grown, but had less powerful stingers.

8. TONY TODD WAS STUNG 23 TIMES, AND GOT A BONUS EACH TIME IT HAPPENED.

Photo of Tony Todd in 'Candyman'
PolyGram Filmed Entertainment

In addition to allowing the filmmakers to cover his face with bees, Todd actually agreed to film a scene in which he had a mouthful of bees—and that, too, was all real. He told TMZ that he wore a dental dam to prevent any bees from sliding into his throat—which doesn’t mean that he didn’t suffer a sting or two … or 23, to be exact, over the course of three Candyman movies. Though it might have been worth it. “I had a great lawyer,” he told TMZ. “A thousand dollars a pop.”

9. THE BEES WEREN’T GREAT NEWS FOR MADSEN, EITHER.

Madsen, too, had to get up close and personal with those bees—a fact that almost forced her to pass on the role. “When Bernie was first asking me to do the role I said, ‘Well, I can’t. I’m allergic to bees,’” she told HorrorNewsNetwork. “He said ‘No you’re not allergic to bees, you’re just afraid.’ So I had to go to UCLA and get tested because he didn’t believe [me]. I was tested for every kind of venom. I was far more allergic to wasps. So he said, ‘We’ll just [have] paramedics there, it will be fine!’ You know actors, we’ll do anything for a paycheck! So fine, I’ll be covered with bees.

“So we a had a bee wrangler and he pretty much told us you can’t freak out around the bees, or be nervous, or swat at them, it would just aggravate them. They used baby bees on me. They can still sting you, but are less likely. When they put the bees on me it was crazy because they have fur. They felt like little Q-tips roaming around on me. Then you have pheromones on you, so they’re all in love with you and think you’re a giant queen. I really just had to go into this Zen sort of place and the takes were very short. What took the longest was getting the bees off of us. They had this tiny ‘bee vacuum,’ which wouldn’t harm the bees. After the scene where the bees were all over my face and my head, it took both Tony and I 45 minutes just to get the bees off. That’s when it became difficult to sit still. It was cool though, I felt like a total badass doing it.”

10. PHILIP GLASS COMPOSED THE SCORE, BUT WAS DISAPPOINTED IN THE MOVIE.

When Philip Glass signed on to compose the score for Candyman, he apparently envisioned the final film being something totally different. According to Rolling Stone, “What he'd presumed would be an artful version of Clive Barker's short story ‘The Forbidden’ had ended up, in his view, a low-budget slasher.” Glass was reportedly disappointed in the film, and felt that he had been manipulated. Still, the haunting music is considered a classic score—and Glass’s own view of it seems to have softened over time. “It has become a classic, so I still make money from that score, get checks every year,” he told Variety in 2014.

11. MANY OF THE FILM'S SCENES WERE SHOT AT CABRINI-GREEN.

In 2011, the last remaining high-rise in the Cabrini-Green housing project was demolished. Over the years, the property—which opened in 1942—gained a notorious reputation around the world for being a haven for violence, drugs, gangs, and other criminal activities. While the project’s real-life history weaves its way into the narrative of Candyman, it only makes sense that Rose would want to shoot there. Which he did. But in order to gain permission to shoot there, he had to agree to cast some of the residents as extras.

“I went to Chicago on a research trip to see where it could be done and I was shown around by some people from the Illinois Film Commission and they took me to Cabrini-Green,” Rose said. “And I spent some time there and I realized that this was an incredible arena for a horror movie because it was a place of such palpable fear. And rule number one when you're making a horror movie is set it somewhere frightening. And the fear of the urban housing project, it seemed to me, was actually totally irrational because you couldn't really be in that much danger. Yes, there was crime there, but people were actually afraid of driving past it. And there was such an aura of fear around the place and I thought that was really something interesting to look into because it's sort of a kind of fear that's at the heart of modern cities. And obviously, it's racially motivated, but more than that—it's poverty motivated.”

12. THE FILM’S PRODUCERS WERE WORRIED THAT THE FILM WOULD BE CONSIDERED RACIST.

During pre-production, Candyman’s producers began to worry that the film might draw criticism for being racist, given that its villain was black and it was largely set in an infamous housing project. “I had to go and have a whole set of meetings with the NAACP, because the producers were so worried,” Rose told The Independent. “And what they said to me when they'd read the script was 'Why are we even having this meeting? You know, this is just good fun.' Their argument was 'Why shouldn't a black actor be a ghost? Why shouldn't a black actor play Freddy Krueger or Hannibal Lecter? If you're saying that they can't be, it's really perverse. This is a horror movie.'”

13. STILL, SOME FILMMAKERS COMPLAINED THAT IT WAS RACIST.

In a 1992 story in the Chicago Tribune, some high-profile black filmmakers expressed their disappointment that the film seemed to perpetuate several racist stereotypes. “There’s no question that this film plays on white middle-class fears of black people,” director Carl Franklin (Out of Time, Devil in a Blue Dress) said. “It unabashedly uses racial stereotypes and destructive myths to create shock. I found it hokey and unsettling. It didn't work for me because I don’t share those fears, buy into those myths.”

Reginald Hudlin, who directed House Party, Boomerang, and Marshall, described the film as “worrisome,” though he didn’t want to speak on the record about his specific issues with the film. “I've gotten calls about [the movie], but I think I'm going to reserve comment,” he said. “Some of my friends are in it and I may someday want to work for TriStar.”

For Rose, those assessments may have been hard to hear, as his goal in adapting Barker’s story and directing it was to upend the myths about inner cities. “[T]he tradition of oral storytelling is very much alive, especially when it's a scary story,” he told The Independent. “And the biggest urban legend of all for me was the idea that there are places in cities where you do not go, because if you go in them something dreadful will happen—not to say that there isn't danger in ghettos and inner city areas, but the exaggerated fear of them is an urban myth.”

14. IT’S STILL THE ROLE THAT MADSEN IS MOST RECOGNIZED FOR (ESPECIALLY AT AIRPORTS).

Kasi Lemmons and Virginia Madsen in 'Candyman'
PolyGram Filmed Entertainment

Though she earned a Best Supporting Actress nomination in 2005 for Alexander Payne’s Sideways, in 2012 Madsen said that Candyman is still the role she is most recognized for—especially at airports.

“More people recognize me from that movie than anything I’ve done,” she told HorrorNewsNetwork. “It means a lot to me. It was after years of struggling. As an actor, you always want a film that’s annual, like It’s a Wonderful Life or A Christmas Story. I just love that I have a Halloween movie. Now it’s kind of legend this story. People have watched it since they were kids, and every Halloween it’s on, and they watch it now with their kids. That means a lot to me. The place I get recognized the most is the airport security for some reason. Every person in airport security has seen Candyman. Maybe it makes them a little afraid of me.”

15. THERE WAS AN ACTUAL CANDYMAN KILLER.

Though the Chicago-based legend of Candyman is a work of fiction, there was an actual serial killer known as “Candyman” or “The Candy Man.” Between 1970 and 1973, Dean Corll kidnapped, tortured, and murdered at least 28 young boys in the Houston area. Corll earned his sweet nickname from the fact that his family owned a candy factory.

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10 Facts About Samuel Johnson’s Dictionary
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October 16 is World Dictionary Day, which each year celebrates the birthday of the American lexicographer Noah Webster, who was born in Connecticut in 1758. Last year, Mental Floss marked the occasion with a list of facts about Webster’s American Dictionary of the English Language—the enormous two-volume dictionary, published in 1828 when Webster was 70 years old, that established many of the differences that still divide American and British English to this day. But while Webster was America’s foremost lexicographer, on the other side of the Atlantic, Great Britain had Dr. Samuel Johnson.

Johnson—whose 308th birthday was marked with a Google Doodle in September—published the equally groundbreaking Dictionary of the English Language in 1755, three years before Webster was even born. Its influence was arguably just as great as that of Webster’s, and it remained the foremost dictionary of British English until the early 1900s when the very first installments of the Oxford English Dictionary began to appear.

So to mark this year’s Dictionary Day, here are 10 facts about Johnson’s monumental dictionary.

1. IT WASN’T THE FIRST DICTIONARY.

With more than 40,000 entries, Johnson’s Dictionary of the English Language was certainly the largest dictionary in the history of the English language at the time but, despite popular opinion, it wasn’t the first. Early vocabularies and glossaries were being compiled as far back as the Old English period, when lists of words and their equivalents in languages like Latin and French first began to be used by scribes and translators. These were followed by educational word lists and then early bilingual dictionaries that began to emerge in the 16th century, which all paved the way for what is now considered the very first English dictionary: Robert Cawdrey’s Table Alphabeticall—in 1604.

2. SAMUEL JOHNSON BORROWED FROM THE DICTIONARIES THAT CAME BEFORE HIS.

In compiling his dictionary, Johnson drew on Nathan Bailey’s Dictionarium Britanicum, which had been published in 1730. (Ironically, a sequel to Bailey’s dictionary, A New Universal Etymological English Dictionary, was published in the same year as Johnson’s, and borrowed heavily from his work; its author, Joseph Nicoll Scott, even gave Johnson some credit for its publication.)

But just as Johnson had borrowed from Bailey and Scott had borrowed from Johnson, Bailey, too had borrowed from an earlier work—namely John Kersey’s Dictionarium Anglo-Britannicum (1708)—which was based in part on a technical vocabulary, John Harris’s Universal English Dictionary of Arts and Sciences. Lexicographic plagiarism was nothing new.

3. THE DICTIONARY WASN’T THE ONLY THING JOHNSON WROTE.

Although he’s best remembered as a lexicographer today, Johnson was actually something of a literary multitasker. As a journalist, he wrote for an early periodical called The Gentlemen’s Magazine. As a biographer, he wrote the Life of Mr Richard Savage (1744), a memoir of a friend and fellow writer who had died the previous year. Johnson also wrote numerous poems (London, published anonymously in 1738, was his first major published work), a novel (Rasselas, 1759), a stage play (Irene, 1749), and countless essays and critiques. He also co-edited an edition of Shakespeare’s plays. And in between all of that, he even found time to investigate a supposed haunted house in central London.

4. IT WAS THE FIRST DICTIONARY TO USE QUOTATIONS.

Johnson’s dictionary defined some 42,773 words, each of which was given a uniquely scholarly definition, complete with a suggested etymology and an armory of literary quotations—no fewer than 114,000 of them, in fact.

Johnson lifted quotations from books dating back to the 16th century for the citations in his dictionary, and relied heavily on the works of authors he admired and who were popular at the time—Shakespeare, John Milton, Alexander Pope, and Edmund Spenser included. In doing so, he established a lexicographic trend that still survives in dictionaries to this day.

5. IT TOOK MORE THAN EIGHT YEARS TO WRITE.

Defining 42,000 words and finding 114,000 quotes to help you do so takes time: Working from his home off Fleet Street in central London, Johnson and six assistants worked solidly for over eight years to bring his dictionary to print. (Webster, on the other hand, worked all but single-handedly, and used the 22 years it took him to compile his American Dictionary to learn 26 different languages.)

6. JOHNSON WAS WELL PAID FOR HIS TROUBLES.

Johnson was commissioned to write his dictionary by a group of London publishers, who paid him a princely 1,500 guineas—equivalent to roughly $300,000 (£225,000) today.

7. HE LEFT OUT A LOT OF WORDS.

The dictionary’s 42,000-word vocabulary might sound impressive, but it’s believed that the English language probably had as many as five times that many words around the time the dictionary was published in 1755. A lot of that shortfall was simply due to oversight: Johnson included the word irritable in four of his definitions, for instance, but didn’t list it as a headword in his own dictionary. He also failed to include a great many words found in the works of the authors he so admired, and in several of the source dictionaries he utilized, and in some cases he even failed to include the root forms of words whose derivatives were listed elsewhere in the dictionary. Athlete, for instance, didn’t make the final cut, whereas athletic did.

Johnson’s imposition of his own tastes and interests on his dictionary didn't help matters either. His dislike of French, for example, led to familiar words like unique, champagne, and bourgeois being omitted, while those he did include were given a thorough dressing down: ruse is defined as “a French word neither elegant nor necessary,” while finesse is dismissed as “an unnecessary word that is creeping into the language."

8. HE LEFT OUT THE LETTER X.

    At the foot of page 2308 of Johnson’s Dictionary is a note merely reading, “X is a letter which, though found in Saxon words, begins no word in the English language."

    9. HIS DEFINITIONS WEREN’T ALWAYS SO SCHOLARLY.

      As well as imposing his own taste on his dictionary, Johnson also famously employed his own sense of humor on his work. Among the most memorable of all his definitions is his explanation of oats as “a grain, which in England is generally given to horses, but in Scotland supports the people.” But he also defined monsieur as “a term of reproach for a Frenchman,” excise as “a hateful tax levied upon commodities and adjudged not by the common judges of property but wretches hired by those to whom excise is paid,” and luggage as “anything of more weight than value.” As an example of how to use the word dull, he explained that “to make dictionaries is dull work.”

      10. HE POKED LOTS OF FUN AT HIS OWN OCCUPATION.

      Listed on page 1195 of his dictionary, Johnson’s definition of lexicographer was “a writer of dictionaries; a harmless drudge.”

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