By unknown (Ed Wood Prod. / Valiant Pictures) [Public domain], via Wikimedia Commons
By unknown (Ed Wood Prod. / Valiant Pictures) [Public domain], via Wikimedia Commons

10 Out-of-This-World Facts About Plan 9 From Outer Space

By unknown (Ed Wood Prod. / Valiant Pictures) [Public domain], via Wikimedia Commons
By unknown (Ed Wood Prod. / Valiant Pictures) [Public domain], via Wikimedia Commons

Whether it deserves the title or not, Plan 9 from Outer Space (1959) has been both condemned and celebrated as “the worst movie ever made.” Critics love to mock everything from the film’s comical dialogue to its not-so-special effects. And yet these same things are what endears the film to its legion of fans. Writer-director Ed Wood crafted the picture with undeniable passion. “Plan 9,” he once said, “is my pride and joy.” After Wood passed away in 1978, his beloved film turned into a huge success—but for reasons he probably never would’ve expected. 


A lifelong Bela Lugosi fan, Ed Wood was able to cast his idol in 1953’s Glen or Glenda. Two years later, the director gave him a Dr. Frankenstein-like role in Bride of the Monster. For his next film, Wood once again wanted Lugosi to take center stage. At the California home of Swedish wrestler Tor Johnson—who’d also appeared in Bride of the Monster—Wood shot a handful of very brief scenes, all starring Lugosi. Depending on who’s telling the story, this footage was either intended for Plan 9 or for an unmade movie called The Vampire’s Tomb. Regardless, Lugosi sadly didn’t live to see any of it reach the silver screen. The horror icon died of a heart attack in August 16, 1956. Endlessly resourceful, Wood threw all of his existing Lugosi shots into Plan 9 from Outer Space.


Production on Plan 9 from Outer Space began in earnest after Lugosi’s death. Since he was no longer around to film certain scenes, Wood recruited chiropractor Tom Mason as a substitute. Physically, he wasn’t a perfect stand-in; Mason was noticeably taller than Lugosi (a fact that Wood tried to disguise by having him hunch over). But the good doctor made sure to mask his face under a cape at all times.


The film, about aliens who try to conquer Earth by reanimating human corpses and turning them against the living, was given the working title Grave Robbers from Outer Space. But most of the movie’s funding came from J. Edward Reynolds, a devout Southern Baptist, whose religious sensibilities were offended by the title. So Wood changed it to Plan 9 from Outer Space. To further improve his relationship with the financier, Wood underwent a full-body baptism at Reynolds' church. Several cast members did likewise—including Johnson, who pranked the minister by pretending to drown mid-ceremony.


By Edward D. Wood, Jr. (Restored DVD.) [Public domain], via Wikimedia Commons

Perhaps unsurprisingly, Plan 9 has numerous bloopers. For example, the grave scenes use plywood tombstones, which wobble throughout the movie. But Wood’s team wasn’t responsible for every error. Early on, we see our hero—pilot Jeff Trent—flying a plane when a huge burst of light almost blinds him. Viewers may also notice that, as he recoils, a boom microphone shadow appears on the back wall of the cockpit. Look carefully, and you’ll also observe that Trent’s co-pilot is holding a copy of the script in his lap. Both of these gaffes were created when Plan 9 was converted to a film and TV-friendly format. Neither the script nor the boom mike shadow appeared in the original theatrical version. Unfortunately, the aspect ratio changes made to Plan 9 for its video and TV releases suddenly rendered both of these things visible.


It has been suggested that Wood made his economical-looking spaceships out of hubcaps, pie tins, or dinner plates. But actually, they were just UFO model kits someone had picked up at a hobby shop. The “build-it-yourself” saucers were part of a mass-produced, 1956 line from toy manufacturer Paul Lindberg. 


Plan 9 is filled with classic lines like “Future events such as these will affect you in the future” and “All you of Earth are idiots!” (Eat your heart out, Shakespeare!) From start to finish, though, the movie’s biggest star is dead quiet. TV’s first horror host, Maila Nurmi had gotten her big break on the Los Angeles station KABC as “Vampira.” Alluring and ghoulish, the character’s weekly show earned huge ratings during the 1950s. In Plan 9, Nurmi plays a similar role. Yet whereas Vampira had a silky, seductive voice, Nurmi's Plan 9 character (a revived cadaver) never makes a peep. The actress later claimed that Wood had given her some dialogue at the onse, but she didn’t like the material he’d written, so insisted on staying mute. 


After Inspector Clay (Johnson) is killed off, his semi-mangled corpse rises up and attacks some hapless police officers. For these sequences, makeup wizard Harry Thomas gave the actor some hideous-looking fake bruises. “The scars were created on Tor’s face with cotton spirit gum and collodion,” Thomas said in the 1992 documentary Flying Saucers Over Hollywood: The ‘Plan 9’ Companion. “You have to be careful because sometimes collodion will burn, especially if it’s used over the same area more than once.” Throughout the shoot, Thomas was constantly moving the false scars slightly to the left or right. In doing so, he prevented Johnson from getting any real ones.   


Like most low-budget 1950s flicks, Plan 9 from Outer Space doesn’t have an original soundtrack. Instead, it uses a composite score pieced together from assorted bits of stock music. Music supervisor Gordon Zahler assembled Plan 9’s instrumental tracks on the cheap. Yet, after the fact, he failed to give credit where some was due. Zahler never wrote a complete list of which composers were behind the movie’s various cues, so for decades their identities remained a mystery. But in the early 1990s, historian Paul Mandell combed the archives and tracked down most of Plan 9’s original recordings and was able to recognize almost every piece that Zahler had grabbed. One of these was “Grip of the Law” by Trevor Duncan, which acts as the film’s lively opening credits theme.


At first, Gregory Walcott (who played Jeff Trent) wanted nothing to do with Plan 9. “I read the script and it was gibberish. It made no sense,” the leading man recalled. Eventually, Walcott swallowed his pride and joined the cast anyway. Little did he know that Plan 9 would overshadow the rest of his career. “I will go to my grave not remembered for … meaty roles that I did for the likes of John Ford or Steven Spielberg, but as the leading man in a film most historians consider the worst movie ever made,” Walcott lamented in 1998. Still, he did come to appreciate this film. When Tim Burton’s biopic Ed Wood (1994) came along, Walcott delivered a brief cameo. Then, in 2013, an Escondido, California brewery called the Plan 9 Alehouse opened for business. Walcott helped out by letting the owners use pages from his original Plan 9 script as wallpaper in their men’s room.


In 1978, movie critics Harry and Michael Medved helped co-write The Fifty Worst Films Of All Time. The book was a hit, but many readers took issue with their list. Some 393 genre fans contacted the Medveds demanding to know why Plan 9 from Outer Space hadn’t so much as been mentioned. “People really took us to task for it,” Harry said. “We were shocked by the flood of fan mail—or, in this case, hate mail—saying, ‘We agree Robot Monster is one of the worst of all time, but how could you write [this book] and not include Plan 9 from Outer Space? What were you thinking?!”

The Medveds would soon redeem themselves. The Fifty Worst Films Of All Time invited readers to nominate their pick for the most inept motion picture in the history of cinema. More than 3000 ballots were cast and Plan 9 won the vote by a landslide. When the Medveds published 1980’s The Golden Turkey Awards (another sort-of tribute to B-grade cinema), they pronounced Ed Wood’s masterpiece “the worst movie ever made.” Ironically, this was the best thing that ever happened to the film.

Before The Golden Turkey Awards arrived, mainstream audiences had more or less ignored Plan 9 from Outer Space. Then, seemingly overnight, its cult following grew. Even TV sitcoms jumped on the bandwagon. A 1991 episode of Seinfeld revolved around Jerry’s eagerness to catch the flick at a screening. “This isn’t ‘Plans One Through Eight from Outer Space,’” he tells Elaine.  “This is Plan 9. The one that worked. The worst movie ever made!”

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.


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.


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.


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.


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.


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.

Jesse Grant, Getty Images for AMC
5 Bizarre Comic-Con News Stories from Years Past
Jesse Grant, Getty Images for AMC
Jesse Grant, Getty Images for AMC

At its best, San Diego Comic-Con is a friendly place where like-minded people can celebrate their pop culture obsessions, and each other. And no one can make fun of you, no matter how lazy your cosplaying might be. You might think that at its worst, it’s just a series of long lines of costumed fans and small stores crammed into a convention center. But sometimes, throwing together 100,000-plus people from around the world in what feels like a carnival-type atmosphere where anything goes can have less than stellar results. Here are some highlights from past Comic-Con-tastrophes.


In 2010, two men waiting for a Comic-Con screening of the Seth Rogen alien comedy Paul got into a very adult argument about whether one of them was sitting too close to the other. Unable to come to a satisfactory conclusion with words, one man stabbed the other in the face with a pen. According to CNN, the attacker was led away wearing handcuffs and a Harry Potter T-shirt. In the aftermath, some Comic-Con attendees dealt with the attack in an oddly fitting way: They cosplayed as the victim, with pens protruding from bloody eye sockets.


Since its founding in 2006, New York Comic Con has attracted a few sticky-fingered attendees. In 2010, a man stole several rare comics from vendor Matt Nelson, co-founder of Texas’s Worldwide Comics. Just one of those, Whiz Comics No. 1, was worth $11,000, according to the New York Post. A few years later, in 2014, someone stole a $2000 “Dunny” action figure, which artist Jon-Paul Kaiser had painted during the event for Clutter magazine. And those are just the incidents that involved police; lower-scale cases of toys and comics disappearing from booths are an increasingly frustrating epidemic, according to some. “Comic Con theft is an issue we all sort of ignore,” collector Tracy Isenhour wrote on the blog of his company, Needless Essentials, in 2015. “I am here to tell you no more. It’s time for this garbage to stop."


John Sciulli/Getty Images for Xbox

Adrianne Curry, winner of the first cycle of America’s Next Top Model, has made a career of chasing viral fame. Ironically, it was at Comic-Con in 2014 that Curry did something truly worthy of attention—though there wasn’t a camera in sight. Dressed as Catwoman, she was posing with fans alongside her friend Alicia Marie, who was dressed as Tigra. According to a Facebook post Marie wrote at the time, a fan tried to shove his hands into her bikini bottoms. She screamed, the man ran off, and Curry jumped to action. She “literally took off after dude WITH her Catwoman whip and chased him down, beat his a**,” Marie wrote. “Punched him across the face with the butt of her whip—he had zombie blood on his face—got on her costume.”


The lines at Comic-Con are legendary, so one Utah man came up with a novel way to try and skip them altogether. In 2015, Jonathon M. Wall tried to get into Salt Lake Comic Con’s exclusive VIP enclave (normally a $10,000 ticket) by claiming he was an agent with the Air Force Office of Special Investigations, and needed to get into the VIP room “to catch a fugitive,” according to The San Diego Union Tribune. Not only does that story not even come close to making sense, it also adds up to impersonating a federal agent, a crime to which Wall pleaded guilty in April of 2016 and which carried a sentence of up to three years in prison and a $250,000 fine. Just a few months later, prosecutors announced that they were planning to reduce his crime from a felony to a misdemeanor.


Michael Buckner/Getty Images for Disney

In 2015, Kevin Doyle walked 645 miles along the California coast to honor his late wife, Eileen. Doyle had met Eileen relatively late in life, when he was in his 50s, and they bonded over their shared love of Star Wars (he even proposed to her while dressed as Darth Vader). However, she died of cancer barely a year after they were married. Adrift and lonely, Doyle decided to honor her memory and their love of Star Wars by walking to Comic-Con—from San Francisco. “I feel like I’m so much better in the healing process than if I’d stayed home,” he told The San Diego Union Tribune.


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