13 Epic Facts About Gangs of New York

Miramax
Miramax

Violent criminals and the Big Apple are two of Martin Scorsese’s favorite things, so Gangs of New York was a natural fit, even if the gangs in question were old-timey ones from the 1860s rather than the Joe Pesci kind. Gangs of New York marked Scorsese’s first collaboration (of five, so far) with Leonardo DiCaprio, which may have been a factor in its also being his first box office hit in over a decade. What more is there to know about a bloody epic that was nominated for 10 Oscars but won none of them? Get out your throwin’ knives and your dead rabbits and read on.

1. IT WAS 32 YEARS IN THE MAKING.

Martin Scorsese read Herbert Asbury’s 1928 nonfiction book The Gangs of New York: An Informal History of the Underworld in 1970 and immediately thought it would make a good movie. He didn’t have any money or clout yet though, so he had to wait. He bought the movie rights to the book in 1979, and even got a screenplay written around that time, then spent the next 20 years trying to get the project off the ground before finding a willing financial partner in Harvey Weinstein at Miramax Films.

2. IT WAS SHOT ON A MASSIVE SET IN ROME.

Leonardo DiCaprio and Martin Scorsese on the set of 'Gangs of New York' (2002)
Mario Tursi/Miramax

What do you do when you want to shoot on location but the location doesn’t exist anymore? You either build it, or you use computers to fabricate it. Scorsese went with the former option, commissioning Italian production designer Dante Ferretti to create a breathtakingly authentic version of New York’s Five Points neighborhood circa 1860. At the legendary Cinecittà Studios in Rome, Ferretti’s team built a mile of sets—stores, saloons, houses, the town square, even the harbor, docks, and ships—all of them fully functional, with no facades. Visitors marveled at how stepping onto the set was like stepping back in time.

3. THE BOOK THAT INSPIRED MARTIN SCORSESE WASN’T ALL THAT ACCURATE.

A modern historian named Tyler Anbinder, who wrote Five Points: The 19th-Century New York City Neighborhood That Invented Tap Dance, Stole Elections, and Became the World’s Most Notorious Slum and gave Scorsese input on the Gangs screenplay, said Asbury’s book from the ‘20s exaggerated how dangerous the neighborhood was. Anbinder had access to statistics that Asbury did not, and he said, “Other than public drunkenness and prostitution, there was no more crime in Five Points than in any other part of the city.” Asbury had written that “there was one tenement where there was a murder a day,” but in fact, Anbinder said, “there was barely a murder a month in all of New York City” at that time.

4. SCORSESE IMAGINED THE BLUES BROTHERS AS THE LEADS.

At one point in the late 1970s, when Scorsese was earnestly trying to get the film made, he envisioned Dan Aykroyd playing the Leonardo DiCaprio role, with John Belushi in the Daniel Day-Lewis part. Willem Dafoe and Robert De Niro were also attached to play Bill the Butcher at different times. And in his original conception, in the early ‘70s, Scorsese wanted A Clockwork Orange star Malcolm McDowell.

5. DANIEL DAY-LEWIS WAS TRAINED BY REAL BUTCHERS, BECAUSE OF COURSE HE WAS.

YouTube

Ever the Method actor, Day-Lewis first took lessons from two Argentine brothers with a butcher shop in Queens, then from a master butcher specially flown in from London. If you listen closely, you can hear producer Harvey Weinstein screaming about the expense. 

6. GEORGE LUCAS HELPED WITH AN ELEPHANT PROBLEM.

The Star Wars creator, then working on Attack of the Clones, had visited the massive set in Rome and told Scorsese that it was probably the last of its kind, that such large re-creations would be done on computers now to save money. Lucas’ know-how in such matters came in handy later, when Gangs needed an elephant and none of the animal wranglers in Italy were able to produce one in time.

Weinstein later recalled that he told Scorsese to keep shooting while he called Lucas and asked for help: “We’re effed! We don’t have [an] elephant! Tell us how to shoot it!” Lucas, an old pro at such things, guided them through the process of filming without the elephant and having it digitally created later. It’s the only thing in the movie that’s completely computer-generated. 

7. SEVERAL CHARACTERS WERE BASED ON REAL PEOPLE.

Bill the Butcher was real, though Scorsese changed his surname from Poole to Cutting for the movie to reflect a creative liberty he’d taken, i.e., having the character live to see the Civil War (he was actually murdered in 1855). William “Boss” Tweed (Jim Broadbent) was a real politician who controlled the Tammany Hall political machine, as you may recall from your high school U.S. history class. So were the Schermerhorns, the rich people seen taking a tour of the misery and vice of Five Points. (Interesting footnote: Scorsese’s fifth wife, whom he married in 1999, is one Helen Schermerhorn Morris, a descendant of early New York elites.) Perhaps most surprisingly, Hell-Cat Maggie (Cara Seymour)—the vicious female fighter who bites off victims’ ears—was fact-based, being a composite of the real Hell-Cat Maggie (her real name is unknown) and a few other historical lady criminals.

8. SCORSESE HAS A CAMEO AS AN UPPER-CRUSTER, BUT ONLY FOR HIS DAUGHTER’S SAKE. 

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Scorsese wanted his daughter, Francesca, to be in the movie, because that’s your prerogative when you’re a director. Since she was a babe-in-arms, Scorsese wanted to be in the scene with her, and he didn’t want her to be in the Five Points. “After two weeks of working in those sets, and rain and all sorts of things, they became very lived-in. The streets became very muddy,” he said. The safest, cleanest place was the fancy house of some fancy people that Cameron Diaz’s character steals from, with Scorsese as the fancy dad. (Scorsese assures us in the DVD commentary that he would much rather have played a Five Pointer.)

9. DAY-LEWIS LISTENED TO A LOT OF EMINEM ON THE SET.

The actor is well known for doing a lot of intense preparation before a film shoot, and for staying in character throughout it. That doesn’t mean he only listened to music that Bill the Butcher would have listened to, though. He told Rolling Stone that he listened to a lot of Eminem on the set: “Every morning around five, especially the song ‘The Way I Am.’ I’ve admired him for a while. I’m always on the lookout for music that might be helpful to a role.” Perhaps Eminem’s bravado, egotism, and showmanship spoke to the Butcher. 

10. DAY-LEWIS WAS URGED TO TAKE THE PART BY SCORSESE, LEONARDO DICAPRIO, AND ... TOBEY MAGUIRE? 

Harvey Weinstein would later exaggerate the “courting” process, but Day-Lewis really did take his time in deciding to take the role. While visiting New York to discuss it with Scorsese (whom he’d worked with on The Age of Innocence), Day-Lewis also met with DiCaprio. The two had a heart-to-heart on a bench in Central Park, and later had dinner with DiCaprio’s friend Tobey Maguire. According to DiCaprio, the future Spider-Man told Day-Lewis, “Y’know, when somebody has a talent like yours, it’s almost their responsibility to do it, to get back in the saddle.” 

11. SCORSESE REFUSED TO LET 9/11 CHANGE THE FINAL IMAGE.

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Weinstein’s official explanation for delaying the release of the film from December 2001 to December 2002 was that it was too soon after 9/11 for a violent movie set in New York that depicts early incarnations of the NYPD. But Scorsese continued to shoot small “pick-ups” (minor snippets of scenes) well into 2002—so either he was taking advantage of Weinstein’s delay, or Weinstein delayed it so Scorsese could finish. Whatever the case, when the movie was released, it still ended with a time-lapse effect that culminates in a shot of present-day New York—Twin Towers included, even though they’d come down 15 months earlier.

“It had to end with [the modern skyline being built], or the movie shouldn’t have existed,” Scorsese explained. “We did the paintings and edited that skyline sequence before September 11, and afterward it was suggested that we should take out the towers, but I felt ... it’s not my job to revise the New York skyline. The people in the film ... were part of the creation of that skyline, not the destruction of it. And if the skyline collapses, ultimately, they will build another one.” 

12. SCORSESE GAVE HARVEY WEINSTEIN A LOT OF HOMEWORK.

To give Weinstein an idea of what he wanted the movie to look like, Scorsese “made” Weinstein watch 80 movies (possibly an exaggeration), including semi-obscure classics like The Man Who Laughs, a silent film from 1928. “Eighty. Can you imagine?” Weinstein recalled. “And remember: no videos, no DVDs. Every movie has to be on the big screen. It was like going to school with Professor Scorsese.” 

13. THERE WERE LONGER CUTS OF THE MOVIE, BUT YOU WON’T SEE THEM.

The first cut, the throw-in-everything-and-see-what-works version, was three hours and 38 minutes, almost an hour longer than the final cut. Scorsese and his longtime editor, Thelma Schoonmaker, tinkered with it relentlessly, ultimately producing 18 different versions that were screened for various audiences. Weinstein, rightfully nicknamed Harvey Scissorhands for his ruthless trimming of the movies he releases, no doubt urged Scorsese toward a shorter runtime, but Scorsese said he’s happy with the one everybody saw, which is two hours and 47 minutes.

“There’s not one version that I would say, ‘That’s my original version,’” Scorsese said on the DVD commentary. They were more like drafts: “This was all a series of changes and rewrites and restructuring, until finally it comes down to the movie you see in the theater.” 

14. ELMER BERNSTEIN WROTE A MUSICAL SCORE THAT SCORSESE ULTIMATELY REJECTED.

The legendary and prolific composer, credited with well over 200 scores for movies and television, had worked with Scorsese several times before (including The Age of Innocence, which earned him an Oscar nomination). He composed “a complete score” for Gangs of New York, but over the course of the long editing process, Scorsese’s concept for the music changed. (“He winds up with a Scorsese score, a pastiche,” Bernstein said.) In the end, Scorsese used some orchestral music by Howard Shore, along with contemporary pieces by the likes of Peter Gabriel and U2. You can hear a sample of Bernstein’s version here

Additional sources:
Martin Scorsese’s DVD commentary

8 Surprising Facts About Eddie Murphy

David Shankbone via Flickr // CC BY 2.0, Wikimedia Commons
David Shankbone via Flickr // CC BY 2.0, Wikimedia Commons

Few entertainers have enjoyed the kind of success comedian Eddie Murphy has had. Born in Brooklyn, New York on April 3, 1961, Murphy originally found fame on Saturday Night Live, then went on to dominate the box office throughout much of the 1980s with hits like 48 Hrs., Trading Places, Beverly Hills Cop I and II, The Golden Child, Eddie Murphy: Raw, and Coming to America, which went unrivaled in Hollywood. Switching from his trademark role of a streetwise, fast-talking fish out of water, Murphy moved on to a string of successful family comedies (The Nutty Professor, Doctor Dolittle) in the 1990s and beyond.

Having taken some time off following the lukewarm reception to Bruce Beresford's 2016 drama Mr. Church, in which Murphy starred, the 58-year-old is coming back into the spotlight with the Netflix biopic Dolemite Is My Name, a return to Saturday Night Live (on December 21), and a sequel to Coming to America (coming in December 2020). The actor also plans on a return to stand-up comedy after a 32-year hiatus. In the meantime, check out some lesser-known facts about Murphy’s life and career, including his plans for a cartoon series and an idea to cross paths with Crocodile Dundee.

1. Eddie Murphy wasn’t always live on Saturday Night Live.

Eddie Murphy stars in 'Dolemite Is My Name' (2019)
Eddie Murphy stars in Dolemite Is My Name (2019).
François Duhamel, Netflix

After enjoying success as a stand-up comedian, Murphy arrived on Saturday Night Live in 1980 at age 19, where he spent four seasons drawing renewed interest to the show that had once been declared “Saturday Night Dead” by critics following the departure of original cast members Bill Murray, Dan Aykroyd, and John Belushi, and series creator Lorne Michaels. By the time Murphy was ready to depart the show in 1984 to pursue feature films—1982’s 48 Hrs. and 1983’s Trading Places had been hits—SNL's producers were so desperate to hold on to their star attraction that they offered Murphy a deal to essentially stick around for a portion of the 1983-1984 season. Murphy would appear live in studio in 10 of the 20 scheduled shows and tape 15 sketches that they could insert throughout the season.

“We basically just did a private show that was one Eddie sketch after another that we taped with a studio audience,” writer Pam Norris told Tom Shales and James Andrew Miller for their 2002 book, Live From New York: The Complete, Uncensored History of Saturday Night Live as Told by Its Stars, Writers, and Guests. “And then those were later put into the shows.”

2. Eddie Murphy hosted Saturday Night Live while he was still a cast member.

Before departing SNL, Murphy was scoring box office hits, including his debut in 1982’s 48 Hrs. His co-star, Nick Nolte, was scheduled to host SNL on December 11 to promote that film. When Nolte fell ill the week of the show, Murphy was selected to host at the last minute—the only time a then-current cast member took over hosting duties. “This summer, Nick and I had the opportunity to work together in a motion picture called 48 Hrs.,” Murphy told the audience during his introduction. “Uh, Nick and I grew together, and Nick taught me a lot about myself, and a lot about acting, and he’s a real great guy. You know, we were sitting around in Paramount’s lot this summer, and I said, ‘Nick, why don’t you come and host Saturday Night Live?’ and he said, ‘Yeah, sure, Eddie, anything for you.’ That’s the kind of guy Nick was. When Nick got here, got off the plane, he vomited on my shirt. And we realized Nick was too sick to do the show. And that’s too bad, because Nick was gonna be in some real great stuff tonight. But I know you folks tuned in to see one of the stars of 48 Hrs. host the show, and dammit, you’re gonna see it. ‘Cause I’m gonna host the show. Live, from New York, it’s the Eddie Murphy Show!”

3. Fred Rogers liked Eddie Murphy’s impression of him.

While on Saturday Night Live, Murphy repeatedly returned to a sketch character named Mister Robinson, a less-than-wholesome version of Mister Rogers. Rather than be dismayed by the parody, Rogers was reportedly very amused by it. He once visited Murphy at Rockefeller Center where SNL was broadcast and met Murphy in his dressing room to congratulate him on the character.

4. There was almost an Eddie Murphy Saturday morning cartoon.

In 1987, at the height of Murphy’s powers in the entertainment industry, he was nearly granted one of the biggest honors of any performer: his own Saturday morning cartoon series. Murphy was reportedly in discussions with Hanna-Barbera for a series—the premise was never disclosed—that would presumably have offered a G-rated interpretation of his comic sensibilities.

The idea was not without precedent. One of Murphy’s comic inspirations, the similarly adult-oriented Richard Pryor, headlined Pryor’s Place, a children's show that ran on CBS for one season beginning in 1984. The untitled Murphy production never saw the light of day, though Murphy did eventually find his way back in the Hanna-Barbera fold. He was set to voice the title character in Hong-Kong Phooey, a live-action and computer-animated adaptation of the ‘70s cartoon featuring a martial arts-proficient dog, in 2011. That project was also shelved.

5. Eddie Murphy’s Beverly Hills Cop character almost met Crocodile Dundee.

Eddie Murphy stars in 'Beverly Hills Cop' (1984)
Eddie Murphy stars in Beverly Hills Cop (1984).
Paramount Home Entertainment

Released in 1984, Beverly Hills Cop was a gigantic hit, with its $235 million in ticket sales beating even Ghostbusters to become America's highest grossing film of the year. Murphy starred as Axel Foley, a Detroit police detective whose investigation of his friend’s murder leads him to a culture clash in Beverly Hills. The film spawned two sequels in 1987 and 1994. For the third installment, Paramount kicked around the idea of teaming Murphy’s Foley with Paul Hogan’s Crocodile Dundee character, the star of his own fish-out-of-water franchise. The idea was suggested by Brandon Tartikoff, Paramount’s then-president. Another idea would have Foley in London and working with a Scotland Yard inspector played by Sean Connery. The 1994 film ultimately featured Foley attempting to solve his boss’s murder and chasing a lead back to an amusement park in California.

6. Eddie Murphy shot a Beverly Hills Cop television pilot.

Though the Beverly Hills Cop sequels were not as well-received as the original, the role was still important to both Paramount and Murphy. In 2013, the studio launched a pilot for a television series that would see Foley become the chief of police in Detroit and spar with his cop son, Aaron Foley (Brandon T. Jackson). Murphy appeared in the pilot and was expected to recur throughout the series, but CBS failed to pick it up. Murphy is now expecting to shoot a fourth Beverly Hills Cop feature film once he finishes the Coming to America sequel.

7. Eddie Murphy has a deep vault of music he’s recorded.

Though he drew a mixed response to his musical albums in the 1980s, Murphy has never stopped recording music. Following the release of “Party All the Time,” the performer has been steadily using home recording studios to produce material. Speaking with Netflix’s Present Company podcast in 2019, Murphy said there are a lot of songs left unreleased. “I’ve never stopped doing music … I stopped putting it out, though, because the audience gets weirded out by it. And I don’t want to be that guy.”

8. Barack Obama may have gotten him back into stand-up.

Murphy is expected to return to stand-up comedy beginning in 2020, a move that may be the result of a massive $70 million Netflix deal. But according to Murphy, resuming that career might be the product of a meeting with Barack Obama. He met up with the President in 2015, when Murphy was accepting the Mark Twain Prize for American Humor. Obama asked when he would be doing comedy again. “When you go into the Oval Office and the President asks when you are doing stand-up, it’s time to do some jokes,” Murphy said.

15 Fascinating Facts About Candyman

PolyGram Filmed Entertainment
PolyGram Filmed Entertainment

Helen Lyle (Virginia Madsen) is a Chicago graduate student with a deep fascination with urban legends, which she and her friend Bernadette (Kasi Lemmons) are using as the basis for a thesis project. After they stumble across the local legend of Candyman, a well-to-do black artist who fell in love with a white woman in the late 1800s and was murdered for it, Helen wants to learn more. When she’s told that Candyman still haunts Chicago's Cabrini-Green housing project, and that his spirit can be summoned by repeating his name into a mirror five times, Helen does just that … and all hell breaks loose.

What began as a low-budget indie film has morphed into a contemporary classic of the horror genre, and essential Halloween viewing. In 1992, English filmmaker Bernard Rose—who got his start working as a gopher on The Muppet Show—turned Clive Barker’s short story “The Forbidden” into Candyman. Here are 15 things you might not have known about Candyman.

1. Eddie Murphy was considered for the lead in Candyman.

Though the role of Candyman turned Tony Todd into a horror icon, he wasn’t the only actor in consideration for the film’s title role: Eddie Murphy was also reportedly a contender for the part. Though it’s unclear exactly why he wasn’t cast, sources have reported that it had to do with everything from his height (at 5 feet 9 inches, he wouldn’t seem nearly as intimidating as the 6-foot-5 Todd) to his salary demands.

2. An unexpected pregnancy landed Virginia Madsen the lead.

Virginia Madsen stars in 'Candyman'
PolyGram Filmed Entertainment

When asked by HorrorNewsNetwork about how she got the role of Helen in Candyman, Virginia Madsen shared that it was almost by accident: She was supposed to play Bernie, Helen’s friend and classmate, the role that eventually went to Kasi Lemmons.

“I was actually very good friends with Bernard [Rose] and his wife Alexandra,” Madsen said. “She is a wonderful actress, who actually brought Clive Barker’s short story ‘The Forbidden’ to her husband. She thought this would be a great film, and he could direct her. She was supposed to be Helen. I was going to play [Kasi Lemmons'] part, until they made the character African American. Then I was out.

“Right before shooting, Alexandra found out she was pregnant. It was great for me, but it was so sad for her because this was her role; she found this story and really wanted it. So when I was asked to step in I felt like ‘I can’t take my friend’s role.’ She actually came over one day and said ‘It would just kill me to see someone else play this role, you have to be the one who plays it.’ So with her blessing I took on the role. I really tried to work my butt off just to honor her.”

3. Candyman could have starred Sandra Bullock.

On the film’s DVD commentary, producer Alan Poul said that had Madsen been unable to step into the role of Helen, the part would have likely been offered to Sandra Bullock, who was still a relative unknown actress at that point. Though she had played the role of Tess McGill in the television adaptation of Working Girl, she was still a couple of years away from Speed (1994), the role that launched her into stardom.

4. Candyman's title sequence was groundbreaking.

The film’s opening credits feature a great aerial view of Chicago, which was pretty revolutionary for its time. “We did that with an incredible new machine called the Skycam, which can shoot up to a 500mm lens with no vibration,” Rose told The Independent. “You've never seen that shot before, at least not done that smoothly.”

5. Not all of the film's creepy details sprung from Clive Barker's imagination.

While investigating one of Candyman’s crime scenes, Helen and Bernie discover that the design of the apartment’s medicine cabinet made it a possible point of entry for an intruder. This was not a made-up piece of horror movie fiction: While researching the film, Rose learned that a series of murders had been committed in Chicago in this very way.

6. Bernard Rose sees Candyman as a romantic figure.

Tony Todd stars in 'Candyman'
PolyGram Filmed Entertainment

Viewers may think of Candyman as one of the horror genre’s most terrifying villains, but Rose said that “the idea always was that he was kind of a romantic figure. And again, romantic in sort of the Edgar Allan Poe sense—it's the romance of death. He's a ghost, and he's also the resurrection of something that is kind of unspoken or unspeakable in American history, which is slavery, as well. So he's kind of come back and he's haunting what is the new version of the racial segregation in Chicago.

“And I think there's also something very seductive and very sweet and very romantic about him, and that's what makes him interesting. In the same way there is about Dracula. In the end, the Bogeyman is someone you want to surrender to. You're not just afraid of. There's a certain kind of joy in his seduction. And Tony was always so romantic. Tony ties him in so elegantly and is such a gentleman. He was wonderful.”

7. The bees in the film were bred specifically to appear onscreen.

No, that is not CGI! The bees that play a key role in Candyman are indeed real. So that they looked appropriately terrifying, but were less dangerous to the cast and crew, the filmmakers used newborn bees—they were just 12 hours old—so that they looked fully grown, but had less powerful stingers.

8. Tony Todd was stung 23 times, and got a bonus each time it happened.

Photo of Tony Todd in 'Candyman'
PolyGram Filmed Entertainment

In addition to allowing the filmmakers to cover his face with bees, Todd actually agreed to film a scene in which he had a mouthful of bees—and that, too, was all real. He told TMZ that he wore a dental dam to prevent any bees from sliding into his throat—which doesn’t mean that he didn’t suffer a sting or two … or 23, to be exact, over the course of three Candyman movies. Though it might have been worth it. “I had a great lawyer,” he told TMZ. “A thousand dollars a pop.”

9. The bees weren't great news for Virginia Madsen.

Madsen, too, had to get up close and personal with those bees—a fact that almost forced her to pass on the role. “When Bernie was first asking me to do the role I said, ‘Well, I can’t. I’m allergic to bees,’” she told HorrorNewsNetwork. “He said ‘No you’re not allergic to bees, you’re just afraid.’ So I had to go to UCLA and get tested because he didn’t believe [me]. I was tested for every kind of venom. I was far more allergic to wasps. So he said, ‘We’ll just [have] paramedics there, it will be fine!’ You know actors, we’ll do anything for a paycheck! So fine, I’ll be covered with bees.

“So we a had a bee wrangler and he pretty much told us you can’t freak out around the bees, or be nervous, or swat at them, it would just aggravate them. They used baby bees on me. They can still sting you, but are less likely. When they put the bees on me it was crazy because they have fur. They felt like little Q-tips roaming around on me. Then you have pheromones on you, so they’re all in love with you and think you’re a giant queen. I really just had to go into this Zen sort of place and the takes were very short. What took the longest was getting the bees off of us. They had this tiny ‘bee vacuum,’ which wouldn’t harm the bees. After the scene where the bees were all over my face and my head, it took both Tony and I 45 minutes just to get the bees off. That’s when it became difficult to sit still. It was cool though, I felt like a total badass doing it.”

10. Philip Glass composed the score, but was disappointed in the movie.

When Philip Glass signed on to compose the score for Candyman, he apparently envisioned the final film being something totally different. According to Rolling Stone, “What he'd presumed would be an artful version of Clive Barker's short story ‘The Forbidden’ had ended up, in his view, a low-budget slasher.” Glass was reportedly disappointed in the film, and felt that he had been manipulated. Still, the haunting music is considered a classic score—and Glass’s own view of it seems to have softened over time. “It has become a classic, so I still make money from that score, get checks every year,” he told Variety in 2014.

11. Many of the film's scenes were shot at Cabrini-Green.

In 2011, the last remaining high-rise in the Cabrini-Green housing project was demolished. Over the years, the property—which opened in 1942—gained a notorious reputation around the world for being a haven for violence, drugs, gangs, and other criminal activities. While the project’s real-life history weaves its way into the narrative of Candyman, it only makes sense that Rose would want to shoot there. Which he did. But in order to gain permission to shoot on location, he had to agree to cast some of the residents as extras.

“I went to Chicago on a research trip to see where it could be done and I was shown around by some people from the Illinois Film Commission and they took me to Cabrini-Green,” Rose said. “And I spent some time there and I realized that this was an incredible arena for a horror movie because it was a place of such palpable fear. And rule number one when you're making a horror movie is set it somewhere frightening. And the fear of the urban housing project, it seemed to me, was actually totally irrational because you couldn't really be in that much danger. Yes, there was crime there, but people were actually afraid of driving past it. And there was such an aura of fear around the place and I thought that was really something interesting to look into because it's sort of a kind of fear that's at the heart of modern cities. And obviously, it's racially motivated, but more than that—it's poverty motivated.”

12. Candyman's producers were worried that the movie would be considered racist.

During pre-production, Candyman’s producers began to worry that the film might draw criticism for being racist, given that its villain was black and it was largely set in an infamous housing project. “I had to go and have a whole set of meetings with the NAACP, because the producers were so worried,” Rose told The Independent. “And what they said to me when they'd read the script was 'Why are we even having this meeting? You know, this is just good fun.' Their argument was 'Why shouldn't a black actor be a ghost? Why shouldn't a black actor play Freddy Krueger or Hannibal Lecter? If you're saying that they can't be, it's really perverse. This is a horror movie.'”

13. Still, some filmmakers complained that it was racist.

In a 1992 story in the Chicago Tribune, some high-profile black filmmakers expressed their disappointment that the film seemed to perpetuate several racist stereotypes. “There’s no question that this film plays on white middle-class fears of black people,” director Carl Franklin (Out of Time, Devil in a Blue Dress) said. “It unabashedly uses racial stereotypes and destructive myths to create shock. I found it hokey and unsettling. It didn't work for me because I don’t share those fears, buy into those myths.”

Reginald Hudlin, who directed House Party, Boomerang, and Marshall, described the film as “worrisome,” though he didn’t want to speak on the record about his specific issues with the film. “I've gotten calls about [the movie], but I think I'm going to reserve comment,” he said. “Some of my friends are in it and I may someday want to work for TriStar.”

For Rose, those assessments may have been hard to hear, as his goal in adapting Barker’s story and directing it was to upend the myths about inner cities. “[T]he tradition of oral storytelling is very much alive, especially when it's a scary story,” he told The Independent. “And the biggest urban legend of all for me was the idea that there are places in cities where you do not go, because if you go in them something dreadful will happen—not to say that there isn't danger in ghettos and inner city areas, but the exaggerated fear of them is an urban myth.”

14. Candyman is still the role that Virginia Madsen is most recognized for (especially at airports).

Kasi Lemmons and Virginia Madsen in 'Candyman'
PolyGram Filmed Entertainment

Though she earned a Best Supporting Actress nomination in 2005 for Alexander Payne’s Sideways, in 2012 Madsen said that Candyman is still the role she is most recognized for—especially at airports.

“More people recognize me from that movie than anything I’ve done,” she told HorrorNewsNetwork. “It means a lot to me. It was after years of struggling. As an actor, you always want a film that’s annual, like It’s a Wonderful Life or A Christmas Story. I just love that I have a Halloween movie. Now it’s kind of legend this story. People have watched it since they were kids, and every Halloween it’s on, and they watch it now with their kids. That means a lot to me. The place I get recognized the most is the airport security for some reason. Every person in airport security has seen Candyman. Maybe it makes them a little afraid of me.”

15. There was an actual Candyman killer.

Though the Chicago-based legend of Candyman is a work of fiction, there was an actual serial killer known as “Candyman” or “The Candy Man.” Between 1970 and 1973, Dean Corll kidnapped, tortured, and murdered at least 28 young boys in the Houston area. Corll earned his sweet nickname from the fact that his family owned a candy factory.

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