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13 Sizzling Facts About Some Like It Hot

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Imagine, if you can, walking into a movie theater in 1959, at the height of the conformist Eisenhower era, to see a comedy starring matinee idol Tony Curtis, sex symbol Marilyn Monroe, and up-and-comer Jack Lemmon. It’s directed by the guy who made Sunset Boulevard almost a decade earlier, and co-written by uber-talented I.A.L. Diamond. When the film rolls, you get a black-and-white period piece set in Chicago during Prohibition, multiple scenes of gangland murder, and, oh, the two leading men spend most of the movie in drag.

From nearly every angle, Some Like It Hot is a weird, subversive picture: two hard-luck jazz musicians (Curtis and Lemmon) who witness the St. Valentine’s Day Massacre go into hiding as women in an all-female orchestra, and must navigate love and attraction–one lusts after the band’s sultry singer, played by Monroe, while the other is pursued by a wily old millionaire—all while dodging the mob. The film cuts against the cultural grain so sharply that it’s a miracle it got made at all. But that might be why it connected so forcefully with audiences and remains an unassailable American classic. It’s number 14 on the American Film Institute’s original 100 Greatest American Movies of All Time list (it clocked in at 22 on its 10th anniversary list) and it tops the AFI’s 100 Funniest American Movies of All Time ranking.

Here are 13 interesting tidbits about Some Like It Hot’s production and afterlife to help you appreciate the film even more.

1. THE QUINTESSENTIAL AMERICAN COMEDY WAS INSPIRED BY A DRY GERMAN REMAKE OF A FRENCH FARCE.

The seed that bloomed into Some Like It Hot was planted by an obscure 1951 German film, Fanfaren der Liebe (Fanfares of Love), which was a remake of an older French comedy, Fanfares d’Amour (1935). Both pictures are episodic, focusing on a pair of desperate male characters doing what they can to earn a buck. One of those schemes involves dressing like women and performing in an all-female band. Wilder and Diamond both liked that particular device—and not much else. “The humor in the German movie was rather heavy-handed and Teutonic,” Diamond said. “There was a lot of shaving of chests and trying on wigs.”

2. BILLY WILDER BUCKED ALL CONVENTION TO MAKE GANGLAND MASSACRE VITAL TO A COMEDY.

When Wilder and Diamond began writing, Wilder knew they needed to “find the hammerlock of the story, the ironclad thing in which these two guys trapped in women’s clothing cannot just take off their wigs and say, ‘I’m a guy.’” After kicking around ideas, inspiration finally hit while Wilder was driving (“Billy got a lot of his ideas driving,” Diamond said): the St. Valentine’s Day Massacre. If they set the film during the Roaring ‘20s and had their guys witness one of the era’s most brutal events, the masquerade becomes a matter, literally, of life and death. “That was the important invention that made everything else possible,” Wilder said.

3. SOME LIKE IT HOT ALMOST BOASTED MARILYN MONROE AND FRANK SINATRA.

With the plot locked down, attention turned to casting. Names thrown around for the roles of Joe/Josephine and Jerry/Daphne included Danny Kaye and Bob Hope. But Wilder quickly moved to Tony Curtis for Joe, and his choice for Jerry was Frank Sinatra. Ol’ Blue Eyes didn’t make it into Some Like It Hot, obviously. The reason why, though, depends on whose story you believe. Curtis said Wilder wanted Sinatra for Jerry/Daphne, “but he wasn’t sure Frank would be able to play it. Frank was a little bit cantankerous, and Billy didn’t want to take a chance on that.” Wilder was a bit surly himself, which makes Diamond’s version of events seem more likely: “Billy made a lunch date with Sinatra, and he went and waited and sat there, and sat there, and Sinatra never showed up. He stood Billy up.” Wilder, who became a director to control the fates of his scripts, likely wouldn’t have reacted kindly to such an affront to his authority. Sinatra was out, and Jack Lemmon was in.

4. BILLY WILDER AND MARILYN MONROE WERE THE BEST OF FRENEMIES.

The biggest piece of Some Like It Hot casting was, hands down, Marilyn Monroe in the role of singer/ukulele player/saxophonist lover Sugar Kane. It became one of her iconic roles (she’s even depicted as Sugar on a U.S. postal stamp honoring Wilder), and it was a showcase for her talents as an actor, comedian, and all-around performer. At first, Wilder thought of casting Mitzi Gaynor in the role. But when Monroe became available, Wilder jumped at working with his The Seven Year Itch star again—even if it came with some baggage. “I knew that I was going to go crazy at moments. And there were such moments, half a dozen moments,” Wilder said. “But you always tell yourself, ‘I’m not married to her, right?’ And then you come home, you have no dinner, you take a sleeping pill, and you wake up in the morning and you start again.”

Wilder recalled that Monroe showed up for early rehearsals and was great—when she remembered her lines. “She had kind of an elegant vulgarity about her. That, I think was very important. And she automatically knew where the joke was.” But with the good came the bad. During production, she would show up hours late for work, claiming to have lost her way to the studio. Wilder would have to run 80-plus takes to get one line, like “Where’s that bourbon?” or “It’s me, Sugar.” She continually deferred to her acting coach, Paula Strasberg, in the midst of arguments with Wilder. All of this put epic strains on Wilder and the cast, especially Curtis and Lemmon, who had to be perfect on every take because Wilder would use the one where Monroe was perfect, regardless of how well they performed.

The stress led Wilder to make some disparaging remarks to the press after shooting wrapped. “The question is whether Marilyn is a person at all or one of the greatest DuPont products ever invented,” the director once quipped. “She has breasts like granite; she defies gravity; and has a brain like Swiss cheese—full of holes.” Later, he added, “I have discussed this with my doctor and my psychiatrist and they tell me I’m too old and too rich to go through this again.” This prompted Monroe to call Wilder’s home and tell him to, well, fornicate himself (we’re paraphrasing here). Wilder tried patching things up, but she died a short time later. As the years went on, he softened in his view of his experience working with her. “I had no problem with Marilyn Monroe. Monroe had problems with Monroe,” Wilder said. “When it was all done, and my stomach got back to normal, it seemed well worth the agony of working with her.”

5. THE SOME LIKE IT HOT SUPPORTING CAST IS SUPER META.

Wilder looked to actors from 1930s gangster pictures to fill out the ranks of Some Like It Hot’s cops and robbers. (It was a novelty Wilder employed on Sunset Boulevard, too, from hiring silent-screen superstar Gloria Swanson as the lead to finding places for Cecil B. Demille, Buster Keaton, H.B. Warner, and Anna Nilsson.) He cast George Raft (Scarface) as Some Like It Hot’s heavy, Spats Colombo; studio player Pat O’Brien as the chief lawman; and “hey, that guy!” George E. Stone (Little Caesar) as the fink. But he didn’t stop there. Wilder also built in self-referential nods to the seminal crime movies: Near the end of the film, Spats sees a hood (played by Edward G. Robinson Jr.), flipping a coin and asks, “Where did you pick up that cheap trick?” Raft’s character Rinaldo did the same thing in Scarface. Later, in a moment of frustration, Spats goes to smash a grapefruit into one his henchman’s faces, a nod to one of the most iconic moments in The Public Enemy.

6. IF THE MEN HAD TO WEAR DRESSES, THEY WANTED TO LOOK JUST AS GLAMOROUS AS MARILYN MONROE.

Once the actors were in place, it came time to turn to more serious matters: the costumes. Lemmon and Curtis knew that if they were to pass, convincingly, as women, they’d need to look the part. And that meant good clothes. “We were very cooperative,” Lemmon says about being put in makeup and high heels, “but we did put our feet down when we wanted better dresses. They wanted us to select off-the-rack stuff from the costume department. We said we wanted dresses done by Orry-Kelly, who was doing Monroe’s costumes.” Curtis stood with Lemmon in solidarity. “I didn’t want to look like Loretta Young. You know, those high-waisted things, and I wanted a new designer dress of my own, not one of those used things. I went to Billy, and I told him Jack and I wanted Orry-Kelly dresses, too. He said, ‘Okay.’”

When I interviewed Curtis in 2004, he recalled the experience of getting fitted—and how they had some fun at Monroe’s expense: “We’re all at Goldwyn Studios and our dressing rooms are alongside of each other: Jack, me, Marilyn. And Orry-Kelly, a very prestigious-looking man, he had one of those plastic tapes. So he went in and measured Jack, and Jack came out in boxer shorts, stood in front of him and put the tape around his neck: 16, 31, 29, 18. Took all the measurements of Jack. Then he came up to me. I came out in the equivalent of Calvin Kleins. And he measured me: 13 1/2, 14, 15, 37, 29 1/2. When he finished with me, he went to Marilyn. But this is where the story came from Orry-Kelly, not from me. He goes in to measure Marilyn and she comes out in a pair of panties and a silk blouse. He stands there and measures: 29, 34, 18, goes around her [waist and rear] and he said, ‘You know Marilyn, Tony Curtis has a better looking ass than you.’ She unbuttoned her blouse, opened it, and said, ‘He doesn’t have t*ts like these!’” Curtis laughed and clapped his hands. “You can’t beat that story. She was so pissed off. I loved her for that.”

7. CURTIS AND LEMMON ARRIVED AT THEIR FEMALE PERSONAS KIND OF BY ACCIDENT.

Dressed like women, Curtis and Lemmon now needed to establish what kind of women they would be. And it was Lemmon who established the types. Curtis hemmed and hawed about leaving his dressing room first, so Lemmon took the plunge and “he was like a 20-cent tart,” Curtis said. Lemmon skipped around, talked in a high-pitched voice, and was generally bubbly and ditzy. Curtis knew the film couldn’t handle two characters like that, so he took the opposite approach: “I had to be a lady, very grand, like my mother or Grace Kelly. I held my head up, straight and high, and never went for those low-down jokes.”

8. WILDER GAVE HIS LEADING MEN VERY LITTLE TIME TO GET COMFORTABLE PLAYING WOMEN.

The last piece of the characters was their makeup. Curtis and Lemmon spent hours refining their looks. Once they thought they had it, Wilder all but pushed them into the ladies bathroom. He needed to see if it could play. “So, traipsing into the ladies’ we went, and, boy, oh, boy, the flop sweat was really flying,” Lemmon remembered. “I was scared to death. I’ve never been so embarrassed.” But it worked. No one gave them a second look. They rushed out, told Wilder, and he said, “Don’t change a thing!” But Curtis wasn’t convinced. He thought no one looked at them because they made for ugly women. So they went back into makeup, were made a little more glamorous, and went back to the bathroom. They were ID’ed immediately, so they reset to the first look.

9. TONY CURTIS HELPED BILLY WILDER REALIZE A LONG-TIME DREAM, SORT OF.

Cary Grant was Billy Wilder’s white whale. The director always wanted to work with Grant, but things never came together. In Some Like It Hot, though, Curtis got Wilder as close as possible. Besides playing Joe and Josephine, Curtis has a third role, Junior, a faux millionaire heir to the Shell Oil fortune. When it came to developing how Junior would sound, Curtis brought out his Cary Grant impersonation. “The day we were shooting that [first] scene [as Junior],” Curtis told me, “we went down on the beach and I said, ‘Billy, how am I going to play this millionaire?’ He said, ‘Well, how would you like to play it?’ I said, “Well, I do this impression of Cary Grant …’ ‘Well do it!’” So he did, and it’s quite good. “Tony Curtis gave me Cary Grant,” Wilder said. Curtis was happy with the impersonation. So was Wilder. And Grant apparently liked it, too—even if he feigned the contrary. “When Some Like it Hot finished, Billy Wilder showed it to Cary Grant,” Curtis told me. “He said, ‘Cary, how did you like Tony’s impression of you.’ Cary said [Curtis switches to his impersonation], ‘I don’t talk like that!’”

10. THE FILM’S ICONIC LAST LINE WAS ALMOST NEVER USED.

Wilder and Diamond were precise writers. But when it came time to Some Like It Hot’s punch line, they were absolutely indecisive. They got as far as Lemmon ripping off his wig and saying he can’t marry Osgood Fielding III because “I’m a man.” What comes next? Diamond suggested “Nobody’s perfect,” and Wilder said to keep it in so they could send the script to the mimeographer. But then they were really going to settle it. “We have a whole week to think about it,” Wilder said. “We thought about it all week. Neither of us could come up with anything better, so we shot that line, still not entirely satisfied.” Viewers felt entirely differently. “The audience just exploded,” Wilder said. “That line got one of the biggest laughs I’ve ever heard in the theater. But we just hadn’t trusted it when we wrote it; we just didn’t see it. ‘Nobody’s perfect.’ The line had come too easily, just popped out.”

11. SOME LIKE IT HOT WAS A LITTLE TOO HOT FOR SOME PEOPLE.

Some Like It Hot was a huge hit when it was released in 1959, but not everyone had the opportunity to see it. The film was condemned by the National Legion of Decency, a Catholic organization that acted as a watchdog for corruptive content, on the grounds that it was “morally objectionable” and “promoted homosexuality, lesbians, and transvestism.” With that designation, swaths of pious moviegoers across the nation would be compelled to stay away. But there were regional decrees against the film, too. It was banned in Kansas after United Artists refused to edit the love scene between Curtis and Monroe, while in Memphis a censorship board restricted viewing to adults-only.

12. THE FILM INSPIRED TWO (INFERIOR) STAGE MUSICALS.

Proving just how excellent Some Like It Hot and its Wilder-Diamond script are, the film was adapted for the stage twice. The first production, a musical called Sugar that centered on Monroe’s character, opened in April 1972 and ran for more than 500 performances. Some 30 years later, another musical was mounted, this time called Some Like It Hot, with Curtis cast in the role of Osgood Fielding III. It was Curtis’ first time singing and dancing on the stage, and he threw himself into it. When we talked about it 2004, Curtis had fond memories of the experience, if not the final product.

“We did in a year 273 performances and I never missed one,” Curtis said. “That was very hard work. Under the auspices that we were, the production end of it was very clumsy. So that was difficult. You couldn’t do what you did in the movie. Those scenes needed the up-close physicalness. The scene of me and Marilyn kissing, the scene with Jack and I on the train—all of that intimate stuff needed those big close-ups, and that’s what made the movie so appealing.”

13. BILLY WILDER DIDN’T THINK IT WAS THE BEST AMERICAN COMEDY EVER.

Comedy is such a subjective genre, that it’s impossible to say something is the “best.” Best to who? And based on what definition of comedy? But that didn’t stop the American Film Institute from ranking the top 100 American movie comedies, topped by Some Like It Hot. You’ll get no argument from most people, but Wilder was a bit circumspect at the honor. “I’m happy for it, but it’s not true,” he said. “It’s not the best because there is no best. It’s one of the best. It’s a good picture, and I’m proud of it. I’m happy people still like it so much.”

Additional Sources:
Nobody’s Perfect: Billy Wilder, A Personal Biography by Charlotte Chandler
Conversations with Wilder by Cameron Crowe
Billy Wilder (Cinema One series) by Axel Madsen
On Sunset Boulevard: The Life and Times of Billy Wilder by Ed Sikov
Some Like It Hot Blu-ray special features
Isn’t It Wonderful? Tony Curtis Sings and Dances in ‘Some Like It Hot,’” Lillian Ross, The New Yorker, June 3, 2002
Billy Wilder, The Art of Screenwriting No. 1, The Paris Review, Spring 1996
Personal interview with Tony Curtis, 2004

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10 Witty Facts About The Marx Brothers
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Talented as individuals and magnificent as a team, the Marx Brothers conquered every medium from the vaudeville stage to the silver screen. Today, we’re tipping our hats (and tooting our horns) to Groucho, Harpo, Chico, Zeppo, and Gummo—on the 50th anniversary of Groucho's passing.

1. A RUNAWAY MULE INSPIRED THEM TO TAKE A STAB AT COMEDY.

Julius, Milton, and Arthur Marx originally aspired to be professional singers. In 1907, the boys joined a group called “The Three Nightingales.” Managed by their mother, Minnie, the ensemble performed covers of popular songs in theaters all over the country. As Nightingales, the brothers enjoyed some moderate success, but they might never have found their true calling if it weren’t for an unruly equid. During a 1907 gig at the Nacogdoches Opera House in East Texas, someone interrupted the performance by barging in and shouting “Mule’s loose!” Immediately, the crowd raced out to watch the newly-liberated animal. Back inside, Julius seethed. Furious at having lost the spotlight, he skewered his audience upon their return. “The jackass is the finest flower of Tex-ass!” he shouted, among many other ad-libbed jabs. Rather than boo, the patrons roared with laughter. Word of his wit soon spread and demand for these Marx brothers grew.

2. THEY RECEIVED THEIR STAGE NAMES DURING A POKER GAME.

In May of 1914, the five Marxes were playing cards with standup comedian Art Fisher. Inspired by a popular comic strip character known as “Sherlocko the Monk,” he decided that the boys could use some new nicknames. Leonard’s was a no-brainer. Given his girl-crazy, “chick-chasing” lifestyle, Fisher dubbed him “Chicko” (later, this was shortened to “Chico”). Arthur loved playing the harp and thus became “Harpo.” An affinity for soft gumshoes earned Milton the alias “Gummo.” Finally, Julius was both cynical and often seen wearing a “grouch bag”—wherein he’d store small objects like marbles and candy—around his neck. Thus, “Groucho” was born. For the record, nobody knows how Herbert Marx came to be known as “Zeppo.”

3. GROUCHO WORE HIS TRADEMARK GREASEPAINT MUSTACHE BECAUSE HE HATED MORE REALISTIC MODELS.

Michael Ochs Archives/Hulton Archive/Getty Images

Phony, glue-on facial hair can be a pain to remove and reapply, so Groucho would simply paint a ‘stache and some exaggerated eyebrows onto his face. However, the mustache he later rocked as the host of his famous quiz show You Bet Your Life was 100 percent real.

4. HARPO WAS A SELF-TAUGHT HARPIST.

Without any formal training (or the ability to read sheet music), the second-oldest Marx brother developed a unique style that he never stopped improving upon. “Dad really loved playing the harp, and he did it constantly,” his son, Bill Marx, wrote. “Maybe the first multi-tasker ever, he even had a harp in the bathroom so he could play when he sat on the toilet!”

5. THE VERY FIRST MARX BROTHERS MOVIE WAS NEVER RELEASED.

Financed by Groucho, Chico, Harpo, Zeppo, and a handful of other investors, Humor Risk was filmed in 1921. Accounts differ, but most scholars agree that the silent picture—which would have served as the family’s cinematic debut—never saw completion. Despite this, an early screening of the work-in-progress was reportedly held in the Bronx. When Humor Risk failed to impress there, production halted. By Marx Brothers standards, it would’ve been an unusual flick, with Harpo playing a heroic detective opposite a villainous Groucho character.

6. GUMMO AND ZEPPO BECAME TALENT AGENTS.

World War I forced Gummo to quit the stage. Following his return, the veteran decided that performing was no longer for him and instead started a raincoat business. Zeppo—the youngest brother—then assumed Gummo’s role as the troupe’s straight-talking foil. A brilliant businessman, Zeppo eventually break away to found the talent agency Zeppo Marx Inc., which grew into Hollywood’s third-largest, representing superstars like Clark Gable, Lucille Ball, and—of course—the other three Marx Brothers. Gummo, who joined the company in 1935, was charged with handling Groucho, Harpo, and Chico’s needs.

7. CHICO ONCE LAUNCHED A BIG BAND GROUP.

Chico took advantage of an extended break between Marx brothers movies to realize a lifelong dream. A few months before The Big Store hit cinemas in 1941, he co-founded the Chico Marx Orchestra: a swinging jazz band that lasted until July of 1943. Short-lived as the group was, however, it still managed to recruit some amazing talent—including singer/composer Mel Tormé, who would go on to help write the “The Christmas Song (Chestnuts Roasting on an Open Fire)” in 1945.

8. THEY TESTED OUT NEW MATERIAL FOR A NIGHT AT THE OPERA IN FRONT OF LIVE AUDIENCES.

With the script still being drafted, MGM made the inspired choice to let the brothers perform key scenes in such places as Seattle, Salt Lake City, and San Francisco. Once a given joke was made, the Marxes meticulously timed the ensuing laughter, which let them know exactly how much silence to leave after repeating the gag on film. According to Harpo, this had the added benefit of shortening A Night at the Opera’s production period. “We didn’t have to rehearse,” he explained. “[We just] got onto the set and let the cameras roll.”

9. GROUCHO TEMPORARILY HOSTED THE TONIGHT SHOW.

Jack Paar bid the job farewell on March 29, 1962. Months before their star’s departure, NBC offered Paar’s Tonight Show seat to Groucho, who had established himself as a razor-sharp, well-liked host during You Bet Your Life’s 14-year run. Though Marx turned the network down, he later served as a guest host for two weeks while Johnny Carson prepared to take over the gig. When Carson finally made his Tonight Show debut on October 1, it was Groucho who introduced him.

10. SPY MAGAZINE USED A MARX BROTHERS MOVIE TO PRANK U.S. CONGRESSMEN.

Duck Soup takes place in Freedonia, a fictional country over which the eccentric Rufus T. Firefly (Groucho) presides. In 1993, 60 years after the movie’s release, this imaginary nation made headlines by embarrassing some real-life politicians. Staffers from Spy got in touch with around 20 freshmen in the House of Representatives, asking some variation on the question “Do you approve of what we’re doing to stop ethnic cleansing in Freedonia?” A few lawmakers took the bait. Representative Corrine Brown (D-Florida) professed to approve of America’s presence in Freedonia, saying “I think all of those situations are very, very sad, and I just think we need to take action to assist the people.” Across the aisle, Steve Buyer (R-Indiana) concurred. “Yeah,” he said, “it’s a different situation than the Middle East.”

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Hey Now! 15 Things You Should Know About The Larry Sanders Show
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In the late 1980s, comedian Garry Shandling was a recurring guest host on Johnny Carson’s The Tonight Show. His work didn’t get him Carson’s chair, but NBC was impressed enough with his hosting abilities to offer him David Letterman’s seat when Letterman left Late Night. Ultimately, Shandling—who passed away unexpectedly in 2016—decided against taking NBC’s reported $5 million a year offer, forcing the network to famously go with a "30-year-old unknown comedy writer" named Conan O'Brien instead.

When CBS offered Shandling its own 12:35 a.m. slot soon after, the comedian realized he wasn’t someone that wanted—or needed—to be on TV every night. Instead, Shandling co-created The Larry Sanders Show with Dennis Klein, an HBO series that deftly parodied late night talk shows. Here are 15 things you might not know about the groundbreaking series, which debuted 25 years ago.

1. GARRY SHANDLING GOT THE IDEA FOR LARRY SANDERS FROM HIS PREVIOUS SHOW.

Concurrently with his guest hosting of The Tonight Show, Shandling starred in Showtime’s It’s Garry Shandling’s Show from 1986 to 1990, where the comedian played himself, often addressing both the studio audience and the camera directly. In an episode where Garry was a guest on a morning talk show (“Take My Girlfriend, for Example”), he realized that there could be a whole other show told from the television personality’s point of view.

2. JEFFREY TAMBOR MADE A DESPERATE MOVE TO GET THE ROLE OF HANK KINGSLEY.

After having what he felt was a good audition, Jeffrey Tambor found himself uncharacteristically calling Shandling hours later, saying that he really wanted to play his sidekick. Shandling told him that calling after an audition is exactly something Hank Kingsley would do.

3. ALBERT BROOKS'S DEFENDING YOUR LIFE GOT RIP TORN THE ROLE OF ARTIE.

Executive producer Peter Tolan thought lawyer Bob Diamond, the character Torn played in Defending Your Life, was similar to what they were looking for with Larry Sanders’ producer character, Artie. When Torn and Shandling first met, Torn wouldn’t read the script until the two first had some idle chatter.

4. THE "HEY NOW" EPISODE WAS ACTUALLY THE FIRST EPISODE WRITTEN AND PRODUCED.

When The Larry Sanders Show was on Netflix, “Hey Now” was correctly listed first. But when it originally aired on HBO, it was the last episode shown in the first season. Shandling credited Dennis Klein as the person who came up with Hank Kingsley’s classic Ed McMahon-ism.

5. THE CINEMATOGRAPHER SHOT ON ROLLER SKATES.

The talk show-within-the-show scenes were shot on four video cameras, and shown once a month to a studio audience. The scenes outside of the talk show were shot on film with three cameras in operation at once, with cinematographer Peter Smokler backpedaling on roller skates to shoot the walk-and-talks up and down the studio hallways.

6. THE ACTORS GOT TIRED OF CLEANING UP THEIR LANGUAGE.

Up until the halfway point of season two, actors would record a second take of finished scenes without cursing, so someday it could be shown in non-cable syndication. But they eventually grew tired of the extra work, leading to messier edits down the line when it was broadcast on IFC and Bravo.

7. EDDIE MURPHY WAS THE FIRST CHOICE TO PLAY THE GUEST ON HANK KINGSLEY’S HOSTING EPISODE.

The part in “Hank’s Night In The Sun” ended up being filled by Cheers star George Wendt.

8. JEREMY PIVEN LEFT THE SHOW TO STAR IN P.C.U.

Jeremy Piven, who played Sanders' head writer Jerry, was written off the show in the early season two episode “Larry’s Birthday.” Piven received Shandling’s blessing to leave. When his movie career didn’t get off the ground, he co-starred on the sitcom Ellen.

9. JANEANE GAROFALO LEFT LARRY SANDERS TO JOIN SNL.

Mary Lou Collins (played by Mary Lynn Rajskub) was promoted to the role of booker when Janeane Garofalo's Paula character was written off the show. Garofalo lasted less than one season on SNL, and later admitted that she regretted leaving Larry Sanders.

10. DAVID DUCHOVNY’S ATTRACTION TO LARRY WAS DUCHOVNY’S IDEA.

The X-Files star pitched the idea of his being sexually attracted to Sanders while the two were playing basketball.

11. SHANDLING WROTE THE JOKES MAKING FUN OF HIMSELF.

In the series finale, “Flip,” Sean Penn rips on Garry Shandling to Larry Sanders—which is the only time Shandling is ever referenced in the series. (Penn and Shandling had just worked together on the film version of Hurlyburly.) Shandling told The New York Times that he is the one who wrote the jokes about himself, as ''Nobody can write better jokes putting me down than me ... I know how to destroy myself."

12. DAVID LETTERMAN THOUGHT IT WAS VERY REALISTIC.

Letterman once told Shandling, “This show is like every day of my life.”

13. JOHNNY CARSON WAS SHANDLING'S DREAM GUEST.

While Shandling wasn't able to make a Carson cameo happen, he was told that Carson was a fan of The Larry Sanders Show.

14. BEFORE AGREEING TO PLAY BRIAN, SCOTT THOMPSON MADE SHANDLING AGREE TO THREE CONDITIONS.

The Kids in the Hall star said he wanted Hank Kingsley’s new assistant to actually like his boss (unlike everyone else), to not be flamboyant in his homosexuality, and to be Canadian.

15. IT FEATURED JUDD APATOW’S DIRECTORIAL DEBUT.

Judd Apatow was a writer and producer on The Larry Sanders Show when he directed the episode “Putting the ‘Gay’ Back in Litigation.”

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