Buena Vista Pictures
Buena Vista Pictures

12 Fun Facts About Turner & Hooch

Buena Vista Pictures
Buena Vista Pictures

Turner & Hooch is about a tidy small-town police investigator named Scott Turner who ends up taking in Hooch, a rambunctious Dogue de Bordeaux dog that was the only witness to the murder of his owner, Amos Reed. Hooch ruins most of Turner's possessions, including his car, but helps him meet and fall for the local veterinarian Dr. Emily Carson (Mare Winningham) and solve the case.

Five different writers, including Michael Blodgett (gigolo Lance Rocke in Beyond the Valley of the Dolls), were credited with the screenplay for what some thought was a surprisingly violent and dark feature for a "Disney movie." Here are some facts about the movie Tom Hanks later said was "exhausting" to make.

1. PRODUCERS LOOKED AT 50 DIFFERENT BREEDS TO DETERMINE WHICH WOULD MAKE THE BEST HOOCH.

Determining which breed of dog would make the perfect partner for Tom Hanks was no easy task. "We looked at 50 different breeds—Airedales, shepherds, Rottweilers," dog trainer and stuntman Clint Rowe said. "They wanted a dog that was big but not overly big." The filmmakers settled on the Dogue de Bordeaux. Fewer than 300 of the breed were in the United States when the film came out.

2. HOOCH WAS PLAYED BY MULTIPLE DOGS.

Beasley, a 17-month-old pup, played the main Hooch—and he only had five months to prepare. His stunt double was named Igor. In 2013, Hanks said all four of the dogs in the film passed away and "went to dog heaven."

3. TOM HANKS SPENT QUALITY TIME WITH ALL OF THE DOGS BEFORE SHOOTING.

To get the dogs to react to Hanks while filming, he had to spend time with his canine co-stars in the weeks leading up to filming to build a relationship that would be evident on camera.

"We got along well," Hanks said of the dogs. "You know, when you make a movie with a dog, you have to work with the dog for weeks prior to shooting it. Otherwise, he won't take his eye off the trainer. So, I would go off and play with I think actually three dogs that portrayed Turner & Hooch. It was a part too big for one dog."

4. HENRY WINKLER WAS FIRED AS THE DIRECTOR 13 DAYS INTO SHOOTING.

Henry Winkler was the film's original director, but didn't even last two weeks on the set. "Let's just say I got along better with Hooch than I did with Turner," Winkler told People in 1993. Shortly thereafter, Roger Spottiswoode was hired to take Winkler's place. "I did nothing in fact except take the lens cap off each day and enjoy watching Tom—who was brilliant—and the dog, who was also brilliant," Spottiswoode said.

5. HANKS HAD TO USE A CLICKER DURING SHOOTING.

Usually dogs in movies look at the trainer, who is standing next to the camera. "In this case the trainer taught both Hooches to look at the person who had the little clicker that made a noise," Spottiswoode explained. "So before every take, he would give Tom Hanks the little clicker and Tom would make the click and the dog would look at him and until then on until he handed the clicker back, the only person the dog was interested in was Tom."

6. BEASLEY COULDN'T BE TRAINED TO DRINK THE BEER.

When Rowe was asked what the hardest task for Beasley to learn was, he said that teaching the dog to grab Tom Hanks by the throat was difficult, which he didn't expect. "Also, drinking beer," he added. "He can crack the can, but he wouldn't drink the beer. We had to use chicken soup."

7. BEASLEY WAS KNOWN TO MAKE A RUN FOR IT.

Hanks was surprised to see a clip from Turner & Hooch in a montage of his work at a 2013 BAFTA: A Life In Pictures event, and it led to the actor remembering when they shot the bath scene. "We shot it probably 11 times, because the dog often runs off the set," Hanks said. "You can’t keep the dog in the moment, and we weren’t trying to do a thing where the dog’s behavior was shaped by the editing. We said the dog will have to be a dog and I will have to react off that dog being a dog. So it was actually very hard work."

After the editor turned it into a "kooky" bath montage, Hanks suggested to Spottiswoode that it would be better and funnier if they just used the entirety of the one good take instead. "He put it in there and it ended up working pretty good."

8. BEASLEY SLOBBERED SO MUCH HE RUINED A CAR SEAT.

Using four cameras, Spottiswoode shot Hanks and Beasley continuously for one hour for the stakeout scene. After the hour, they discovered that the new car's seat had eroded from all of Hooch's slobber. The director claimed Beasley was "sort of sinking" into the seat, which had to be cut and replaced.

In 2001, Hanks told Larry King that filming Turner & Hooch was the hardest work he ever had to do, physically and emotionally, and specifically brought up the stakeout scene. "I'm staking out a scene of a crime with my dog Hooch ... We had a car on the set that was surrounded by bungee-cams, literally cameras that were hanging from bungee-cords. And the whole thing was about, whatever this dog does, I react to. We will not ask the dog to do anything specifically, this dog will just do things ... And I will react. That was the hardest I've ever worked."

9. THERE'S AN ALTERNATE ENDING.

One test screening featured Hooch making a miraculous recovery from taking a bullet. In another screening, held half an hour later in the same multiplex, Hooch died. Screenwriter Daniel Petrie Jr. claimed there was no difference in the ratings from the two audiences, but the group that saw Hooch die was more "passionate."

"Some were saying 'I hated that, that was terrible,' whereas others were 'but there were puppies at the end!'" Petrie said. "It provoked this passionate response. The other screening? None of that. It was all positive, but muted."

Disney head Jeffrey Katzenberg left the decision up to Spottiswoode. "I thought about it for a day," he said, "I didn't really want to make the decision." He talked it over with the writers and Petrie and decided to kill him off like it was originally written. When he returned to England, friends and neighbors asked Petrie how he could kill a dog.

10. HANKS TOOK RESPONSIBILITY FOR KILLING HOOCH, AND SAID IT WAS A MISTAKE.

If you weren't a fan of the controversial ending, you now know who to blame.

"I have to make a confession: I was the main proponent of killing Hooch," Hanks said during a BBC Radio 5 interview. "It was a Disney movie and when we were putting it together I stood up at a table and pounded my fist and said, in the grand Disney tradition of Old Yeller, 'Hooch must die ... ' and so they killed Hooch. We killed Hooch and we never should have. We should have I guess kept that doggy alive, so we wouldn't have made the children cry."

11. HOOCH GOT HIS OWN LEARJET.

Beasley had it written into his contract that he would get his own Learjet for transportation. The arrangement, Spottiswoode noted, was fine until there was one bumpy ride and Beasley—out promoting the film—wasn't wearing his safety belt because it didn't fit. "The pilots completely freaked out," Spottiswoode said. "Not that Hooch did anything wrong, but they were in this little Learjet and there was this huge dog and it started to bounce and Hooch apparently was looking not pleased about the situation and he was not strapped down. And the pilots dove down and didn't want to fly him after that."

12. HANKS YELLING AT HOOCH OVER EATING THE CAR WAS USED IN A TOY STORY ANIMATION TEST.

In working out what Hanks might look and sound like as Woody in Toy Story, Pixar used a clip from Turner & Hooch. When Hanks saw the footage, he couldn't stop laughing and made Pixar's John Lasseter play back the video multiple times. He then signed up to play Woody.

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Shout! Factory
10 Surprising Facts About Mr. Mom
Shout! Factory
Shout! Factory

John Hughes penned the script for 1983's Mr. Mom, a comedy about a family man named Jack Butler (Micheal Keaton) who loses his job. To ensure their three kids are taken care of, his wife, Caroline (Teri Garr), goes back to work—leaving Jack to fight off a vacuum cleaner and learn why it's never a good idea to feed chili to a baby.

In 1982, Keaton turned in a star-making role in Ron Howard’s Night Shift, but Mr. Mom marked the first time he headlined a movie, and it launched his career. Hughes had written National Lampoon's Vacation, which—oddly enough—was released in theaters the weekend after Mr. Mom. But Hughes himself was still a relative unknown, as it would be another year before he entered the teen flick phase of his career, which would make him iconic.

In the meantime, Mr. Mom hit home for a lot of viewers, as the economy was on the downturn and more and more women were entering (or reentering) the workforce. But some people think that the movie's ending—which sees the couple revert to traditional gender roles—sidelined the movie's message. Still, on the 35th anniversary of its release, Mr. Mom remains an ahead-of-its-time comedy classic.

1. IT'S BASED ON A TRUE STORY.

Mr. Mom producer Lauren Shuler Donner came across a funny article John Hughes had written for National Lampoon. Based on that, she contacted him and the two became friends. “One day, he was telling me that his wife had gone down to Arizona and he was in charge of the two boys and he didn’t know what he was doing,” Donner told IGN. “It was hilarious! I was on the floor laughing. He said, ‘Do you think this would make a good movie?’ And I said, ‘Yeah, this is really funny.’ So he said, ‘Well, I have about 80 pages in a drawer. Would you look at it?’ So I looked at it and I said, ‘This is great! Let’s do it!’ We kind of developed it ourselves.” In the book Movie Moguls Speak, Donner mentioned how Hughes “had never been to a grocery store, he had never operated a vacuum cleaner. John was so ignorant, that in his ignorance, he was hilarious.”

The players involved with the movie told Donner and Hughes they thought it should be a TV movie. Hughes had a TV deal with Aaron Spelling, who came aboard to executive produce. “Then the players involved were upset because John was writing out of Chicago instead of L.A.,” Donner said in Movie Moguls Speak. “They fired John and brought in a group of TV writers. In the end, John and I were muscled out. It was a good movie, but if you ever read John’s original script for Mr. Mom, it’s far better.”

2. JOHN HUGHES REJECTED THE IDEA OF DIRECTING MR. MOM.

Stan Dragoti ended up directing the film, but only after Hughes turned it down, because he preferred to make his movies in Chicago, not Hollywood. “I don’t like being around the people in the movie business,” Hughes told Roger Ebert. “In Hollywood, you spend all of your time having lunch and making deals. Everybody is trying to shoot you down. I like to get my actors out here where we can make our movies in privacy.” Hughes remained in Chicago and filmed his directorial debut, Sixteen Candles, there.

3. MICHAEL KEATON GOT THE ROLE BECAUSE OF NIGHT SHIFT.

In 1982’s Night Shift, Keaton’s character works at a morgue and starts a prostitution ring with co-worker Henry Winkler. Donner had an agent friend, Laurie Perlman, who represented the not-yet-famous actor. She contacted Donner and pitched Keaton to her. “’Look, I represent this guy who is really funny. Would you meet with him?’" Donner recalled of the conversation. "So I met with him. Usually I don’t like to do this unless we’re casting, but I met with him because she was my friend. And then she said, ‘You have to see this movie Night Shift that he’s in.’ So I went to see Night Shift, and midway through I couldn’t wait to get out of that theater to give Mr. Mom to Michael Keaton. Fortunately, he liked it."

Keaton told Grantland that he turned down one of the main roles in Splash to play Jack Butler. “I just remember at the time thinking I wanted to get away from what I’d just done on Night Shift,” he said. “I thought if I do it again, I might get myself stuck. So then Mr. Mom came along. So I said no [to Splash] so I could set up this framework right away where I could do different things.”

4. THE FILM BROKE NEW GROUND.

Teri Garr, Michael Keaton, Taliesin Jaffe, Frederick Koehler, and Martin Mull in Mr. Mom (1983)
Shout! Factory

In 1983, more women stayed at home than worked, so it was a novelty for a man to be a stay-at-home dad. Today, an estimated 1.4 million men are stay-at-home dads, and 7 million men are their children's primary caregiver. “Mr. Mom became part of the vernacular,” Donner told Newsweek. “Mr. Mom represented a segment of men who were at home dealing with the kids who, up until then, really hadn’t been heard from. That’s what really told me about the power of film, because it spoke for a lot of men. It also helped women, because I think that women sometimes, if you’re a housewife, you’re not really appreciated for what you do. This sort of made women feel better about what they did because they knew that men were understanding it.”

5. TODAY, “MR. MOM” IS CONSIDERED A PEJORATIVE TERM.

More than 30 years after the film’s release, stay-at-home dads feel the term “Mr. Mom” should die. The National At-Home Dad Network launched a campaign to terminate the phrase and instead have people refer to men as “Dad.” In 2014 Lake Superior State University voted to banish “Mr. Mom” from the lexicon.

“At least, the pop-culture image of the inept dad who wouldn’t know a diaper genie from a garbage disposal has begun to fade,” wrote The Wall Street Journal, after declaring “Mr. Mom is dead.”

6. TERI GARR DIDN’T KNOW IT WAS A MESSAGE MOVIE.

The movie redefined gender roles, but when the producers pitched the premise to Garr, they hid the plot reversal. “They just told me it was about a guy who does the work that a woman does, because it’s so easy,” she told The A.V. Club. “And I went, ‘Oh, yeah. Ha ha.’ It’s so easy. All the women I know who stay home and take care of their kids, they go, ‘Oh yeah, this is easy.’ Hmm.”

7. MARTIN MULL IMPROVISED THE “220, 221” LINE.

The quote everyone remembers from the movie comes from Jack, holding a chainsaw, standing next to Ron Richardson (Martin Mull) and discussing what kind of wiring Jack will use in renovating the house: “220, 221, whatever it takes,” Jack says.

“We’re doing the scene and it was okay,” Keaton told Esquire. “And I remember saying to the prop guy, ‘Go find me a chainsaw.’ When he comes back with it, he says, ‘You wanna wear these?’ And he holds up some goggles. I go, ‘Yeah.’ You know, they make me look crazy. And when Martin shows up, I know I should look under control, I’m not sweating it. I’m a dude. So we’re standing there, Martin pulls me aside and says, ‘You know what you ought to say? When I ask about the wiring, you oughta just deadpan: ‘220, 221.’ I died. It was perfect. I may have added ‘whatever it takes.’ But it was his.”

“That was a little ad-lib that we just threw in, but every carpenter or construction person I’ve ever worked with, they’re always quoting that line from Mr. Mom,” Mull told The A.V. Club.

8. MR. MOM OUTGROSSED HUGHES’S OTHER 1983 SUMMER MOVIE—VACATION.

Mr. Mom only opened on 126 screens on July 22, 1983, but managed to gross $947,197 during its opening weekend. Once the film went wide a month later to 1235 screens, it hit number one at the box office and spent five weeks at the top. By the end of its run, the film had grossed just shy of $65 million, making it the ninth highest-grossing film of 1983 (just between Staying Alive and Risky Business). National Lampoon’s Vacation, Hughes’s other film that summer, came out July 29 and ended its theatrical run with $61,399,552 (at its height, it showed on 1248 screens). Vacation finished the year in 11th place.

9. THE MOVIE LED TO HUGHES BEING CALLED “A PURVEYOR OF HORNY SEX COMEDIES.”

During a 1986 interview with Seventeen magazine, Molly Ringwald asked the writer-director why he never showed teen sex in Sixteen Candles or The Breakfast Club. “In Sixteen Candles, I figured it would only be gratuitous to show Samantha and Jake in anything more than a kiss,” he said. “The kiss is the most beautiful moment. I was really amused when someone once called me a ‘purveyor of horny sex comedies.’ He listed The Breakfast Club and Mr. Mom in parentheses. I thought, ‘What kind of sex?’ Yes, in Mr. Mom there’s a baby in a bathtub and you see its bare butt.”

10. MR. MOM WAS MADE INTO A TV MOVIE AFTER ALL.

In the beginning, producers wanted Mr. Mom to be a TV movie, not a feature film. But a year after the film came out in theaters, ABC produced a TV movie called Mr. Mom, with the same characters and premise. Barry Van Dyke played Jack and Rebecca York played Caroline. A People magazine review of the movie stated: “They and their three kids are immediately likable … But it goes downhill from there as the script lobotomizes all its characters. Here’s a textbook case in how TV takes a cute idea—and a script that does have some good lines—and leeches the wit out of it.”

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Hulton Archive/Getty Images
The Star Trek Theme Song Has Lyrics
Hulton Archive/Getty Images
Hulton Archive/Getty Images

The Star Trek theme song is familiar to pretty much anyone who lived in the free world (and probably elsewhere, too) in the late 20th century. The tune is played during the show's opening credits; a slightly longer version is played, accompanied by stills from various episodes, during the closing credits. The opening song is preceded by William Shatner (as Captain Kirk) doing his now-legendary monologue recitation, which begins: "Space, the final frontier ..."

The show's familiar melody was written by respected film and TV composer Alexander Courage, who said the Star Trek theme's main inspiration was the Richard Whiting song "Beyond the Blue Horizon." In Courage's contract it was stipulated that, as the composer, he would receive royalties every time the show was aired and the theme song played. If, somehow, Star Trek made it into syndication—which, of course, it ultimately did—Courage stood to make a lot of money. And so did the person who wrote the lyrics.

WAIT... THERE WERE LYRICS?

Gene Roddenberry, the show's creator, wrote lyrics to the theme song.

"Beyond the rim of the star-light,
my love is wand'ring in star-flight!"

Why would Roddenberry even bother?

The lyrics were never even meant to be heard on the show, but not because the network (NBC) nixed them. Roddenberry nixed them himself. Roddenberry wanted a piece of the composing profits, so he wrote the hokey lyrics solely to receive a "co-writer" credit.

"I know he'll find in star-clustered reaches
Love, strange love a star woman teaches."

As one of the composers, Roddenberry received 50 percent of the royalties ... cutting Alexander Courage's share in half. Not surprisingly, Courage was furious about the deal. Though it was legal, he admitted, it was unethical because Roddenberry had contributed nothing to why the music was successful.

Roddenberry was unapologetic. According to Snopes, he once declared, "I have to get some money somewhere. I'm sure not gonna get it out of the profits of Star Trek."

In 1969, after Star Trek officially got the ax, no one (Courage and Roddenberry included) could possibly have imagined the show's great popularity and staying power.

Courage, who only worked on two shows in Star Trek's opening season because he was busy working on the 1967 Dr. Doolittle movie, vowed he would never return to Star Trek.

He never did.

THE WORDS

If you're looking for an offbeat karaoke number, here are Roddenberry's lyrics, as provided by Snopes:

Beyond
The rim of the star-light
My love
Is wand'ring in star-flight
I know
He'll find in star-clustered reaches
Love,
Strange love a star woman teaches.
I know
His journey ends never
His star trek
Will go on forever.
But tell him
While he wanders his starry sea
Remember, remember me.

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