Lust, racism, and religious bigotry aren’t topics that are usually broached in family films. Which may explain why Disney’s 1996 take on The Hunchback of Notre Dame didn’t make much of a splash at the box office. Despite this underwhelming response, the movie has since found its audience and now commands a loyal fan base.
1. FROLLO’S JOB WAS CHANGED TO AVOID OFFENDING RELIGIOUS GROUPS.
In the original Victor Hugo novel, Claude Frollo is Notre Dame’s Archdeacon. However, Disney feared that an evil priest wouldn’t sit well with Christian organizations. As such, Frollo was transformed into a judge. Furthermore, the plot’s theological underpinnings were downplayed. “[We] were told not to make the movie too religious—a pretty daunting task when you consider how much of this story takes place inside a big church,” animator Floyd Norman later said. Still, some Bible references couldn’t be avoided. Consider this: The Hunchback of Notre Dame was Disney’s 34th full-length animated feature. Just two of the film's songs—“God Help the Outcasts” and “Heaven’s Light/Hellfire”—contain more references to the words “Lord” and “God” than all 33 of Disney's previous films combined.
2. “THE BELLS OF NOTRE DAME” WAS A LATE ADDITION TO THE SCORE.
The opening number can make or break a musical. Usually, it’s the song that both captures an audience's attention and sets up the story. Yet, surprisingly, Hunchback almost didn’t get one. The original plan was to start the film with spoken exposition and a flashback montage. However, this didn’t satisfy production boss Jeffrey Katzenberg. Feeling that something was missing, he asked lyricist Stephen Schwartz and composer Alan Menken to create a new song for the sequence. Singing duty mostly went to Clopin, a theatrical Gypsy voiced by Paul Kandel, who recalls that “we were about a third of the way through the process of making [Hunchback]” when this ballad was completed."
3. THOSE SINGING GARGOYLES WERE INSPIRED BY THE NOVEL.
Quasimodo’s on-screen sidekicks are three wise-cracking statues named Victor, Hugo, and Laverne. Where did Disney get such a wild idea? From the source material. In the Hunchback novel, our lonesome protagonist often talks to the cathedral’s gargoyles. “He sometimes passed whole hours crouching before one of these statues, in solitary conversation with it” reads Chapter III. To create some comic relief, directors Kirk Wise and Gary Trousdale simply expanded upon this concept.
4. QUASIMODO COULD’VE BEEN VOICED BY MANDY PATINKIN.
In The Princess Bride (1987), Patinkin took a stab at movie immortality by playing sword maestro Inigo Montoya. Several years later, Disney offered him a very different role. After Patinkin left the medical drama Chicago Hope, the studio asked if he’d consider voicing Quasimodo. He immediately said yes, but soon ran into trouble. Hunchback had already been converted into several live-action movies—including a 1939 classic starring Charles Laughton as Quasimodo. Since Laughton is Patinkin’s favorite actor, he wanted to emulate that performance. But the producers insisted on a friendlier bell-ringer. “They had their own Disney needs,” Patinkin told the Los Angeles Times. In the end, Quasimodo was voiced by Academy Award nominee Tom Hulce.
5. SOME SCENES WERE ENHANCED WITH COMPUTER-GENERATED TOWNSPEOPLE.
Back in the mid-1990s, hand-drawn animation was still Disney’s favorite technique. Nevertheless, the studio had been integrating computer effects into their feature films ever since 1986’s The Great Mouse Detective. For Hunchback, a special program was used to generate large crowds of people. Both the Feast of Fools scene and the climax are riddled with digital Parisians. Six different body types (male and female) were created in order to pull this off. Each individual bystander was given a unique set of motion instructions. These were randomly drawn from a set of 72 predetermined movements such as clapping and jumping.
6. “HELLFIRE” WAS MODELED AFTER AN ITALIAN OPERA SONG.
Composed by Giacomo Puccini between 1899 and 1900, Tosca is now one of the world’s most popular operas. Act I ends with a song that’s guaranteed to give goosebumps. Called “Te Deum,” it belongs to the villain, Scarpia, who sings about his diabolical plans with a chorus of churchgoers. Almost a century later, Disney gave us the equally unforgettable “Hellfire”—Frollo’s epic solo. “Te Deum” was the song’s main source of creative inspiration.
7. DISNEY ASSUMED THAT THE FILM WOULD GET A PG RATING.
The Hunchback of Notre Dame deals with very taboo subjects, from sexual fantasies to eternal damnation. (There’s also scene where the female lead pole dances.) Naturally, Disney executives didn’t think that the MPAA ratings board would apply their “general admission” stamp. Screenwriter Tab Murphy “fully expected it to get a PG.” As he told the Chicago Tribune, “It felt like a PG movie to everyone, including everybody who signed off on it, from Michael Eisner to Roy Disney.” News of the board’s decision to rate it G was met with widespread disbelief. “Maybe it was the gargoyles,” Murphy suggested.
8. VICTOR HUGO’S DESCENDANTS HATED IT.
Released on June 21, 1996, The Hunchback of Notre Dame garnered considerable criticism from Hugo scholars—as well as from Hugo's family. In an open letter to the French newspaper Liberation, the author’s great-great grandchildren—Charles, Jeanne, Sophie, Adele, and Leopoldine Hugo—dismissed the movie as “vulgar commercialization by unscrupulous men.” A particular bone of contention was Hunchback’s aggressive marketing campaign. “[The] story used in this film is borrowed from the work of Victor Hugo,” they noted, “but his name is not even mentioned on the posters that now cover the planet.”
9. JASON ALEXANDER WOULDN’T LET HIS OWN SON SEE THE MOVIE.
Hunchback may have defied the odds and nabbed that G rating, but many parents still chose to keep their little ones away. Among them was Alexander, who voiced Hugo the gargoyle. “Disney would have us believe this movie’s like the Ringling Bros., for children of all ages,” said the Seinfeld star. “But I won’t be taking my four year-old. I won’t expose him to it, not for another year.”
10. BELLE FROM BEAUTY AND THE BEAST MAKES A CAMEO.
Keep your eyes peeled: When Quasimodo sings “Out There,” Belle can be seen wandering through the streets of Paris—and, true to form, she’s got her nose stuck in a book. Look carefully and you’ll also spot a peasant shaking out Aladdin’s magic carpet during the same sequence.
When I Love Lucy premiered on October 15, 1951, no one could have predicted that it would become one of television’s most beloved and enduring programs of all time. But a combination of innovative filming techniques, the dogged perfectionism of star Lucille Ball, top-notch writing, the “can do” attitude of the production staff, and the business savvy of Desi Arnaz, I Love Lucy topped the Nielsen ratings for four out of its six seasons and picked up a handful of Emmys along the way. And even though the show’s main stars couldn’t stay married to one another (Lucy and Desi divorced in 1960, after 20 years of marriage), they remained the best of friends. As Desi would proclaim until his dying day, “I Love Lucy was never just a title.”
1. CBS DIDN’T THINK AMERICANS WOULD BUY THAT LUCY WAS MARRIED TO A “FOREIGN” MAN.
When CBS approached Lucille Ball with the offer of turning her popular radio show My Favorite Husband into a television show, she was agreeable with one condition: that her real-life husband, Desi Arnaz, would be cast in the role of her spouse (played on the radio by Richard Denning). The network balked—there was no way that American viewers would accept average housewife Liz Cooper (her character’s name on the radio series) being married to a “foreign” man with an indecipherable accent. Never mind the fact that Lucy and Desi had been married more than a decade; such a “mixed” marriage was unbelievable.
2. LUCY AND DESI HAD TO TAKE THEIR SHOW ON THE ROAD TO CONVINCE THE NETWORK BRASS.
Arnaz had a successful career touring the country with his rhumba band, which was one of the reasons Lucille wanted him to get cast as her TV husband—to keep him off the road and close to home. In an effort to show the network (and potential sponsors) that they could work together as a comedy team, they crafted a sort of vaudevillian skit that was inserted into the middle of performances by the Desi Arnaz Orchestra during a tour in the summer of 1950. The audiences roared over Lucille’s antics and her interaction with Desi as she interrupted his band’s concert confusedly, cello in hand, thinking she had an audition scheduled. The “Professor” skit not only convinced the network powers that be that the couple could, in fact, be convincing as husband and wife—it also was such a hit that it was incorporated into episode six of I Love Lucy’s first season.
3. THE SHOW BROKE GROUND IN SEVERAL WAYS, SIMPLY BECAUSE THE ARNAZES WOULDN’T MOVE TO NEW YORK.
Lucille and Desi wanted to work in Los Angeles, near their home and their new baby daughter Lucie. But in 1951 the majority of television shows were broadcast from New York, and that’s where sponsor Philip Morris wanted their show to originate as well. In those days the U.S. wasn’t wired for television from coast-to-coast; shows broadcast live could only be transmitted so far. As a result, such shows were preserved on kinescopes (a movie camera aimed at a TV monitor that recorded the show in negligible quality) and shipped to distant stations.
Philip Morris objected to I Love Lucy being performed in California and the kinescopes sent to New York; their biggest cigarette market was up and down the east coast and they wanted the best TV picture quality for that area. Desi Arnaz suggested that the show be filmed with three cameras, like a stage play, which would provide the same quality picture for every market. But multi-cameras had never been used on a situation comedy before, and there were many obstacles involved, not the least of which was accommodating a live studio audience (Desi knew that Lucille worked best when she got immediate audience feedback).
Desi hired legendary cinematographer Karl Freund to help solve the dilemma, and along with writer-producer Jess Oppenheimer and director Marc Daniels, they built a set, and the necessary filming equipment was strategically placed. CBS balked at the additional expense involved in this undertaking, so Arnaz struck a deal: he and Lucille would take a large cut in their salaries and their company, Desilu Productions, would retain ownership of the films in exchange. The enduring high quality of the 35 millimeter film was part of the reason that I Love Lucy became so popular in rerun syndication, and Desilu’s 100 percent ownership of the series made Lucille and Desi the first millionaire TV stars.
4. ONLY LUCY WAS ALLOWED TO MAKE FUN OF RICKY’S FRACTURED ENGLISH.
After a few episodes were filmed, it became an unwritten rule that only Lucy would ever poke fun at her husband’s pronunciation problems. The writers had allowed other characters to make remarks, but in each case the “joke” was met with stony silence from the studio audience. For some reason, it seemed cruel when anyone other than Lucy “mucked” Ricky’s English.
5. SMOKING WAS REQUIRED ON-CAMERA.
I Love Lucy almost never made it to the air because CBS had trouble securing a sponsor for the show. Finally tobacco giant Philip Morris signed on at the 11th hour. As a result, lots of smoking was featured in each episode, and the name “Philip Morris” was worked into the dialogue whenever plausible. There was, however, one small problem: Lucille Ball was a Chesterfield girl. She eventually overcame this little hurdle by having a stagehand stuff any on-camera Philip Morris packs full of Chesterfield cigarettes.
6. WILLIAM FRAWLEY WAS FAR FROM THE FIRST CHOICE TO PLAY FRED MERTZ.
Lucille Ball was eager to have Gale Gordon, whom she’d worked with on her My Favorite Husband radio show, play crusty neighbor and landlord Fred Mertz. But Gordon, who had a steady gig at the time on the Our Miss Brooks radio program, asked for more money than Desilu had to offer. Character actor William Frawley knew Ball in passing (they’d met back in the 1940s) and phoned her personally when he read about her upcoming TV show in the trade papers to inquire if there might be a part for him. CBS and Philip Morris were wary of hiring Frawley, who had a reputation for being a heavy drinker. But Arnaz (no stranger to the bottle himself) thought that Frawley was just curmudgeonly enough to bring Fred Mertz to life. He met Frawley for lunch at Nickodell’s on Melrose Avenue and offered him the role with the proviso that if he missed work for any reason other than legitimate illness, he’d be written out of the show.
7. DORIS ZIFFEL WAS ALMOST ETHEL MERTZ.
Lucille had worked with Bea Benaderet in radio and wanted her to play Ethel Mertz. But Benaderet had just signed on to play Blanche Morton on the TV version of The Burns and Allen Show and was unavailable. Barbara Pepper was a personal friend of Ball’s, and the two had worked in films together, so she was the next serious consideration for the role. Pepper was the right age and body type to play Ethel, but she was also a known alcoholic and the network nixed her after Frawley was hired; two heavy drinkers in the main cast was too risky. I Love Lucy had already gone into early rehearsals by the time director Marc Daniels saw Vivian Vance performing in a play at the La Jolla Playhouse and recommended her to Arnaz. Pepper did play background characters on severalI Love Lucy episodes and would go on to land the role of Doris Ziffel on Green Acres.
8. THE “MERTZES” DESPISED ONE ANOTHER OFF-CAMERA.
Vivian Vance was 22 years younger than her TV husband and resented having such an “old poop” play her spouse. Frawley responded in kind, referring to her variously as “that sack of doorknobs” or just plain “b*tch.” But all that animosity was strictly behind the scenes and known mostly only to the series’ writers and directors. Frawley and Vance were savvy enough to not jeopardize their jobs on TV’s most successful show by openly airing their mutual hostility. Even co-workers like Keith Thibodeaux (Little Ricky, a.k.a. Richard Keith) and Roy Rowan (the show’s announcer), who were on the set daily, had no idea that things were less than cuddly between the two actors until years afterI Love Lucy ceased production.
9. DESI ARNAZ HAD LIFTS IN HIS SHOES (AND HIS LOVESEAT).
Arnaz listed his height as 5’11” in most official biographies, but those who worked with him knew that in reality he was 5’9” and wore four-inch lifts in his shoes. Lucille Ball stood 5’7” in her stocking feet, and when she wore heels she seemed to tower over her husband. Desi Arnaz Jr. would later explain to an interviewer that his father “was a Cuban with a Latin male’s pride,” which is why it was important to him to be taller than his wife. A dual-purpose, subtle additional cushion (undetectable by the viewing audience) was added to the Ricardos’ loveseat so that Ricky would be taller than Lucy while seated, and would also give him the extra boost needed to gracefully rise from a sitting position up onto his elevator shoes.
10. ARNAZ FLATLY REJECTED A SCENE THAT INVOLVED RICKY CHEATING ON HIS TAXES.
Desi Arnaz was an unabashed believer in the American Dream and was very patriotic when it came to his adopted homeland. Desi was 17 years old when Fulgencio Batista overthrew the Cuban government and the Arnaz family fled to Miami with little more than the clothes they were wearing. The family lived in a warehouse with some other refugees and Desi got a job cleaning birdcages for a man whole sold canaries to pet stores. As he said during his acceptance speech on Ed Sullivan’s Toast of the Town in 1954, “From cleaning canary cages to this night in New York is a long ways. And I don’t think there’s any other country in the world that could give you that opportunity.” So when a scene in original script in the episode “Lucy Tells the Truth” called for Ricky to fudge some numbers on his income tax return, Arnaz refused to play it and asked the writers to remove it. He didn’t want the audience to think that Ricky would cheat the U.S. government.
11. THE CANDY LADY WAS A BIG DIPPER IN REAL LIFE.
“Job Switching” (often referred to as “The Candy Factory Episode”) has long been a fan favorite, particularly the scene where Lucy and Ethel are stuffing their faces and clothing with chocolates while trying to keep up with a speedy conveyor belt. The previous scene featured Lucy hand-dipping chocolates with a real-life dipper that stage manager Herb Browar found at See’s Candies on Santa Monica Boulevard.
Amanda Milligan had never seen I Love Lucy (she watched wrestling on Monday nights), but Browar hired her anyway; he thought her deadpan expression would make her the perfect straight woman for Lucille to react to. During rehearsals Lucille was worried that the scene just wasn’t going to be funny on film because Milligan seemed hesitant to hit her in the face as the script specified. When the cameras were rolling, Milligan hauled off and smacked Lucille so hard that Ball feared her nose had been broken. Despite her pain and ringing ears Ball didn’t call for a “cut” because she did not want to have to do another take! During a break in filming Lucille asked Milligan “So, how do you like working in show business?” An unsmiling Milligan, who’d spent eight hours per day for the past 30 years putting swirls on chocolates, replied, “I’ve never been so bored in my life.”
12. LUCILLE WAS TOO STRESSED TO APPRECIATE THE HUMOR IN ONE OF HER MOST POPULAR EPISODES.
Another fan favorite was, interestingly, not one of Ball’s favorite episodes. It wasn’t until “Lucy Does a TV Commercial” was voted tops in many viewer polls over the years that she acknowledged that it was a funny episode. During filming, she was too nervous and worried about messing up her lines (imagine having to say “Vitameatavegamin” that many times during a spiel) to appreciate the humor.
Ball was many things, including a great physical comedienne, but one thing she was not was an improviser or extemporaneous speaker. Every slurred word of her drunken Vitameatavegamin pitch was in the script. Lucille even came up with a backup plan, lest she forget her lines: she had script supervisor Maury Thompson made up and placed off-side in front of her podium holding up her lines (there were no cue cards on the I Love Lucy set), much like a real commercial setting.
By the way, that stuff Lucy was pouring onto the spoon was apple pectin.
13. BECAUSE THE SHOW WAS FILMED IN FRONT OF AN AUDIENCE, THEY HESITATED TO YELL “CUT” AND RESHOOT SCENES.
As a result, the occasional blooper was left in and sort of papered-over. One classic example occurred in “Redecorating the Mertz’s Apartment,” at the breakfast table when Lucy is musing aloud about how to repair both the Mertz’s marriage and their tacky apartment. See how Desi saves the scene after she mistakenly says “paint the furniture and reupholster the old furniture:”
14. LUCILLE’S PREGNANCY CREATED PANIC BEHIND THE SCENES.
During season two, Ball discovered that she was pregnant. While the Arnazes were overjoyed (Lucille had previously suffered three miscarriages before giving birth to daughter Lucie in July 1951), they were also concerned about the fate of their hit series. Other than the late 1940s sitcom Mary Kay and Johnny (which also starred a real-life married couple), a visibly pregnant female had never starred on a TV series. It would be impossible to conceal Lucille’s condition because, as Desi told the network, “she got as big as a house when she was carrying Lucie.”
Eventually, the network agreed to write Ball’s pregnancy into the show, and Desi hired a local Catholic priest, a minister, and a rabbi to sit in while each episode was filmed to determine whether there was anything objectionable. CBS deemed that the word “pregnant” was vulgar, so it was replaced with “expecting” (or, as Ricky pronounced it, “‘spectin’”). The scene at the Tropicana, where Lucy finally breaks the news to Ricky, was genuinely emotional for the actors, who both started crying and Desi had to be prompted “sing the baby song!” Director William Asher reshot that scene, but decided that the raw emotion in the original take made for a more poignant moment and used it.
15. LITTLE RICKY AND DESI ARNAZ JR. WERE BORN ON THE SAME DAY.
The Arnazes already knew that Lucille would give birth via Caesarian section when her time came (as that was how Lucie had been delivered), and Ball’s obstetrician regularly scheduled all his C-sections on Mondays. As luck would have it, I Love Lucy aired on Monday nights, so with the pregnancy episodes timed just so, Ball went to the hospital the same night that Lucy Ricardo did.
What the Arnazes did not know in advance, however, was the gender of their pending bundle of joy. I Love Lucy head writer Jess Oppenheimer had decided that the Ricardos would have a boy, so when Desi Arnaz Jr. was born, Desi Sr. joyfully called Jess to announce proudly, “Lucy followed your script! Ain’t she something?!” (By the way, a record-breaking 71.7 percent of American televisions were tuned in that Monday night to see the Ricardo baby, which topped the number of folks who watched Dwight D. Eisenhower get sworn in as President the following day.)
16. LUCILLE TRULY SUFFERED FOR THAT ICONIC GRAPE-STOMPING EPISODE.
“Lucy’s Italian Movie” faced a variety of obstacles. First was getting a vineyard to donate the necessary grapes for stomping. The company that ultimately agreed did so with the proviso that it must be mentioned in the script that foot-pressing was an outmoded method of making wine in Italy. Next was the local extra cast to wrestle Lucille in the grape vat; Teresa Tirelli didn’t speak any English and an interpreter had to explain the scene to her. Apparently something was lost in the translation because Tirelli didn’t grasp that this was supposed to be a filmed-from-the-waist-up fake fight and she literally held Lucille’s head under the grape mush until the star very nearly drowned. And even though the show was broadcast in black and white, Ball, Arnaz, and the production staff were sticklers for detail so a formula for a purplish/blue dye had to be worked out that would properly tint Lucille’s flesh and hair without irritating her skin or reacting with the chemicals used to keep her permed locks that famous henna color for that final scene.
17. LUCILLE EXASPERATED GUEST STAR HARPO MARX.
Ball was a long-time admirer of Harpo Marx, but when it came to actually working with him, she was unprepared for his “never the same way twice” approach to his comedy routines. In the Hollywood episode where she was required to mirror his moves, she insisted on incessant rehearsals to get the bit just right. But Harpo’s attitude was “I’ve done this bit for 35 years, why do I need so much rehearsal?” In the end, this was one of the few instances where the scene was re-shot several times after the studio audience had left and was later pieced together by editor Dann Cahn.
18. THE LONGEST LAUGH ON THE SHOW LASTED 65 SECONDS.
When Lucy hid dozens of eggs and then danced the tango with Ricky (resulting in the inevitable blouse full of scrambled yolks), the audience roared for so long that ultimately some of the laughter had to be edited out in the final film. Neither Ball nor Vance had used eggs during rehearsals so that their onscreen reactions would be more genuine when the shells cracked and the albumen slimed its way down their flesh.
19. ARNAZ REQUIRED AS MUCH REALISM AS POSSIBLE, NO MATTER THE COST OR DIFFICULTY.
No matter how wacky the situation, Arnaz tried hard to maintain some veracity, thinking that that the audience would believe it (and thus find it more humorous) if the actors believed it. So when a scene in “Pioneer Women” required an eight-foot-long loaf of bread to pop out of the oven, the producers found a New York bakery willing to bake one. (It was rye bread, by the way, and when filming was finished it was cut up and served to the audience.) Likewise, in “Deep Sea Fishing” when Ricky and Fred entered into a bet with Lucy and Ethel to see who could catch the biggest fish, two 100-plus pound tunas were purchased at San Francisco’s Fisherman’s Wharf, packed in ice into child-sized coffins and air-shipped to Hollywood.
20. THE “UH-OH” LADY HEARD IN THE STUDIO AUDIENCE WAS LUCILLE’S MOM.
Quite often when Lucy Ricardo was stepping into a precarious situation, a woman in the audience could be heard uttering “uh-oh.” That was Dede Ball, who attended every taping and tended to get wrapped up in the proceedings. I Love Lucy sound engineer Glen Glenn was the co-founder of Glen Glenn Sound, and in the 1960s and ‘70s his company was one of the leading providers of laugh tracks, or canned laughter, to TV sitcoms. Many of the yuks used in their recordings were culled from I Love Lucy and The Red Skelton Show, which is why Dede’s “uh-oh” could be heard years later on shows she’d never seen, much less been in attendance.
Additional Sources: A Book, by Desi ArnazThe Lucy Book, by Geoffrey Mark FidelmanMeet the Mertzes, by Ron Edelman and Audrey KupferbergThe “I Love Lucy” Book, by Bart AndrewsLucy & Ricky & Fred & Ethel: The Story of I Love Lucy, by Bart AndrewsLaughs, Luck….and Lucy, by Jess Oppenheimer
On October 14, 1994, Quentin Tarantino's Pulp Fiction was released in theaters in America and a new Hollywood auteur was born. In addition to teaching Americans what a Quarter Pounder with Cheese is called in Europe, the film reignited the career of John Travolta (who received a Best Actor Oscar nomination for his work) and showed audiences a different side of Bruce Willis. In honor of the film's anniversary, here are 20 things you might not have known about Pulp Fiction.
1. THE FILM WAS RELEASED IN SOUTH KOREA, JAPAN, AND EVEN SLOVAKIA BEFORE IT ARRIVED IN AMERICA.
Tarantino’s film first played the Cannes Film Festival in May 1994. It was shown at other festivals around the world, from Munich to Locarno, before hitting American shores on September 23, 1994, at the New York Film Festival. The film was released in South Korea, Japan, and Slovakia before it officially opened in the U.S. on October 14, 1994. The feature rolled out across Asia and Europe throughout 1994 and 1995.
2. HONEY BUNNY WAS NAMED AFTER AN ACTUAL RABBIT.
Honey Bunny belonged toLinda Chen, who typed up Tarantino's handwritten script for Pulp Fiction. In lieu of payment, she asked Tarantino to watch her rabbit when she went on location; Tarantino wouldn't do it, and when the rabbit later died, he named Amanda Plummer's character after Chen's pet.
3. YOU CAN WATCH THE FILM CHRONOLOGICALLY ... KIND OF.
The narrative structure of the film plays out of sequence, but it’s easy enough to break it down into seven distinct sections (a prologue, an epilogue, two preludes, and three large segments) that can then be re-ordered into a chronological narrative (Hint: The first prelude, to the “Gold Watch” section, plays first. If that doesn’t help, here’s an infographic).
4. THE FILM CONTAINS 265 “F WORDS.”
Even that hefty number isn’t Tarantino’s highest (1992’s Reservoir Dogs used it 269 times). Still, the film was the big “f word” winner of 1994, as no other film released that year even came close to that amount of profanity.
5. VINCENT VEGA’S 1964 CHEVELLE MALIBU WAS STOLEN AFTER THE SHOOT.
John Travolta’s character in the film had a sweet ride—which, in real life, belonged to Tarantino—and it was such a hot rod that it was stolen soon after the film’s release. It wasn’t found for nearly two decades, when two cops happened on a pair of kids stripping an older car. After running the Vehicle Identification Number, they found it shared the number with a car in Oakland, which turned out to be Tarantino’s car.
6. THE MOVIE COST ONLY $8.5 MILLION TO MAKE.
Five million went to the actors’ salaries. It made that all back in its first week at the U.S. box office (the film pulled in $9.3 million the first weekend of release).
7. THE FILM WAS THE THIRD BIGGEST R-RATED EARNER OF 1994.
The film lost out on the title to True Lies ($146.2 million) and Speed ($121.2 million). The film’s earnings were strong enough to place it in the overall top 10 for the year, though 1994 was dominated by Forrest Gump, which made $329.6 million that year.
8. EVEN THOUGH THE FILM MADE OVER $100 MILLION, IT TOOK A LONG TIME TO GET THERE.
Even though Tarantino’s film ended up being a tremendous hit—especially considering that slim budget—it took some time to get there. The film was in release for 178 days before it finally pulled in 100 million domestic dollars. A little comparison? It took Harry Potter and the Deathly Hallows – Part 2 only two days.
9. VINCENT VEGA WAS WRITTEN FOR MICHAEL MADSEN ...
Tarantino specifically wrote a number of roles in the film for chosen actors (including Samuel L. Jackson, Harvey Keitel, Tim Roth, and Amanda Plummer), but nothing compared to his dedication to having Michael Madsen play Vince. Madsen, who knew of Tarantino’s plans and said he wanted to do the part, dropped out two weeks before the script was finished to star in Wyatt Earp.
10. ... WHICH COULD HAVE MADE HIM MR. BLONDE’S TWIN.
Tarantino has a long tradition of connecting characters in his various films—basically, the filmmaker is working with a number of sprawling family trees, and it’s always a treat to see how characters intersect—which would have made Madsen’s casting of Vince come with a surprising twist: it might have made him Mr. Blonde’s (Madsen’s character from Reservoir Dogs) twin, as it’s long been known that Vince and Blonde are brothers.
11. IT INSPIRED TOP GEAR’S STIG.
The mysterious, anonymous Stig was inspired by the mysterious, anonymous Gimp. The Gimp was even the original name for the Stig, until they couldn’t find a racing driver willing to use that name.
12. BUTCH WAS SUPPOSED TO BE A LOT YOUNGER.
Tarantino wrote the part as a young boxer, with Matt Dillon specifically in mind for the role, but when the actor took too much time considering the part, it was tweaked slightly to accommodate Bruce Willis (who was a little ticked that he wasn’t asked to play Vince).
13. TARANTINO LOVES VINTAGE BOARD GAMES, AND IT SHOWS.
The filmmaker is an avid board game collector, which is why the film features Operation and The Game of Life. Tarantino convinced Travolta to come on board with an all-day Welcome Back Kotter, Grease, and Saturday Night Fever board game marathon.
14. VINCENT’S PREFERRED READING MATERIAL IS REAL.
Vince loves reading pulp fiction books during his, ahem, private time, including Peter O’Donnell’s Modesty Blaise, a real pulp fiction novel based on O’Donnell’s '60s comic strip. Tarantino has long expressed interest in bringing that tale to the big screen, including giving his official license to the 2003 film (Quentin Tarantino Presents) My Name is Modesty.
15. DESPITE TARANTINO’S LOVE FOR UMA THURMAN, SHE WASN’T HIS FIRST PICK.
Other possible Mias? Isabella Rossellini, Julia Louis-Dreyfus, Meg Ryan, Alfre Woodard, Halle Berry, Daryl Hannah, Rosanna Arquette, Joan Cusack, and Michelle Pfeiffer. Tarantino’s original favorite was supposedly Pfeiffer.
16. THE ORIGINAL POSTER CAN FETCH YOU SEVERAL HUNDRED DOLLARS.
The first poster had Uma Thurman smoking from a box of Lucky Strike cigarettes—but Miramax hadn’t licensed usage rights from Lucky Strikes, who threatened to sue. Rather than fight it, Miramax had the posters returned. Those that survived can now command big money.
17. JULES MAY HAVE BEEN WRITTEN FOR SAMUEL L. JACKSON, BUT HE ALMOST LOST THE PART.
Tarantino very much had Jackson in mind for the role of Jules, but when he auditioned Paul Calderon, he was so struck by the performance that he very nearly hired him. Jackson, desperate to get “his” role back, flew to Los Angeles and auditioned for Tarantino again.
18. CAPTAIN KOONS MIGHT HAVE A FAMOUS RELATIVE.
Well, famous in the Tarantino universe, anyway: It’s widely believed that Christopher Walken’s Captain Koons is a descendent of Django Unchained character Crazy Craig Koons, who is only mentioned by name in a Wanted poster.
19. ROBERT RODRIGUEZ DIRECTED PARTS OF THE FILM.
When Tarantino is on screen as Jimmie, someone else had to be behind the camera—and that someone was Robert Rodriguez. The pair later teamed up for a number of other projects, including From Dusk Till Dawn and Grindhouse.
20. TRAVOLTA DIDN’T REALLY INJECT THURMAN IN THAT SCENE.
The infamous scene in which Mia is stabbed with a very necessary adrenaline shot was stressful enough, so Tarantino took off some of the pressure: the needle was inserted, and then Travolta pulled it out. The scene was reversed in post-production so it looks as if Vincent Vega really is plunging that syringe into her. Movie magic!