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16 Cutting-Edge Facts About All in the Family

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‘‘The program you are about to see is All in the Family. It seeks to throw a humorous spotlight on our frailties, prejudices, and concerns. By making them a source of laughter, we hope to show—in a mature fashion—just how absurd they are.’’

That was the disclaimer that CBS ran prior to the very first episode of All in the Family. The Norman Lear creation didn’t just push the envelope, it sealed and stamped it as well. But viewers kept tuning in week after week to see stories about previously taboo topics, such as menopause, rape, homosexuality, and race relations. Crack open a can of cling peaches (in heavy syrup) and enjoy this smelting pot of behind-the-scenes tidbits.

1. THE SHOW WAS BASED ON A BRITISH SITCOM.

Norman Lear bought the rights to Till Death Do Us Part in the late 1960s after reading about the BBC series, which ran for 10 years beginning in 1965, in Variety. Alf Garnett (Warren Mitchell) was a working-class conservative who lived in London’s East End with his wife, daughter, and liberal layabout Liverpudlian son-in-law. Alf had opinions on just about everything, and was quite vocal in his dislike of Americans, Catholics, homosexuals, and anyone else who was “different” than him.

2. ARCHIE BUNKER WAS ORIGINALLY ARCHIE JUSTICE.

Lear thought that the BBC show’s set-up—a middle-aged, blue collar conservative man who never hesitated to express his racist viewpoints, his doting wife, and his liberal daughter and son-in-law—could be mined for humor for American audiences. Justice for All, as the show was called in his original pilot script, starred Carroll O’Connor as Archie Justice and Jean Stapleton as his wife, Edith. Kelly Jean Peters and Tim McIntire rounded out the cast as Gloria and Richard (Meathead’s original name). ABC passed on the show, however; their main complaint being Archie and Edith’s lack of chemistry with the younger actors. Lear recast the roles with Candy Azzara and Chip Oliver, changed the name of the show to Those Were the Days and shot a new pilot, but ABC was still uninterested.

3. CBS’S “RURAL PURGE” HELPED ALL IN THE FAMILY TO FINALLY GET ON THE AIR.

When Robert Wood became president of CBS in 1969 he made a bold move and cancelled several of the network’s long-running (and still-successful) “rural” shows, including Green Acres, Petticoat Junction, The Beverly Hillbillies, and Mayberry R.F.D. The latest market research showed that advertisers were attracted to a younger demographic, which to Wood meant less corn pone and more cutting-edge and socially relevant shows. Norman Lear’s revamped pilot—now called All in the Family and co-starring Sally Struthers and Rob Reiner as Gloria and Michael Stivic—was deemed relevant enough and premiered on the network in 1971 as a summer replacement series.

4. MUCH OF ARCHIE BUNKER WAS BASED ON NORMAN LEAR’S FATHER.

Herman Lear frequently told his son that he was the “laziest white kid I’ve ever seen” and called him “Meathead.” He also referred to his wife as a “Dingbat” and told her to “stifle.” (In an affectionate way, of course.) “King” Lear, as he was known to his family, also had a living room chair reserved for his use only. And the reason that the characters on not only All in the Family, but all other Norman Lear productions, seemed to be constantly shouting is because the entire Lear family always seemed to speak at top volume.

5. MICKEY ROONEY TURNED DOWN THE ROLE OF ARCHIE.

When Norman Lear pitched the series to Rooney, he only got as far as describing Archie as “a bigot who uses words like ‘spade’” before Mickey interrupted him. “Norm,” said the actor with a penchant for shortening names, “they’re going to kill you, shoot you dead in the streets.” Carroll O’Connor read for the role after Rooney’s refusal and had landed the part by the time he got to page three of the pilot script. But even he was dubious about the show and told Lear that CBS would cancel it after six weeks tops.

6. THE FUTURE MRS. REINER ALMOST PLAYED MRS. STIVIC.

Rob Reiner’s girlfriend (and eventual wife) Penny Marshall was a finalist for the role of Gloria. She and Sally Struthers were each summoned before the “suits” to read lines and do improv with Reiner (who had already been cast as Michael Stivic). Since Reiner and Marshall were living together at the time, Struthers had a feeling that Reiner would intentionally work better with Penny, so she went into the final audition without nerves and just gave it her all. Years later she asked Lear why she’d been chosen, and the producer told her that Penny Marshall had given a better reading, but that she resembled Jean Stapleton too much. He explained that it had been decided that Gloria would be Daddy’s Little Girl, so (with brutal honesty) she’d gotten the part because she had “a fat face and blue eyes like Carroll O’Connor.”

7. CBS WANTED “EDGY,” BUT WITHIN REASON.

While the scripts for the 13 contracted episodes were being written, Lear received a memo from the CBS Program Practices department detailing the words and phrases that should be avoided at all costs (based on their focus group research). For example, the network requested that homosexual terminology should be kept to a minimum—that “queer” and “fairy” should be used sparingly, and “regular fella” was preferable to “straight.” Lear’s response to these admonishments was to ignore them, as can be witnessed in the fifth episode of the first season, “Judging Books by Covers”:

Of course, the payoff came in the twist ending to this episode, when it was revealed that not only was Roger a “regular fella,” but that Archie’s burly former professional football player friend Steve was not.

8. THE EXPECTED VIEWER BACKLASH NEVER MATERIALIZED.

Despite the disclaimer posted prior to the first episode, CBS still braced for the worst the night All in the Family premiered. They hired dozens of extra operators at the network’s switchboard to handle the barrage of outraged telephone calls they were sure would follow. Much to their surprise, only a handful of viewers were offended enough to call. Indeed, as the series continued, network executives (and the show’s creative team) were shocked to find that contrary to their original intent, Americans seemed to embrace Archie Bunker rather than be repulsed by him. “Archie Bunker for President” bumper stickers and campaign buttons were all the rage, and a paperback called The Wit and Wisdom of Archie Bunker became a bestseller.

9. THEY DID RECEIVE A LOT OF CALLS AND MAIL ABOUT THE THEME SONG, THOUGH.

Viewers asked the same question over and over during the show’s first two seasons: What is the second to last line of the opening theme song? Folks had so much trouble understanding “Gee, our old LaSalle ran great” that O’Connor and Stapleton re-recorded it prior to season three and carefully enunciated the mystery lyric. (The LaSalle was a high-end General Motors model that was manufactured from 1927 until 1940.)

10. CARROLL O’CONNOR WROTE THE LYRICS FOR THE CLOSING THEME SONG.

Roger Kellaway wrote the instrumental “Remembering You,” which played over the closing credits of All in the Family. After the first season ended, O’Connor approached Kellaway and asked if he’d mind if he (O’Connor) wrote some lyrics to go with his music. Kellaway agreed, and even though the lyrics are never heard, O’Connor received a co-writing credit—and royalties—for the tune. In case you’re curious about the lyrics, here’s O’Connor performing the song on The Flip Wilson Show:

11. FOUR ARCHIE-LESS EPISODES WERE TAPED DURING A SALARY DISPUTE.

O’Connor went missing in action for three weeks in July of 1974 in a protest over his wages and working conditions. He claimed that Tandem Productions owed him $64,000 in back pay and he also wanted 12 weeks of vacation during his 24-week work schedule. Norman Lear countered by filming three Archie-less episodes (beginning with “Where’s Archie?” in season five) and made it known on the set that if O’Connor continued to hold out, the Archie character would be killed in some sort of accident, and that Stretch Cunningham (James Cromwell) would eventually move in with the Bunkers to provide a male foil for the family. Stretch “died” two seasons later; Cromwell told the New York Post that O’Connor had asked for him to be written out of the series “because I was getting too many laughs. Actually, he did me a great favor, because I might have ended up as another Fonzie, an actor totally identified with one character.”

12. SALLY STRUTHERS ALSO HAD CONTRACT ISSUES.

Struthers was itching to work in films and had scored an audition for the lead in the 1975 John Schlesinger film The Day of the Locust. But when All in the Family producers refused to give her time off if she landed the role, she took them to court. Tandem Productions countered by enforcing a provision in her contract that prevented her from appearing as an actress or celebrity anywhere other than on All in the Family. Karen Black eventually won the part in The Day of the Locust, and Gloria was absent from two episodes (“Archie the Hero” and “Archie the Donor”) while the whole kerfuffle was settled.

13. THE SHOW ONCE FEATURED FULL FRONTAL MALE NUDITY.

All in the Family shattered another taboo in 1976 when full frontal male nudity was shown for the first time on American network primetime television. Of course, the male in question was three-week old baby Joey Stivic, and the nudity was both tastefully filmed and germane to the plot. Later that same year, Ideal released an official Archie Bunker’s Grandson Joey Stivic doll that was “physically correct.”

14. THE FAMOUS “SOCK AND SHOE” DEBATE WAS BASED ON A REAL-LIFE INCIDENT.

Reiner stated in an interview that O’Connor happened to drop by his dressing room one day while he was getting dressed. Reiner’s habit is to put a sock and a shoe on one foot before dressing the other foot. O’Connor was nonplussed and proceeded to lecture Reiner on the “correct” way to don footwear. Reiner related the incident to the writers, who included it in a scene in “Gloria Sings the Blues."

15. SAMMY DAVIS JR. CAUSED THE LONGEST LAUGH RECORDED ON THE SERIES.

O’Connor and Sammy Davis Jr. were good friends in real life, and All in the Family was Davis’ favorite TV show. So at his request, a guest spot was arranged for him in season two’s “Sammy’s Visit.” The kiss at the end was O’Connor’s idea, and the audience reaction was the loudest and longest laugh in the history of the series.

16. EDITH DID NOT DIE ON THE SHOW.

Many viewers seem to recall an episode of All in the Family where Edith had passed away and was being mourned, but it never happened. The poignant scene where Archie wept while holding Edith’s pink slipper and asked how she could leave him happened in the first episode of the second season of Archie Bunker’s Place, the All in the Family spin-off series.

Additional Sources:
Even This I Get to Experience
, by Norman Lear
Archie & Edith, Mike & Gloria: The Tumultuous History of All in the Family, by Donna McCrohan
Norman Lear Interview
, The Archive of American Television
Carroll O'Connor Interview, The Archive of American Television
Jean Stapleton Interview, The Archive of American Television
Rob Reiner Interview, The Archive of American Television
"The Great Divide," The New Yorker
"The Many Beginnings of All in the Family," Splitsider
Nashua Telegraph, October 25, 1974
Sioux City Journal, February 11, 2014
Toledo Blade, June 12, 1975

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15 Surprising Facts About Scarface
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Say hello to our little list. Here are a few facts to break out at your next screening of Scarface, Brian De Palma’s gangsters-and-cocaine classic, which arrived in theaters on this day in 1983.

1. IT WASN'T THE FIRST SCARFACE.

Brian De Palma's Scarface is a loose remake of the 1932 movie of the same name, which is also about the rise and fall of an American immigrant gangster. The producer of the 1983 version, Martin Bregman, saw the original on late night TV and thought the idea could be modernized—though it still pays respect to the original film. De Palma's flick is dedicated to the original film’s director, Howard Hawks, and screenwriter, Ben Hecht.

2. IT COULD HAVE BEEN A SIDNEY LUMET FILM.

At one point in the film's production, Sidney Lumet—the socially conscious director of such classics as Dog Day Afternoon and 12 Angry Men—was brought on as its director. "Sidney Lumet came up with the idea of what's happening today in Miami, and it inspired Bregman," Pacino told Empire Magazine. "He and Oliver Stone got together and produced a script that had a lot of energy and was very well written. Oliver Stone was writing about stuff that was touching on things that were going on in the world, he was in touch with that energy and that rage and that underbelly."

3. OLIVER STONE WASN'T INTERESTED IN WRITING THE SCRIPT, UNTIL LUMET GOT INVOLVED.


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Producer Bregman offered relative newcomer Oliver Stone a chance to overhaul the screenplay, but Stone—who was still reeling from the box office disappointment of his film, The Hand—wasn't interested. "I didn’t like the original movie that much," Stone told Creative Screenwriting. "It didn’t really hit me at all and I had no desire to make another Italian gangster picture because so many had been done so well, there would be no point to it. The origin of it, according to Marty Bregman, [was that] Al had seen the '30s version on television, he loved it and expressed to Marty as his long time mentor/partner that he’d like to do a role like that. So Marty presented it to me and I had no interest in doing a period piece."

But when Bregman contacted Stone again about the project later, his opinion changed. "Sidney Lumet had stepped into the deal," Stone said. "Sidney had a great idea to take the 1930s American prohibition gangster movie and make it into a modern immigrant gangster movie dealing with the same problems that we had then, that we’re prohibiting drugs instead of alcohol. There’s a prohibition against drugs that’s created the same criminal class as (prohibition of alcohol) created the Mafia. It was a remarkable idea."

4. UNFORTUNATELY, ACCORDING TO STONE, LUMET HATED HIS SCRIPT.

While the chance to work with Lumet was part of what lured Stone to the project, it was his script that ultimately led to the director's departure from the film. According to Stone: "Sidney Lumet hated my script. I don’t know if he’d say that in public himself, I sound like a petulant screenwriter saying that, I’d rather not say that word. Let me say that Sidney did not understand my script, whereas Bregman wanted to continue in that direction with Al."

5. STONE HAD FIRSTHAND EXPERIENCE WITH THE SUBJECT MATTER.

In order to create the most accurate picture possible, Stone spent time in Florida and the Caribbean interviewing people on both sides of the law for research. "It got hairy," Stone admitted of the research process. "It gave me all this color. I wanted to do a sun-drenched, tropical Third World gangster, cigar, sexy Miami movie."

Unfortunately, while penning the screenplay, Stone was also dealing with his own cocaine habit, which gave him an insight into what the drug can do to users. Stone actually tried to kick his habit by leaving the country to complete the script so he could be far away from his access to the drug.

"I moved to Paris and got out of the cocaine world too because that was another problem for me," he said. "I was doing coke at the time, and I really regretted it. I got into a habit of it and I was an addictive personality. I did it, not to an extreme or to a place where I was as destructive as some people, but certainly to where I was going stale mentally. I moved out of L.A. with my wife at the time and moved back to France to try and get into another world and see the world differently. And I wrote the script totally f***ing cold sober."

6. BRIAN DE PALMA DIDN'T WANT TO AUDITION MICHELLE PFEIFFER.


Universal Home Video

De Palma was hesitant to audition the relatively untested Pfeiffer because at the time she was best known for the box office bomb Grease 2. Glenn Close, Geena Davis, Carrie Fisher, Kelly McGillis, Sharon Stone and Sigourney Weaver were all considered for the role of Elvira, but Bregman pushed for Pfeiffer to audition and she got the part.

7. YES, THERE IS A LOT OF SWEARING.

According to the Family Media Guide, which monitors profanity, sexual content, and violence in movies, Scarface features 207 uses of the “F” word, which works out to about 1.21 F-bombs per minute. In 2014, Martin Scorsese more than doubled that with a record-setting 506 F-bombs thrown in The Wolf of Wall Street.

8. TONY MONTANA WAS NAMED FOR A FOOTBALL STAR.

Stone, who was a San Francisco 49ers fan, named the character of Tony Montana after Joe Montana, his favorite football player.

9. TONY IS ONLY REFERRED TO AS "SCARFACE" ONCE, AND IT'S IN SPANISH.

Hector, the Colombian gangster who threatens Tony with the chainsaw, refers to Tony as “cara cicatriz,” meaning “scar face” in Spanish.

That chainsaw scene, by the way, was based on a real incident. To research the movie, Stone embedded himself with Miami law enforcement and based the infamous chainsaw sequence on a gangland story he heard from the Miami-Dade County police.

10. VERY LITTLE OF THE FILM WAS ACTUALLY SHOT IN MIAMI.

The film was originally going to be shot entirely on location in Miami, but protests by the local Cuban-American community forced the movie to leave Miami two weeks into production. Besides footage from those two weeks, the rest of the movie was shot in Los Angeles, New York, and Santa Barbara.

11. ALL THAT "COCAINE" LED TO PROBLEMS WITH PACINO'S NASAL PASSAGES.

Though there has long been a myth that Pacino snorted real cocaine on camera for Scarface, the "cocaine" used in the movie was supposedly powdered milk (even if De Palma has never officially stated what the crew used as a drug stand-in). But just because it wasn't real doesn't mean that it didn't create problems for Pacino's nasal passages. "For years after, I have had things up in there," Pacino said in 2015. "I don't know what happened to my nose, but it's changed."

12. PACINO'S NOSE WASN'T HIS ONLY BODY PART TO SUFFER DAMAGE.

Still of Al Pacino as Tony Montana in 'Scarface' (1983)
Universal Home Video

In the film's very bloody conclusion, Montana famously asks the assailants who've invaded his home to "say hello to my little friend," which happens to be a very large gun. That gun took a beating from all the blanks it had to fire, so much so that Pacino ended up burning his hand on its barrel. "My hand stuck to that sucker," he said. Ultimately, the actor—and his bandaged hands—had to sit out some of the action in the last few weeks of production.

13. STEVEN SPIELBERG DIRECTED A SINGLE SHOT.

De Palma and Spielberg had been friends since the two began making studio movies in the mid-1970s, and they made a habit of visiting each other’s sets. Spielberg was on hand for one of the days of shooting the Colombians’ initial attack on Tony Montana’s house at the end of the movie, so De Palma let Spielberg direct the low-angle shot where the attackers first enter the house.

14. SOME COOL TECHNOLOGY WENT INTO THE GUN MUZZLE FLASHES.

In order to heighten the severity of the gunfire, De Palma and the special effects coordinators created a mechanism to synchronize the gunfire with the open shutter on the movie camera to show the huge muzzle flash coming from the guns in the final shootout.

15. SADDAM HUSSEIN WAS A FAN OF THE FILM.

The trust fund the former Iraqi dictator set up to launder money was called “Montana Management,” a nod to the company Tony uses to launder money in the movie.

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30 Cold, Hard Facts About Die Hard
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What do you get when you mix one part action movie with one part holiday flick and add in a dash of sweaty tank top? Die Hard, John McTiernan’s genre-bending Christmas action masterpiece for the ages, which sees a badass NYPD cop take on a skyscraper full of bad guys in the midst of an office holiday party. Here are 30 things you might not know about the movie.

1. IT’S GOT A LITERARY BACKGROUND.

Think some action-loving Hollywood scribe came up with the concept for Die Hard? Think again. The movie is based on Roderick Thorp’s 1979 crime novel Nothing Lasts Forever, which is a sequel to his 1966 novel, The Detective. In 2013, Thorp’s long out-of-print book was resurrected to coincide with the film’s 25th anniversary.

2. IT WAS INSPIRED BY THE TOWERING INFERNO.

The idea for Nothing Lasts Forever was inspired John Guillermin’s 1974 disaster flick The Towering Inferno. After seeing the film, Thorp had a dream about a man being chased through a skyscraper by a group of men with guns. He eventually turned that snippet of an idea into a sequel to The Detective.

3. FRANK SINATRA GOT FIRST DIBS ON PLAYING THE ROLE OF JOHN MCCLANE.


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Because he had starred in the big-screen adaptation of The Detective, Frank Sinatra had to be offered the role in its sequel. At the age of 73, he smartly turned it down.

4. BRUCE WILLIS’S BIG-SCREEN DEBUT WAS WITH FRANK SINATRA.

In 1980, Willis made his film debut (albeit uncredited) in the crime thriller The First Deadly Sin. He has no name and if you blink you’ll miss him, but the role simply required that Willis entered a diner as Sinatra’s character left it. Maybe it was kismet?

5. CLINT EASTWOOD PLANNED TO TAKE A STAB AT THE PART.

Originally, it was Clint Eastwood who owned the movie rights to Nothing Lasts Forever, which he had planned to star in in the early 1980s. That obviously never happened.

6. IT WAS NEVER SUPPOSED TO BE A SEQUEL TO COMMANDO.

This is one of the most popular internet stories about Die Hard. But according to Stephen de Souza, the screenwriter of both Die Hard and Commando, while there was a sequel to Commando planned, the only similarity with Die Hard is that they both took place in buildings. According to de Souza, Escape Plan is the closest to his original Commando 2 idea and Die Hard was never supposed to be anything but Die Hard.

7. BRUCE WILLIS WASN’T EVEN THE STUDIO’S THIRD CHOICE FOR THE ROLE.

If Die Hard was to be a success, the studio knew they needed a bona fide action star in the part, so they set about offering it to a seemingly never-ending list of A-listers of the time. Rumor has it that Sylvester Stallone, Harrison Ford, Robert De Niro, Charles Bronson, Nick Nolte, Mel Gibson, Richard Gere, Don Johnson, Burt Reynolds, and Richard Dean Anderson (yes, MacGyver!) were all considered for the role of John McClane. And all declined it.

8. BRUCE WILLIS WAS CONSIDERED A COMEDIC ACTOR AT THE TIME.

Die Hard’s producers had nothing against Bruce Willis, of course. He just wasn’t an immediate choice for the role because, up until that point, he was known solely as a comedic actor, not an action star. Following the success of the film, the action genre really became Willis’s bread and butter, and although he has two Emmys for his comedy work, it has remained as such to this day.

9. BRUCE WILLIS WAS BARELY EVEN SEEN ON THE MOVIE’S POSTERS.

Bruce Willis stars as John McClane in 'Die Hard.'
Twentieth Century Fox

Because the studio’s marketing gurus were unconvinced that audiences would pay to see an action movie starring the funny guy from Moonlighting, the original batch of posters for the film centered on Nakatomi Plaza instead of Willis’s mug. As the film gained steam, the marketing materials were altered, and Willis was more prominent in the promos.

10. WILLIS WAS PAID $5 MILLION TO MAKE THE MOVIE.

Even with all the uncertainly surrounding whether he could pull the film off, Willis was paid $5 million to make Die Hard, which was considered a rather hefty sum at the time—a figure reserved for only the top tier of Hollywood talents.

11. WILLIS SUGGESTED THAT BONNIE BEDELIA PLAY HIS WIFE.

Though we suspect that she wasn’t paid $5 million for the gig.

12. BRUCE WILLIS WAS ABLE TO SAY YES THANKS TO A WELL-TIMED PREGNANCY.

The first few times Bruce Willis was asked to star in the movie, he had to say no because of his commitments to Moonlighting. Then costar Cybill Shepard announced that she was pregnant. Because her pregnancy wouldn’t work within the show, producer Glenn Caron gave everyone 11 weeks off, allowing Willis to say yes.

13. SAM NEILL WAS ORIGINALLY APPROACHED FOR THE PART OF HANS GRUBER.

But Neill ended up turning the film down. Then, in the spring of 1987, the casting director saw Alan Rickman playing the dastardly Valmont in a stage production of Dangerous Liaisons and knew they had found their Hans.

14. DIE HARD WAS ALAN RICKMAN’S FEATURE FILM DEBUT.

Though Rickman may have played the part of Hans as cool as the other side of the pillow, it was actually his first role in a feature film.

15. JOHN MCTIERNAN TURNED THE MOVIE DOWN, TOO.

And not just once, but on a few different occasions. His reason was that the material just seemed too dark and cynical for him. “The original screenplay was a grim terrorist movie,” McTiernan told Empire magazine in 2014. “On my second week working on it, I said, 'Guys, there's no part of terrorism that's fun. Robbers are fun bad guys. Let's make this a date movie.’ And they had the courage to do it.”

16. MCTIERNAN SEES IT AS A SHAKESPEAREAN TALE.

In the original script, the action in Die Hard takes place over a three-day span, but McTiernan—inspired by Shakespeare’s A Midsummer Night’s Dream—insisted that it be condensed into a single evening.

17. NAKATOMI PLAZA IS ACTUALLY FOX PLAZA.


Yes, the corporate headquarters of 20th Century Fox—the very studio making the movie—proved to be the perfect location for the movie’s much-needed Nakatomi Plaza. And as it was still under construction, there wasn’t a whole lot they needed to do to the space to make it movie-ready. The studio charged itself rent to use its own space.

18. THE ROOM WHERE THE HOSTAGES ARE BEING HELD IS LITERALLY SUPPOSED TO BE FRANK LLOYD WRIGHT'S FALLINGWATER.

"In this period, Japanese corporations were buying America," production designer Jackson De Govia said in the Die Hard DVD audio commentary. "We posited that ... Nakatami Corporation bought Fallingwater, disassembled it, and reassembled it in the atrium, like a trophy."

19. THAT PANORAMIC VIEW OF THE CITY BELOW? IT’S NOT REAL.

A 380-foot-long background painting provided the illusion of a breathtaking city view in the movie. And it was a state-of-the-art one, too, with animated lights, moving traffic, and the ability to change from night to day. The painting is still the property of the studio and has been used in other productions since.

20. THE FILM’S SUCCESS SPAWNED A BONA FIDE FRANCHISE.

In addition to its four sequels, Die Hard has spawned video games and comic books, too.

21. JOHN MCCLANE’S TUMBLE DOWN A VENTILATION SHAFT WAS AN ACCIDENT.

Or maybe “error” would be a better word. But in the scene in which McClane jumps into an elevator shaft, his stunt man was supposed to grab onto the first vent. But he missed. By a lot. Which made the footage even more exciting to watch, so editor Frank J. Urioste kept it in the final cut.

22. ALAN RICKMAN’S DEATH SCENE WAS ALSO PRETTY SCARY.

At least it was for Rickman. In order to make it look as if he was falling off a building, Rickman was supposed to drop 20 feet onto an air bag while holding onto a stunt man. But in order to get a genuinely terrified reaction out of him, they dropped him on the count of two—not three, as was planned.

23. BRUCE WILLIS SUFFERED PERMANENT HEARING LOSS.


Twentieth Century Fox

In order to get the hyper-realism that director John McTiernan was looking for, the blanks used in the guns in the movie were modified to be extra loud. In one scene, Willis shoots a terrorist through a table, which put the action star in extremely close proximity to the gun—and caused permanent hearing loss. He referenced the injury in a 2007 interview with The Guardian. When they asked Willis his most unappealing habit, he replied that, “Due to an accident on the first Die Hard, I suffer two-thirds partial hearing loss in my left ear and have a tendency to say, ‘Whaaa?’”

24. ALAN RICKMAN WASN’T FOND OF THE NOISE EITHER.

Whenever he had to shoot a gun in the film, Rickman couldn’t help but flinch. Which forced McTiernan to have to cut away from him so that his reactions were not caught on film.

25. GRUBER’S AMERICAN ACCENT POSED NOTHING BUT PROBLEMS.

The scene in which Rickman, as Gruber, slips into an American accent and pretends to be yet another hostage who got away was insisted on by screenwriter Steven de Souza, who wanted them in a room together to duke it out. But McTiernan was never happy with Rickman’s American accent, saying, “I still hear Alan Rickman’s English accent. I was never quite happy with the way he opened his mouth [in that scene] ... I shot it three times trying to get him to sound more stridently American ... it’s odd for someone who has such enormous verbal skills; he just had terrible trouble getting an American accent.”

26. HANS GRUBER’S GERMAN IS MOSTLY GIBBERISH.

And the bulk of his German cohorts were not German either. Bruce Willis, on the other hand, was actually born in West Germany to an American father and a German mother.

27. BRUCE WILLIS HAS FOUR FEET.

As Willis spends much of the movie in his bare feet running through broken glass, he was given a pair of rubber feet to wear as a safety precaution. Which is great and all, but if you look closely in certain scenes, you can actually see the fake appendages.

28. YOU CAN SEE—BUT NOT TOUCH—JOHN MCCLANE’S SWEATY TANK TOP.


Getty Images

In 2007, Willis donated the blood-soaked tank top he wore in Die Hard to the National Museum of American History at the Smithsonian.

29. “YIPPEE-KI-YAY” STOLE THE MOVIE.

It was a simple line: “Yippee-ki-yay, motherf*cker!” But it became the film’s defining moment, and the unofficial catchphrase that has been used in all four Die Hard sequels as well.

30. CREDIT FOR THE LINE IS OWED TO WILLIS.

In a 2013 interview with Ryan Seacrest, Bruce Willis admitted that “Yippee-ki-yay, motherf*cker!” was really just a joke. “It was a throwaway,” said Willis. “I was just trying to crack up the crew and I never thought it was going to be allowed to stay in the film."

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