12 Fascinating Facts About Jackie Brown

Miramax
Miramax

Jackie Brown is the third film from director Quentin Tarantino and the only one of his movies not based on his original material (it’s a liberal adaptation of Elmore Leonard’s Rum Punch). Considered by many fans and critics to be one of Tarantino’s most “mature” cinematic efforts—its pace and bravado stand in stark contrast to Pulp FictionJackie Brown is one of those rare movies that only gets better with age and subsequent viewings. On the 20th anniversary of its debut, here are 12 facts you might not have known about the Oscar-nominated crime drama.

1. QUENTIN TARANTINO ALMOST ADAPTED ANOTHER ELMORE LEONARD BOOK INSTEAD.

After Pulp Fiction, Tarantino’s production company purchased the rights to three Elmore Leonard novels: Rum Punch, Freaky Deaky, and Killshot. He thought one of them would make a great next project, but was unsure of exactly which one. “I thought I was gonna do another one of them,” Tarantino explained in a bonus interview on the Jackie Brown Blu-ray. “I didn’t think I was gonna do Rum Punch. [So] I was just getting ready to give Rum Punch to another director that I knew. And in reading it again that night, I fell in love with it the exact same way I did a couple of years before.”

2. TARANTINO WAS WORRIED LEONARD WOULD HATE THE SCRIPT.

Tarantino made some significant changes to Leonard’s material—most notably changing the title from Rum Punch, making Jackie’s last name Brown instead of Burke (an obvious homage to Pam Grier’s Foxy Brown character), and changing Jackie’s race from white to black. Though Tarantino had purchased the rights to the novel and was allowed to take whatever creative liberties he wanted, he was concerned that Leonard would disapprove.

“He called me right before he went into production on Jackie Brown,” Leonard recalled. “He said, ‘I’ve been afraid to call you for the last year.’ And I said, why? Because you changed the title and the color of the main character? He said, ‘Yeah!’ I said, well that’s alright. Do what you want, you’re the filmmaker!”

As it turns out, Tarantino’s fears were unfounded. “[Leonard] really liked the script,” Tarantino said. “Then he came back and he said not only that he thought it was the best adaptation of his work he’d ever read, he thought it was maybe the best script he’d ever read.”

3. TARANTINO DID NOT SET OUT TO RESURRECT THE CAREERS OF ROBERT FORSTER OR PAM GRIER.

Robert Forster in 'Jackie Brown' (1997)
Miramax

Tarantino has garnered a reputation as a filmmaker with the ability to revive the careers of some of his favorite, albeit often forgotten, actors. But Tarantino doesn’t see it that way. “People do come up to me and go, 'Who are you gonna bring back next time? Who’s next on the radar? Who’s next on the list?'” Tarantino explained on the Blu-ray interview. “I’m not coming from that place. I’m trying to cast the best actors or the coolest actors in whatever role. And I’m just not using the hot star list in order to do it.”

4. GRIER AND TARANTINO WERE DESTINED TO WORK TOGETHER.

Speaking of Pam Grier: Tarantino had long been a fan of her work, and had recruited her to audition for the role of Jody, Eric Stoltz’s wife, in Pulp Fiction. Grier auditioned but Tarantino was convinced there was no way that Stoltz (who had already been cast) was going to tell Pam Grier to shut up. So the role ultimately went to Rosanna Arquette. But Tarantino made Grier a promise: “He said, ‘We’re gonna work together one day,’” Grier recalled. “And I said, ‘Yeah, right!’”

When Grier walked in to audition for Jackie Brown, “there were all my posters from 20 years ago, when I was just a piss and vinegar kid,” she recalled. “And I said, ‘Did you put these up because I was coming over?’ And he said, ‘No. I was gonna take them down because you were coming over!'"

5. ROBERT FORSTER’S RESERVOIR DOGS AUDITION GOT HIM THE JACKIE BROWN GIG.

Like Grier, Tarantino had promised Robert Forster that the two of them would work together after the actor auditioned for Reservoir Dogs. “I was reading for the part that Lawrence Tierney eventually played,” Forster recalled in an interview on the Blu-ray. “But when I read for him, Quentin said, ‘You know what? This may not work out. If it doesn’t, don’t worry. One of these days I’m gonna use you.’”

Years later Tarantino ran into Forster in a restaurant and deemed the meeting fate. He gave Forster the Max Cherry role on the spot. In 1998, Forster earned a Best Supporting Actor Oscar nod for Jackie Brown (the film’s sole nomination).

6. TARANTINO WAS UPSET THAT GRIER DIDN’T RECEIVE AN OSCAR NOD.

Pam Grier and Quentin Tarantino on the set of 'Jackie Brown' (1997)
Miramax

“Pam and Sam didn’t get nominated for an Oscar, and Robert did. And I was shocked by that," Tarantino said. "I was really surprised. And it was weird because I was really happy that Robert got nominated for an Oscar, but I was like really sad that Pam didn't get nominated … I really wanted Pam to be the first black actress to ever win an Academy Award [for Best Actress].”

7. ORDELL’S LOOK IN THE FILM WAS CONCOCTED BY SAMUEL L. JACKSON.

“That was all Sam’s idea,” admitted Tarantino of the look for Samuel L. Jackson’s character, Ordell Robie. “The whole thing with the long hair and the goatee, the whole kind of samurai, mad priest, mad kung fu priest on the mountain look he had—Sam came up with that. And it was just terrific. It just made it.”

8. MICHAEL KEATON WAS HIS OWN BIGGEST OBSTACLE IN GETTING THE ROLE OF RAY NICOLETTE.

According to Tarantino, Michael Keaton desperately tried to talk the director out of hiring him for the role of FBI agent Ray Nicolette. “His whole process was to convince me that he’s not right for the role,” Tarantino said. “But he never quite convinced me … Michael’s whole thing is to deny himself and to say he’s not right.”

Eventually Tarantino was able to convince Keaton that he was the man for the job and the rest is history. In fact, the following year, Keaton went on to reprise the role of Ray Nicolette in Steven Soderbergh’s adaptation of Elmore Leonard's Out of Sight.

9. SYLVESTER STALLONE TURNED DOWN THE ROLE OF LOUIS GARA.

Bridget Fonda, Robert De Niro, and Samuel L. Jackson in 'Jackie Brown' (1997)
Miramax

In an interview with Maclean’s, Sylvester Stallone said he turned down roles in two Tarantino films: Louis Gara in Jackie Brown and Stuntman Mike in Death Proof. Ultimately the role of Louis went to Robert De Niro.

10. PETER FONDA MAKES AN APPEARANCE IN THE FILM.

During a scene where Louis (Robert De Niro) and Melanie (Bridget Fonda) are watching television at her apartment, they are watching the film Dirty Mary Crazy Larry. The film stars Peter Fonda, Bridget's father.

11. TARANTINO SPENT A MONTH WATCHING THE MOVIE IN THEATERS.

Tarantino wanted to gauge the audience reaction to key moments in the film, so he spent the first several weeks following the film’s release watching it in theaters. “I saw that movie … like 13 times at the Magic Johnson Theatre,” said Tarantino. “The whole first four weeks it was there, I just lived there.”

12. TARANTINO CONSIDERS THE FILM HIS RIO BRAVO.

Tarantino compares Jackie Brown to Howard Hawks’ classic 1959 John Wayne western. “It’s a hangout movie,” he explained. “Jackie Brown is better the second time. And I think it’s even better the third. And the fourth time … Maybe even the first time we see it we go, ‘Why are we doing all this hanging out? Why can’t we get to more of the plot?’ But now the second time you see it, and the third time you see it, you’re not thinking about the plot anymore. You’re waiting for the hangout scenes … To me, [that’s] the thing that Rio Bravo did. I remember the first time I saw Rio Bravo, but I remember more the fifteenth time I saw Rio Bravo. It’s about hanging out with the characters.”

Additional Source:
Jackie Brown Blu-ray extra features

15 Facts About Bill & Ted’s Excellent Adventure on Its 30th Anniversary

MGM
MGM

In 1989, a couple of slackers from San Dimas, California hopped inside a time-traveling phone booth and gathered a gaggle of key figures from the past so they wouldn’t fail their high school history class. In 1991, they were at it again. Now, 30 years after Keanu Reeves and Alex Winter first cemented their place in sci-fi history as the lovable duo, the long-awaited threequel—Bill & Ted Face the Music—has been officially confirmed. Here are 15 things you might not know about the most excellent original film.

1. Bill and Ted were born in an improv class.

The idea for the characters of Bill and Ted came about in 1983, when UCLA classmates Ed Solomon and Chris Matheson formed a student improv workshop with a few of their peers. “One day, we decided to do a couple of guys who knew nothing about history, talking about history,” Solomon recalled to Cinemafantastique in a 1991 interview. “The initial improv was them studying history, while Ted’s father kept coming up to ask them to turn their music down.” (Solomon played Ted, Matheson was Bill.)

2. Originally, it was Bill & Ted & Bob.

When the skit originated, there was a third character, Bob. But “Bob” wasn’t as into it as Solomon and Matheson, so the trio became a duo.

3. Bill wanted to be Ted and Ted wanted to be Bill.

It’s hard to imagine anyone but Keanu Reeves playing Ted Logan, or another actor besides Alex Winter in the role of Bill S. Preston, Esq., but each actor actually auditioned for the opposite role. But when Solomon and Matheson saw their audition tapes, they thought the opposite would work better. In an online chat with Moviefone, Reeves claimed that he didn’t even know their roles had been switched until after he had been cast. “I got a call saying that I got the part,” Reeves recalled. “So I went to the wardrobe fitting… assuming I was playing Bill, and I get there and Alex Winter, who eventually played Bill, went to the wardrobe fitting thinking he was playing Ted. Then we were informed that that wasn't the case.”

4. Pauly Shore also wanted to be Ted.


Getty Images

Pauly Shore was among the hundreds of actors who auditioned for the role of Ted. In 1991, Shore hosted an MTV special, Bill & Ted’s Bogus Premiere Party, in which Shore corners Reeves in a back room to talk about his failed audition. Lucky for America, Shore did go on to find fame apart from Bill & Ted, and bring the phrase, “Hey, Bu-ddy!” into the popular lexicon.

5. No, Bio-Dome is not Bill & Ted's threequel.

Speaking of Pauly Shore ... For years, rumors circulated that the script for 1996’s Bio-Dome—starring Shore and Stephen Baldwin—was actually written as the third film in the Bill & Ted franchise. In 2011, Winter laid this rumor to rest when he told /Film that the story is “total urban legend as far as I know. No one involved in that movie had anything to do with Bill & Ted. So unless they were just going to try and reboot the franchise with that concept and different actors, I can’t see a connection.”

6. Keanu Reeves and Alex Winter weren't quite nerdy enough.

The casting of Reeves and Winter posed a problem for the script. “Bill and Ted were conceived in our minds as these 14-year-old skinny guys, with low-rider bellbottoms and heavy metal T-shirts,” Solomon told Cinefantastique. “We actually had a scene that was even shot, with Bill and Ted walking past a group of popular kids who hate them. But once you cast Alex and Keanu, who look like pretty cool guys, that was hard to believe.”

7. George Carlin was a happy accident.


Getty Images

In a 2013 Reddit AMA, Alex Winter called the casting of George Carlin (as Rufus, Bill and Ted’s mentor) “a very happy accident. They were going after serious people first. Like Sean Connery. And someone had the idea, way after we started shooting, of George. That whole movie was a happy accident. No one thought it would ever see the light of day.”

8. The time machine was originally a van.

In Solomon and Matheson’s original script, it was a 1969 Chevy van that served as Bill and Ted’s time machine. But in the course of rewriting the script for Warner Bros., who showed early interest in producing the project, there was concern that a motor vehicle as time machine would ring too closely as a rip-off of Back to the Future, which arrived in theaters in 1985. It was director Stephen Herek who suggested a phone booth, as he thought it could lend itself to something akin to a roller coaster in the visuals. (The phone booth’s similarity to Doctor Who’s TARDIS was apparently not a big concern to the studio.)

9. Some Nintendo lover has that phone booth.

As part of a promotion for 1991’s Bill & Ted's Excellent Video Game Adventure, Nintendo Power magazine gave away Bill & Ted’s phone booth as a contest prize. The lucky winner was one Kenneth Grayson, who Reddit tracked down for an AMA in 2011. Grayson spent much of the chat answering questions about whether or not any X-rated activities had ever taken place in the phone booth.

10. The script was written in four days. By hand.

In 1984, Solomon and Matheson wrote the script over the course of just four days. They wrote it by hand, on note paper, during a series of meetings at a couple of local coffee shops. The 2005 box set, Bill & Ted’s Most Excellent Collection, features some of their handwritten notes.

11. Sci-fi wasn't part of the plan.

Keanu Reeves, Dan Shor, and Alex Winter in Bill & Ted's Excellent Adventure (1989)
MGM

Though Matheson is the son of legendary sci-fi writer Richard Matheson, author of I Am Legend, he didn’t intend for Bill & Ted to be a science-fiction movie. “I try to consciously fight it, out of a desire to break away, but maybe I have a predilection toward that because of my dad,” Matheson told Starlog Magazine of the inevitable fantasy elements that emerged. “He’s a great writer and craftsman, and always has suggestions.” In fact, it was the elder Matheson’s idea that the time travel story be its own movie. “We were going to write a sketch film, with this as one of the skits, but my dad said, ‘That sounds like a whole movie,’” Matheson recalled, “And he was right!”

12. Bill and Ted almost traveled straight to television.

Shortly after principal photography on the film was completed in 1987, the film’s financiers, De Laurentiis Entertainment Group, went bankrupt. A straight-to-cable release was the most likely path for the time-traveling comedy until Orion Pictures and Nelson Entertainment bought the rights in 1988 for a 1989 release. Because of the delay to theaters, references to the year—which had been filmed as “1987”—had to be dubbed for 1988, resulting in a few scenes where the actors’ lips don’t quite match the sound.

13. Their journeys continued in a variety of media.

In addition to the 1991 sequel, Bill & Ted’s Bogus Journey, the Bill & Ted franchise includes 1990’s Bill & Ted’s Excellent Adventures, an animated series for which Reeves, Winter, and Carlin provided the voices. It lasted for one season. The title was revived as a live-action series in 1992, which included none of the original cast and ran for just seven episodes. In 1991, Marvel Comics launched Bill and Ted’s Excellent Comic Book, written by Evan Dorkin.

14. Back in the late 1980s, you could eat Bill and Ted.

As a tie-in to the animated series, you could—for a short while—actually start your morning with a bowl of Bill & Ted’s Excellent Cereal, which was touted as “A Most Awesome Breakfast Adventure.”

15. Bill and Ted will ride again.

Over the past several years there has been a lot of buzz about a third Bill & Ted movie coming to theaters. In 2011, Winter tweeted that the script had been completed and that he was getting ready to read it. When asked about the possibility of a threequel in 2013, Reeves told the Today Show, “I'm open to the idea of that. I think it’s pretty surreal, playing Bill and Ted at 50. But we have a good story in that. You can see the life and joy in those characters, and I think the world can always use some life and joy.” Several references to the possible project have been made since then, and it's now been confirmed that the third film, Bill and Ted Face the Music, is currently in pre-production.

According to The Hollywood Reporter, via a report from the Cannes Film Festival, Matheson and Solomon co-wrote the script and Dean Parisot (Galaxy Quest) is attached to direct. Reeves and Winter will, of course, be reprising their roles, which "will see the duo long past their days as time-traveling teenagers and now weighed down by middle age and the responsibilities of family. They’ve written thousands of tunes, but they have yet to write a good one, much less the greatest song ever written." Excellent!

6 Times There Were Ties at the Oscars

getty images (March and Beery)/ istock (oscar)
getty images (March and Beery)/ istock (oscar)

Only six ties have ever occurred during the Academy Awards's more than 90-year history. The Academy of Motion Picture Arts and Sciences (AMPAS) members vote for nominees in their corresponding categories; here are the six times they have come to a split decision.

1. Best Actor // 1932

Back in 1932, at the fifth annual Oscars ceremony, the voting rules were different than they are today. If a nominee received an achievement that came within three votes of the winner, then that achievement (or person) would also receive an award. Actor Fredric March had one more vote than competitor Wallace Beery, but because the votes were so close, the Academy honored both of them. (They beat the category’s only other nominee, Alfred Lunt.) March won for his performance in horror film Dr. Jekyll and Mr. Hyde, and Beery won for The Champ (writer Frances Marion won Best Screenplay for the film), which was remade in 1979 with Ricky Schroder and Jon Voight. Both Beery and March were previous nominees: Beery was nominated for The Big House and March for The Royal Family of Broadway. March won another Oscar in 1947 for The Best Years of Our Lives, also a Best Picture winner. Fun fact: March was the first actor to win an Oscar for a horror film.

2. Best Documentary Short Subject // 1950

By 1950, the above rule had been changed, but there was still a tie at that year's Oscars. A Chance to Live, an 18-minute movie directed by James L. Shute, tied with animated film So Much for So Little. Shute’s film was a part of Time Inc.’s "The March of Time" newsreel series and chronicles Monsignor John Patrick Carroll-Abbing putting together a Boys’ Home in Italy. Directed by Bugs Bunny’s Chuck Jones, So Much for So Little was a 10-minute animated film about America’s troubling healthcare situation. The films were up against two other movies: a French film named 1848—about the French Revolution of 1848—and a Canadian film entitled The Rising Tide.

3. Best Actress // 1969

Probably the best-known Oscars tie, this was the second and last time an acting award was split. When presenter Ingrid Bergman opened up the envelope, she discovered a tie between newcomer Barbra Streisand and two-time Oscar winner Katharine Hepburn—both received 3030 votes. Streisand, who was 26 years old, tied with the 61-year-old The Lion in Winter star, who had already been nominated 10 times in her lengthy career, and won the Best Actress Oscar the previous year for Guess Who’s Coming to Dinner. Hepburn was not in attendance, so all eyes fell on Funny Girl winner Streisand, who wore a revealing, sequined bell-bottomed-pantsuit and gave an inspired speech. “Hello, gorgeous,” she famously said to the statuette, echoing her first line in Funny Girl.

A few years earlier, Babs had received a Tony nomination for her portrayal of Fanny Brice in the Broadway musical Funny Girl, but didn’t win. At this point in her career, she was a Grammy-winning singer, but Funny Girl was her movie debut (and what a debut it was). In 1974, Streisand was nominated again for The Way We Were, and won again in 1977 for her and Paul Williams’s song “Evergreen,” from A Star is Born. Four-time Oscar winner Hepburn won her final Oscar in 1982 for On Golden Pond.

4. Best Documentary Feature // 1987

The March 30, 1987 telecast made history with yet another documentary tie, this time for Documentary Feature. Oprah presented the awards to Brigitte Berman’s film about clarinetist Artie Shaw, Artie Shaw: Time is All You’ve Got, and to Down and Out in America, a film about widespread American poverty in the ‘80s. Former Oscar winner Lee Grant (who won the Best Supporting Actress Oscar in 1976 for Shampoo) directed Down and Out and won the award for producers Joseph Feury and Milton Justice. “This is for the people who are still down and out in America,” Grant said in her acceptance speech.

5. Best Short Film (Live Action) // 1995

More than 20 years ago—the same year Tom Hanks won for Forrest Gump—the Short Film (Live Action) category saw a tie between two disparate films: the 23-minute British comedy Franz Kafka’s It’s a Wonderful Life, and the LGBTQ youth film Trevor. Doctor Who star Peter Capaldi wrote and directed the former, which stars current Oscar nominee Richard E. Grant as Kafka. The BBC Scotland film envisions Kafka stumbling through writing The Metamorphosis.

Trevor is a dramatic film about a gay 13-year-old boy who attempts suicide. Written by James Lecesne and directed by Peggy Rajski, the film inspired the creation of The Trevor Project to help gay youths in crisis. “We made our film for anyone who’s ever felt like an outsider,” Rajski said in her acceptance speech, which came after Capaldi's. “It celebrates all those who make it through difficult times and mourns those who didn’t.” It was yet another short film ahead of its time.

6. Best Sound Editing // 2013

The latest Oscar tie happened in 2013, when Zero Dark Thirty and Skyfall beat Argo, Django Unchained, and Life of Pi in sound editing. Mark Wahlberg and his animated co-star Ted presented the award to Zero Dark Thirty’s Paul N.J. Ottosson and Skyfall’s Per Hallberg and Karen Baker Landers. “No B.S., we have a tie,” Wahlberg told the crowd, assuring them he wasn’t kidding. Ottosson was announced first and gave his speech before Hallberg and Baker Landers found out that they were the other victors.

It wasn’t any of the winners' first trip to the rodeo: Ottosson won two in 2010 for his previous collaboration with Kathryn Bigelow, The Hurt Locker (Best Achievement in Sound Editing and Sound Mixing); Hallberg previously won an Oscar for Best Sound Effects Editing for Braveheart in 1996, and in 2008 both Hallberg and Baker Landers won Best Achievement in Sound Editing for The Bourne Ultimatum.

Ottosson told The Hollywood Reporter he possibly predicted his win: “Just before our category came up another fellow nominee sat next to me and I said, ‘What if there’s a tie, what would they do?’ and then we got a tie,” Ottosson said. Hallberg also commented to the Reporter on his win. “Any time that you get involved in some kind of history making, that would be good.”

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