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15 Prized Facts About Best in Show

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Based on a thin outline written by Christopher Guest and Eugene Levy, Best in Show was an improvised mockumentary about five entrants in the fictitious Mayflower Dog Show. Featuring the likes of Guest, Levy, Catherine O’Hara, Parker Posey, Michael McKean, Fred Willard, and Jane Lynch, the movie was the second in the streak of Guest-directed improvisational comedies considered to be the standard of the genre, after Waiting for Guffman (1996) and prior to A Mighty Wind (2003) and For Your Consideration (2006). Here are some facts about Best in Show, once you stop naming nuts.

1. EUGENE LEVY DIDN’T THINK IT COULD BE DONE.

Guest—portrayer of Nigel Tufnel in This Is Spinal Tap (1984) and Count Tyrone Rugen of The Princess Bride (1987)—and his wife, actress Jamie Lee Curtis, had two dogs, leading the writer/director to make frequent trips to the local dog park. "There were people there with purebred dogs, with mutts and so on, and as I mingled with them I started thinking that this might be an interesting idea to explore in a movie," Guest said in the film’s official production notes. In mid-1998, Guest called Levy with the idea and was told no. Levy was nervous about the third act, not knowing how to make a dog show funny.

2. GUEST AND COMPANY DID THEIR HOMEWORK.

Along with Levy and producer Karen Murphy, Guest spent months attending and researching dog shows. He attended the annual Westminster Dog Show, on which he based the movie's fictional Mayflower Dog Show. The principal cast all had classes with their respective dogs and Earlene Luke, an all-breed professional handler. The usual eight-week course of Luke’s was compressed into five intensive days.

3. THEY HAD TO MAKE THEIR OWN DOG SHOW.

No actual dog show would allow them to film on site, so they had to create their own.

4. SHERRI ANN’S ORIGINAL POODLE WAS FIRED.

On account of “misbehaving,” a new poodle was hired to portray Jennifer Coolidge's beloved pooch. Meg and Hamilton Swan (Parker Posey and Michael Hitchcock)  initially had a pointer dog, but this was changed to a Weimaraner. When their characters had a pointer, Posey and Hitchcock decided their characters shopped at J.Crew. When they got the Weimaraner, they shopped at Banana Republic. Posey shopped for beige and tan clothes, “because Weimaraners just look so delusional and lost."

5. POSEY AND HITCHCOCK PREPARED AT STARBUCKS.

Since their characters met at a Starbucks (two different ones, technically), the actors would hang out there figuring out their characters. Guest allowed Posey and Hitchcock to work with the set designer and go through the Sharper Image and Frontgate catalogs to work on the Swans’ home.

6. HAMILTON WANTED CHANDLER BING’S HAIR.

Hitchcock figured that Hamilton Swan would think he looked like Friends' Matthew Perry, so told the hairstylists to make his hair look like Perry’s hair during the then-current season of the hit NBC sitcom.

7. JENNIFER COOLIDGE USED A REAL-LIFE ACQUAINTANCE TO HELP DEVELOP THE CHARACTER OF SHERRI ANN.

When Coolidge first got to Los Angeles, she was employed as a babysitter in Beverly Hills for a Sherri Ann type, described by the actress as a “very feminine, very phony” woman. She considered portraying someone like her old employer as “kind of revenge.”

8. JIM PIDDOCK HAD TO SOUND KNOWLEDGEABLE AS TREVOR BECKWITH.

Guest gave Piddock a book called The American Kennel Club, which he had to read for an hour every night while working on a BBC show he co-created called Too Much Sun. He described the book as “not interesting reading.”

9. FRED WILLARD WAS ONLY THERE FOR TWO DAYS.

Willard and Piddock reviewed all of the footage of the dogs for four hours one day, then shot their hosting sequence from dawn to dusk the next, so Piddock could return to England. Murphy said she never saw Guest laugh as hard as he did when watching Willard perform as Buck Laughlin.

10. BUCK LAUGHLIN WAS BASED ON JOE GARAGIOLA.

Guest sent Willard tapes from past Westminster Dog Shows and asked him to notice the musings of former professional baseball player and broadcaster Joe Garagiola, who had hosted the most prestigious dog show of them all from 1994-2002, despite, as Guest pointed out to Willard, taking “no effort” in learning about dogs. Garagiola himself said he had seen Best in Show in an interview with CNN. “I think he used some lines I wouldn't use, but he's a funny guy and, hey, we all have our tastes. I didn't particularly like the show. I thought the satire went over the top.”

11. IT WAS SHOT ON SUPER 16MM FILM.

Mostly with handheld cameras. It was later blown up to 35mm for theaters.

12. THE NARRATIVE OUTLINE FOR THE FILM WAS ONLY 15 PAGES LONG.

Levy explained the outline and the major improvisation it left room for: "Our outline gives a very solid blueprint to the actors so they know how to get from point A to point B, but how they do it is largely up to them.”

13. 60 HOURS OF FOOTAGE WERE FILMED.

It took Guest eight months to edit it all down to 89 minutes. A lot of the used takes were first takes.

14. MEG’S PILL-TAKING AND POT-SMOKING WAS CUT OUT OF THE FILM.

Because the drug use might have earned them an R or PG-13 rating, it was taken out; Hitchcock claimed he played Hamilton as uptight partially due to his character not liking Meg’s smoking. Also cut was Harlan Pepper (Guest)’s obsession with beach balls.

15. IT CHANGED JANE LYNCH’S LIFE.

The comedic actress met Guest when she did a Frosted Flakes commercial with him. Months later, she was asked to join the Best in Show cast as Christy Cummings. “It opened up a bunch of doors for me,” she told The A.V. Club. “I felt like I fell into a way of working that really suits me. That was another one of those happy accidents that I could’ve never planned for, and it changed my life, really.”

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Hulton Archive/Getty Images
The Star Trek Theme Song Has Lyrics
Hulton Archive/Getty Images
Hulton Archive/Getty Images

The Star Trek theme song is familiar to pretty much anyone who lived in the free world (and probably elsewhere, too) in the late 20th century. The tune is played during the show's opening credits; a slightly longer version is played, accompanied by stills from various episodes, during the closing credits. The opening song is preceded by William Shatner (as Captain Kirk) doing his now-legendary monologue recitation, which begins: "Space, the final frontier ..."

The show's familiar melody was written by respected film and TV composer Alexander Courage, who said the Star Trek theme's main inspiration was the Richard Whiting song "Beyond the Blue Horizon." In Courage's contract it was stipulated that, as the composer, he would receive royalties every time the show was aired and the theme song played. If, somehow, Star Trek made it into syndication—which, of course, it ultimately did—Courage stood to make a lot of money. And so did the person who wrote the lyrics.

WAIT... THERE WERE LYRICS?

Gene Roddenberry, the show's creator, wrote lyrics to the theme song.

"Beyond the rim of the star-light,
my love is wand'ring in star-flight!"

Why would Roddenberry even bother?

The lyrics were never even meant to be heard on the show, but not because the network (NBC) nixed them. Roddenberry nixed them himself. Roddenberry wanted a piece of the composing profits, so he wrote the hokey lyrics solely to receive a "co-writer" credit.

"I know he'll find in star-clustered reaches
Love, strange love a star woman teaches."

As one of the composers, Roddenberry received 50 percent of the royalties ... cutting Alexander Courage's share in half. Not surprisingly, Courage was furious about the deal. Though it was legal, he admitted, it was unethical because Roddenberry had contributed nothing to why the music was successful.

Roddenberry was unapologetic. According to Snopes, he once declared, "I have to get some money somewhere. I'm sure not gonna get it out of the profits of Star Trek."

In 1969, after Star Trek officially got the ax, no one (Courage and Roddenberry included) could possibly have imagined the show's great popularity and staying power.

Courage, who only worked on two shows in Star Trek's opening season because he was busy working on the 1967 Dr. Doolittle movie, vowed he would never return to Star Trek.

He never did.

THE WORDS

If you're looking for an offbeat karaoke number, here are Roddenberry's lyrics, as provided by Snopes:

Beyond
The rim of the star-light
My love
Is wand'ring in star-flight
I know
He'll find in star-clustered reaches
Love,
Strange love a star woman teaches.
I know
His journey ends never
His star trek
Will go on forever.
But tell him
While he wanders his starry sea
Remember, remember me.

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Universal Pictures Home Entertainment
The 10 Wildest Movie Plot Twists
Laura Harring in Mulholland Drive (2001)
Laura Harring in Mulholland Drive (2001)
Universal Pictures Home Entertainment

An ending often makes or breaks a movie. There’s nothing quite as satisfying as having the rug pulled out from under you, particularly in a thriller. But too many flicks that try to shock can’t stick the landing—they’re outlandish and illogical, or signal where the plot is headed. Not all of these films are entirely successful, but they have one important attribute in common: From the classic to the cultishly beloved, they involve hard-to-predict twists that really do blow viewers’ minds, then linger there for days, if not life. (Warning: Massive spoilers below.)

1. PSYCHO (1960)

Alfred Hitchcock often constructed his movies like neat games that manipulated the audience. The Master of Suspense delved headfirst into horror with Psycho, which follows a secretary (Janet Leigh) who sneaks off with $40,000 and hides in a motel. The ensuing jolt depends on Leigh’s fame at the time: No one expected the ostensible star and protagonist to die in a gory (for the time) shower butchering only a third of the way into the running time. Hitchcock outdid that feat with the last-act revelation that Anthony Perkins’s supremely creepy Norman Bates is embodying his dead mother.

2. PLANET OF THE APES (1968)

No, not the botched Tim Burton remake that tweaked the original movie’s famous reveal in a way that left everyone scratching their heads. The Charlton Heston-starring sci-fi gem continues to stupefy anyone who comes into its orbit. Heston, of course, plays an astronaut who travels to a strange land where advanced apes lord over human slaves. It becomes clear once he finds the decrepit remains of the Statue of Liberty that he’s in fact on a future Earth. The anti-violence message, especially during the political tumult of 1968, shook people up as much as the time warp.

3. DEEP RED (1975)

It’s not rare for a horror movie to flip the script when it comes to unmasking its killer, but it’s much rarer that such a film causes a viewer to question their own perception of the world around them. Such is the case for Deep Red, Italian director Dario Argento’s (Suspiria) slasher masterpiece. A pianist living in Rome (David Hemmings) comes upon the murder of a woman in her apartment and teams up with a female reporter to find the person responsible. Argento’s whodunit is filled to the brim with gorgeous photography, ghastly sights, and delirious twists. But best of all is the final sequence, in which the pianist retraces his steps to discover that the killer had been hiding in plain sight all along. Rewind to the beginning and you’ll discover that you caught an unknowing glimpse, too.

4. SLEEPAWAY CAMP (1983)

Sleepaway Camp is notorious among horror fans for a number of reasons: the bizarre, stilted acting and dialogue; hilariously amateurish special effects; and ‘80s-to-their-core fashions. But it’s best known for the mind-bending ending, which—full disclosure—reads as possibly transphobic today, though it’s really hard to say what writer-director Robert Hiltzik had in mind. Years after a boating accident that leaves one of two siblings dead, Angela is raised by her aunt and sent to a summer camp with her cousin, where a killer wreaks havoc. In the lurid climax, we see that moody Angela is not only the murderer—she’s actually a boy. Her aunt, who always wanted a daughter, raised her as if she were her late brother. The final animalistic shot prompts as many gasps as cackles.

5. THE USUAL SUSPECTS (1995)

The Usual Suspects has left everyone who watches it breathless by the time they get to the fakeout conclusion. Roger "Verbal" Kint (Kevin Spacey), a criminal with cerebral palsy, regales an interrogator in the stories of his exploits with a band of fellow crooks, seen in flashback. Hovering over this is the mysterious villainous figure Keyser Söze. It’s not until Verbal leaves and jumps into a car that customs agent David Kujan realizes that the man fabricated details, tricking the law and the viewer into his fake reality, and is in fact the fabled Söze.

6. PRIMAL FEAR (1996)

No courtroom movie can surpass Primal Fear’s discombobulating effect. Richard Gere’s defense attorney becomes strongly convinced that his altar boy client Aaron (Edward Norton) didn’t commit the murder of an archbishop with which he’s charged. The meek, stuttering Aaron has sudden violent outbursts in which he becomes "Roy" and is diagnosed with dissociative identity disorder, leading to a not guilty ruling. Gere’s lawyer visits Aaron about the news, and as he’s leaving, a wonderfully maniacal Norton reveals that he faked the multiple personalities.

7. FIGHT CLUB (1999)

Edward Norton is no stranger to taking on extremely disparate personalities in his roles, from Primal Fear to American History X. The unassuming actor can quickly turn vicious, which led to ideal casting for Fight Club, director David Fincher’s adaptation of the Chuck Palahniuk novel. Fincher cleverly keeps the audience in the dark about the connections between Norton’s timid, unnamed narrator and Brad Pitt’s hunky, aggressive Tyler Durden. After the two start the titular bruising group, the plot significantly increases the stakes, with the club turning into a sort of anarchist terrorist organization. The narrator eventually comes to grips with the fact that he is Tyler and has caused all the destruction around him.

8. THE SIXTH SENSE (1999)

Early in his career, M. Night Shyamalan was frequently (perhaps a little too frequently) compared to Hitchcock for his ability to ratchet up tension while misdirecting his audience. He hasn’t always earned stellar reviews since, but The Sixth Sense remains deservedly legendary for its final twist. At the end of the ghost story, in which little Haley Joel Osment can see dead people, it turns out that the psychologist (Bruce Willis) who’s been working with the boy is no longer living himself, the result of a gunshot wound witnessed in the opening sequence.

9. THE OTHERS (2001)

The Sixth Sense’s climax was spooky, but not nearly as unnerving as Nicole Kidman’s similarly themed ghost movie The Others, released just a couple years later. Kidman gives a superb performance in the elegantly styled film from the Spanish writer-director Alejandro Amenábar, playing a mother in a country house after World War II protecting her photosensitive children from light and, eventually, dead spirits occupying the place. Only by the end does it become clear that she’s in denial about the fact that she’s a ghost, having killed her children in a psychotic break before committing suicide. It’s a bleak capper to a genuinely haunting yarn.

10. MULHOLLAND DRIVE (2001)

David Lynch’s surrealist movies may follow dream logic, but that doesn’t mean their plots can’t be readily discerned. Mulholland Drive is his most striking work precisely because, in spite of its more wacko moments, it adds up to a coherent, tragic story. The mystery starts innocently enough with the dark-haired Rita (Laura Elena Harring) waking up with amnesia from a car accident in Los Angeles and piecing together her identity alongside the plucky aspiring actress Betty (Naomi Watts). It takes a blue box to unlock the secret that Betty is in fact Diane, who is in love with and envious of Camilla (also played by Harring) and has concocted a fantasy version of their lives. The real Diane arranges for Camilla to be killed, leading to her intense guilt and suicide. Only Lynch can go from Nancy Drew to nihilism so swiftly and deftly.

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