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Tom Cruise stars as Frank T.J. Mackey in Magnolia (1999).
Tom Cruise stars as Frank T.J. Mackey in Magnolia (1999).
New Line Cinema

17 Connected Facts About Magnolia

Tom Cruise stars as Frank T.J. Mackey in Magnolia (1999).
Tom Cruise stars as Frank T.J. Mackey in Magnolia (1999).
New Line Cinema

Fortified with complete creative control fresh off his critically praised instant classic Boogie Nights (1997), Paul Thomas Anderson wrote and directed Magnolia (1999). It is a sprawling yet intimate story that features an all-star cast, including Jason Robards, Tom Cruise, John C. Reilly, Philip Seymour Hoffman, Julianne Moore, and William H. Macy. The unconventional film helped Anderson score his second Academy Award nomination for Best Original Screenplay, along with Cruise, who was nominated for Best Actor in a Supporting Role.

1. PAUL THOMAS ANDERSON ORIGINALLY WANTED TO MAKE A SMALL, CHEAP MOVIE.

"The truth of the matter is when I sat down to write Magnolia, I truly sat down to write something very small, very quick, very intimate, and something I could make very cheaply," Anderson recalled of his initial intention. "Boogie Nights was this massive, two-and-a-half-hour epic. And I thought, 'You know what? I wanna bury my head in the sand and just make a little small movie.'"

But of course, that wasn't the final result. "I started to write and well, it kept blossoming. And I got to the point where still it's a very intimate movie, but I realized I had so many actors I wanted to write for that the form started to come more from them. Then I thought it would be really interesting to put this epic spin on topics that don't necessarily get the epic treatment, which is usually reserved for war movies or political topics. But the things that I know as big and emotional are these real intimate everyday moments, like losing your car keys, for example. You could start with something like that and go anywhere."

Anderson wrote a draft of the script in William H. Macy's cabin in Vermont. Anderson was scared to venture outside the cabin because he spotted a snake, and that bit of fear helped him concentrate on writing.

2. ANDERSON WROTE THE SCRIPT TO AIMEE MANN'S MUSIC.

Anderson and Aimee Mann were friends, so he not only listened to her music while writing, but had some unreleased demos to use as creative inspiration as well. "In a way, I sat down to adapt one of her songs," he said. "There’s a song called 'Deathly' that she wrote and the very first line of the song is 'Now that I’ve met you, would you object to never seeing me again?' Melora Walters says that in the movie. That sort of notion of being unlovable or being so fu*ked up you can’t understand how anyone could love you back was really important and really beautiful to me. It kind of made sense to me at that time in my life. I probably owe Aimee a ton of money for the inspiration she was to this movie."

Most memorably, Mann's "Wise Up" plays toward the end of the film, with each character singing along. Anderson worried it might come off as ridiculous, "but I tricked everyone by getting Julianne Moore to do it first. She can always set the pace, because actors are so competitive. Then everyone was up for it."

3. GEORGE C. SCOTT WAS NOT A FAN.

The role of Earl Partridge was initially written for, and ultimately played by, Jason Robards, but at first Robards was not able to accept because of a serious staph infection. So Anderson went to George C. Scott, who, according to Anderson, threw the script across the room and said, "This is the worst f***ing thing I've ever read. The language is terrible."

4. TOM CRUISE SIGNED UP AFTER SEEING BOOGIE NIGHTS.

Tom Cruise and Nicole Kidman watched Boogie Nights one night while shooting Eyes Wide Shut (1999) in England. Cruise enjoyed the film so much that he actually called Anderson to congratulate him and invited him to Stanley Kubrick's Eyes Wide Shut set in England. After they met, Cruise asked Anderson to write a role for him. Frank "T.J." Mackey was offered to Cruise six months later.

5. CRUISE AND ANDERSON SHAPED CRUISE'S CHARACTER.

Anderson had written Mackey in golf pants and polo shirts, like the character's former paralegal inspiration, but Cruise convinced his director he would wear an armband, “those leather-wrist, masculine hero kind of things," and the whole wardrobe changed. "Several" video reenactments of Mackey bedding women were cut from the film. It wasn't until they started shooting the scene of Mackey stripping naked in front of Gwenovier (April Grace) that Anderson told Cruise to take off his pants in addition to his shirt. Cruise asked, "What?" Anderson replied, "Yeah, yeah, yeah. It’ll be funny."

The script as written had Mackey break down when he got to his dying father's door. Cruise didn't "feel" that and changed the scene, including adding the part when he threatens Phil Parma by saying he will drop-kick the dogs. Cruise thought it would be funny if Mackey was afraid of canines. As part of his contract, Cruise was purposely barely visible on the movie poster, because he would have overshadowed the ensemble cast, and his character was, as The New York Times put it, "inconsistent" with the Cruise brand at the time.

6. PHILIP BAKER HALL CONVINCED ANDERSON TO KEEP THE FROGS IN THE MOVIE.

After Anderson told Philip Baker Hall his next movie was going to feature a sequence where it rains frogs, Hall, who had already acted in Anderson's two previous films (Hard Eight, Boogie Nights), had a story for him. "Philip had been driving on a mountain pass in Switzerland and he said for about 15 minutes it rained frogs," Anderson said. "It was really foggy and the mountain road was covered in ice. The frogs falling was not the thing that freaked him out. What freaked him out was that his car could not get any traction and he was afraid he was gonna fall off the mountain! I just thought right then and there I gotta go through with this sequence."

7. THERE ARE A LOT OF EXODUS 8:2 REFERENCES IN IT.

"I’d be a liar if I said to you it was written initially as a Biblical reference," Anderson admitted of the frog scene. "I truthfully didn’t even know it was in the Bible when I first wrote the sequence." He had in fact read about a rain of frogs from the writings of author Charles Fort (The Book of the Damned). Once he realized it was in the Bible, specifically Exodus 8:2, he had the set decorator "surprise" him with how many 8s and 2s he can hide in the background. The numbers appeared in everything from weather forecasts to apartment numbers and decks of cards.

8. JOHN C. REILLY AND ANDERSON DEVELOPED THE ACTOR'S MUSTACHIOED CHARACTER WHILE TRYING TO PARODY THE SHOW COPS.

Before Boogie Nights came out, Anderson and John C. Reilly were unemployed and obsessed with Cops. When Reilly grew a mustache for fun (looking like many of the officers on the series), Anderson insisted they do their own parody of the Fox show, which Jennifer Jason Leigh and Philip Seymour Hoffman later appeared in. Some of Reilly's lines in those shorts made it into the movie, but his character became smarter and more sympathetic because Anderson wanted to make the actor a romantic lead.

9. ANDERSON PURPOSELY WROTE MACY'S CHARACTER TO HAVE A BIG EMOTIONAL MOMENT.

Anderson told The Guardian that he wrote an emotional scene for Macy almost as a way to challenge him. "I think he's scared of big emotional parts—he thinks actors shouldn't cry—so I wrote a big tearful, emotional part just for him," Anderson said.

10. STANLEY WAS AN ACTUAL SMART KID, AND HIS STORY WAS INFLUENCED BY FIONA APPLE.

Jeremy Blackman made his feature film debut in Magnolia as kid genius Stanley Spector. Before that, he was a recipient of the President of the United States Award for Outstanding Academic Achievement.

His character not being allowed to use the restroom was based on a story Anderson's then-girlfriend, singer Fiona Apple, once told him. "She had to go to the bathroom in some kind of taping situation, " Anderson remembered, "and they just said, 'Well, can you just hold it and do this thing for us first?’ And she did. And when she told me this story, I wanted to strangle every person involved." (Apple also created some of the paintings in the background of the film.)

11. PATTON OSWALT WASN'T PRIVY TO THE PLOT OF THE FILM.

Patton Oswalt portrayed blackjack dealer/scuba diver Delmer Darion, and had his own unique and telling experience of working on the movie, which he shared with The A.V. Club:

"Delmer Darion. God. I was doing a show one night, and I went back in the kitchen and was hanging out, and Paul Thomas Anderson was there. We were just talking, and he was like, 'I’m doing this movie if you want a part in it.' I said, 'Yeah, sure.' So they called me the next day and said I needed to come in to be fitted for a wetsuit. I said, 'Can I see the screenplay first?' And they were like, 'Nope.' So I went in and got this custom wetsuit made, and they gave me two pages of the script and flew me to Reno. We shot this scene and then hung out all night drinking. And a week later, we were shooting and I was in the wetsuit. It was so hot to the point where I wasn’t even sweating anymore. And Paul was dumping bottles of water on my head to keep me from passing out and I was like, 'Paul, what are we doing?' He said, 'I can’t say right now, but I’ll just say that you are the first frog that falls out of the sky.' And I went, 'Okay.' So that’s what working with PTA is like."

12. THOMAS JANE WAS SUPPOSED TO HAVE TWO ROLES IN THE FILM.

Thomas Jane was originally supposed to have two roles in the film, but only portrayed the younger version of Jimmy Gator because he took another gig (Under Suspicion with Gene Hackman). "Paul (Thomas Anderson) never forgave me," Jane revealed. "And the movie with Gene Hackman, of course, has been totally forgotten."

13. THEY USED AN AUTHENTIC TURN-OF-THE-CENTURY CAMERA.

For the 1911 hanging, Anderson shot through a hand-cranked Pathe camera. "It's fun to see what it was like in 1911 hand-cranking the camera, finding out the limitations, the difficulties. You feel like you are there for a minute or two. And that's what I believe: you just can't fake it," Anderson said.

For the look of the other scenes, Anderson and director of photography Robert Elswit watched Being There (1979), Ordinary People (1980), Network (1976), and The Verdict (1982) before filming. "In terms of lighting styles, my brain took me to Eastern, wintertime movies, and I think that that seeped in [to this picture's palette]," Anderson said. "Sometimes we strayed from our plan, but my big goal was to make everything look like one story, so it didn't have the feeling of a vignette movie."

14. THE PHONE NUMBERS USED TO WORK.

Phil Parma dialed 818-775-3993 in the movie. When people dialed that number while the film was in theaters, they got the voicemail of a flustered woman saying, "Please leave a message at the tone." If you dialed Frank "T.J." Mackey's 1-877-TAMEHER, you would have heard Mackey's "Seduce and Destroy" program speech. If you dialed that number in 2011, The Chicago Tribune reported, it connected to a health club's corporate office.

15. ANDERSON INSISTED ON THE LONG RUNNING TIME, THEN LATER REGRETTED IT.

After New Line Cinema head of production Michael De Luca read Anderson's Magnolia script for the first time (on a Sunday, while Anderson watched movies in De Luca's screening room), De Luca was "ecstatic," then asked if there was any chance of cutting it down to two hours and 45 minutes. Anderson said "no." Since De Luca agreed to give Anderson creative control before seeing the script, there was nothing he could do. The running time was 188 minutes.

In 2015, Anderson admitted to Marc Maron that he regretted pushing for the three-plus hours of film. “I wasn’t really editing myself,” he said. “It’s way too fu*king long.”

16. THE REAL T.J. MACKEY CONSIDERED SUING.

Anderson got the initial idea of a pickup artist character from his friend, who taught an audio-recording engineering class. Two of his friends' students talked one day in the recording studio and their teacher recorded it. When the teacher played the unlabeled DAT years later, he was shocked to hear two guys quoting "seduction expert" Ross Jeffries. Anderson had John C. Reilly and Chris Penn read the transcription of the tape and incorporate it into the Mackey character. “He lifted some stuff almost word for word,” Jeffries later said. He ended up not suing because, according to Jeffries, he liked the movie.

17. IT WAS JASON ROBARDS'S FINAL FILM.

Sadly, Robards—like his character Earl Partridge—passed away from lung cancer, in December 2000. He was 78 years old.

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Tom Cruise stars as Frank T.J. Mackey in Magnolia (1999).
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11 Single Facts About Bridget Jones’s Diary
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Miramax

While it's not officially a holiday movie, so much of the action in Bridget Jones's Diary happens around the most wonderful time of the year that the rom-com has become essential wintertime viewing for many movie fans. Based on Helen Fielding’s novel of the same name, it tells the story of a very single, and hopelessly romantic, working professional named Bridget (Renée Zellweger) who is determined to improve her love life. Enter two strapping gentlemen (Colin Firth and Hugh Grant) to vie for her heart. Get to know more about the timeless dramedy that’s been delighting audiences since 2001. Just as it is.

1. THE SOURCE NOVEL CAME ABOUT FROM AN ANONYMOUS COLUMN ABOUT SINGLE LIFE.

In the foreword of Bridget Jones’s Diary, author Helen Fielding wrote about how she came to conjure up the story: “The Independent asked me to write a column, as myself, about single life in London. Much as I needed the money, the idea of writing about myself in that way seemed hopelessly embarrassing and revealing. I offered to write an anonymous column instead, using an exaggerated, comic, fictional character. I assumed no one would read it, and it would be dropped after six weeks for being too silly.”

2. SEVERAL CHARACTERS ARE BASED ON PEOPLE IN HELEN FIELDING’S LIFE.


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These include Jude (Tracey MacLeod) and Shazzer (Sharon Maguire, also the film’s director). In a column for the Evening Standard, MacLeod described how she didn’t even realize she inspired part of her best friend’s story until Fielding’s book launch party. “At the launch party for the first Bridget book, I was cornered by a smug married friend, ‘So ... what's it like being Jude?’ she asked,” MacLeod writes. “I was outraged. Of course I wasn't Jude, with her self-help books and horrible boyfriend. My boyfriend wasn't anything like Vile Richard ... But as more people began to believe that Jude and Shazzer were thinly-veiled portraits of myself and Sharon, I secretly got to like the idea.”

3. TONI COLLETTE DECLINED THE LEAD, AND KATE WINSLET WAS CONSIDERED FOR IT.

Before Zellweger stole the show, Aussie Toni Collette and Brit Kate Winslet were up for the part. According to AMC, “Toni Collette declined the role because she was on Broadway starring in The Wild Party at the time, and Kate Winslet was considered but the producers decided she was too young.”

4. HUGH GRANT ONLY SIGNED ON WHEN RICHARD CURTIS WAS ANNOUNCED AS THE WRITER. 


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“The only reason [I was a hard sell] was because I didn't feel they had the script quite right for a long time,” Firth told Cinema.com. “And I kept saying, ‘It's not working. Just get Richard Curtis to come in and help rewrite it.’ Eventually they did, and as soon as Richard came on board, I signed on the dotted line. So that's all it was.”

5. RENÉE ZELLWEGER GAINED 17 POUNDS FOR THE PART.

Zellweger’s weight gain for the role had the media abuzz for a while. According to The Guardian, “In order to play the eponymous heroine in the film adaptation of Fielding's bestseller, the actress gained 17 pounds, consulting a dietitian and endocrinologist who devised a regime of three full meals a day, multiple snacks, and no exercise.”

6. ZELLWEGER WORKED AT PICADOR FOR THREE WEEKS.

Zellweger went full Method for her iconic role, and became a temporary employee of the Picador publishing house. “We came up with a plan: she would be Bridget Cavendish, Bridget for obvious reasons and Cavendish as she was to be passed off as the sister of Jonathan Cavendish, a friend of one of our company chairmen,” Picador publicist Camilla Elworthy told The Guardian. “That last bit at least is true, and no one was to know that Jonathan Cavendish was one of the film's producers.”

7. ZELLWEGER KEPT A PHOTO OF JIM CARREY ON HER DESK.


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While working at Picador, Zellweger kept a picture of Jim Carrey on her desk—which made her alter ego Bridget Cavendish seem like some sort of obsessed fan. “Under the name Bridget Cavendish, she answered phones, served coffee, and made photocopies—without being recognized by any of her co-workers, who offered career advice and wondered privately why she kept a photo of Jim Carrey (her then-boyfriend) on her desk,” noted Hollywood.com.

8. ZELLWEGER INVITED HER BOSS AT PICADOR TO BE AN EXTRA ON SET.

In Camilla Elworthy’s write-up for The Guardian, she noted how she became a part of the production. “Renée sent me a thank you letter and gift after she'd gone and I have seen her a few times since then," Elworthy wrote. "She invited me on to the film set one day. She informed me that I had to stick around and be an extra and made sure that I was put somewhere that I would be seen ... As a result, half my head can be seen for half a nano-second in the launch party scene.”

9. THE EPIC FIGHT SCENE BETWEEN GRANT AND COLIN FIRTH WASN’T CHOREOGRAPHED.

You can thank the two actors for the hilarity of the iconic scene. In a Vulture article about the greatest fight scenes in movie history, writer Denise Martin recalled the improvised spar, writing, “No stunt coordinators. No elaborate choreography. Just a perfectly realized wimp brawl between two upper-middle-class Englishmen coming to awkward fisticuffs in front of a Greek restaurant.”

10. FIELDING ASKED FRIEND SALMAN RUSHDIE TO CAMEO IN THE FILM.

Recalling how he came to be part of the film, famed novelist Salman Rushdie told Texas Monthly, “Helen Fielding, the author of the book, is an old pal of mine, and she asked if I’d come along and make a fool of myself, and I said, ‘Why not?’”

11. GRANT DIDN’T HEAR ZELLWEGER SPEAK IN HER AMERICAN ACCENT UNTIL THE FILM’S WRAP PARTY.

Zellweger was so engrossed with Bridget Jones that one of her leading love interests didn’t meet the real actress until the end of the shoot. “Not once did she stop speaking with that accent, until the wrap party,” Grant told Cinema.com, “when suddenly this weird ... Texan appeared. I wanted to call security, I didn't know who the f*ck she was!”

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Tom Cruise stars as Frank T.J. Mackey in Magnolia (1999).
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15 Surprising Facts About Scarface
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Universal Home Video

Say hello to our little list. Here are a few facts to break out at your next screening of Scarface, Brian De Palma’s gangsters-and-cocaine classic, which arrived in theaters on this day in 1983.

1. IT WASN'T THE FIRST SCARFACE.

Brian De Palma's Scarface is a loose remake of the 1932 movie of the same name, which is also about the rise and fall of an American immigrant gangster. The producer of the 1983 version, Martin Bregman, saw the original on late night TV and thought the idea could be modernized—though it still pays respect to the original film. De Palma's flick is dedicated to the original film’s director, Howard Hawks, and screenwriter, Ben Hecht.

2. IT COULD HAVE BEEN A SIDNEY LUMET FILM.

At one point in the film's production, Sidney Lumet—the socially conscious director of such classics as Dog Day Afternoon and 12 Angry Men—was brought on as its director. "Sidney Lumet came up with the idea of what's happening today in Miami, and it inspired Bregman," Pacino told Empire Magazine. "He and Oliver Stone got together and produced a script that had a lot of energy and was very well written. Oliver Stone was writing about stuff that was touching on things that were going on in the world, he was in touch with that energy and that rage and that underbelly."

3. OLIVER STONE WASN'T INTERESTED IN WRITING THE SCRIPT, UNTIL LUMET GOT INVOLVED.


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Producer Bregman offered relative newcomer Oliver Stone a chance to overhaul the screenplay, but Stone—who was still reeling from the box office disappointment of his film, The Hand—wasn't interested. "I didn’t like the original movie that much," Stone told Creative Screenwriting. "It didn’t really hit me at all and I had no desire to make another Italian gangster picture because so many had been done so well, there would be no point to it. The origin of it, according to Marty Bregman, [was that] Al had seen the '30s version on television, he loved it and expressed to Marty as his long time mentor/partner that he’d like to do a role like that. So Marty presented it to me and I had no interest in doing a period piece."

But when Bregman contacted Stone again about the project later, his opinion changed. "Sidney Lumet had stepped into the deal," Stone said. "Sidney had a great idea to take the 1930s American prohibition gangster movie and make it into a modern immigrant gangster movie dealing with the same problems that we had then, that we’re prohibiting drugs instead of alcohol. There’s a prohibition against drugs that’s created the same criminal class as (prohibition of alcohol) created the Mafia. It was a remarkable idea."

4. UNFORTUNATELY, ACCORDING TO STONE, LUMET HATED HIS SCRIPT.

While the chance to work with Lumet was part of what lured Stone to the project, it was his script that ultimately led to the director's departure from the film. According to Stone: "Sidney Lumet hated my script. I don’t know if he’d say that in public himself, I sound like a petulant screenwriter saying that, I’d rather not say that word. Let me say that Sidney did not understand my script, whereas Bregman wanted to continue in that direction with Al."

5. STONE HAD FIRSTHAND EXPERIENCE WITH THE SUBJECT MATTER.

In order to create the most accurate picture possible, Stone spent time in Florida and the Caribbean interviewing people on both sides of the law for research. "It got hairy," Stone admitted of the research process. "It gave me all this color. I wanted to do a sun-drenched, tropical Third World gangster, cigar, sexy Miami movie."

Unfortunately, while penning the screenplay, Stone was also dealing with his own cocaine habit, which gave him an insight into what the drug can do to users. Stone actually tried to kick his habit by leaving the country to complete the script so he could be far away from his access to the drug.

"I moved to Paris and got out of the cocaine world too because that was another problem for me," he said. "I was doing coke at the time, and I really regretted it. I got into a habit of it and I was an addictive personality. I did it, not to an extreme or to a place where I was as destructive as some people, but certainly to where I was going stale mentally. I moved out of L.A. with my wife at the time and moved back to France to try and get into another world and see the world differently. And I wrote the script totally f***ing cold sober."

6. BRIAN DE PALMA DIDN'T WANT TO AUDITION MICHELLE PFEIFFER.


Universal Home Video

De Palma was hesitant to audition the relatively untested Pfeiffer because at the time she was best known for the box office bomb Grease 2. Glenn Close, Geena Davis, Carrie Fisher, Kelly McGillis, Sharon Stone and Sigourney Weaver were all considered for the role of Elvira, but Bregman pushed for Pfeiffer to audition and she got the part.

7. YES, THERE IS A LOT OF SWEARING.

According to the Family Media Guide, which monitors profanity, sexual content, and violence in movies, Scarface features 207 uses of the “F” word, which works out to about 1.21 F-bombs per minute. In 2014, Martin Scorsese more than doubled that with a record-setting 506 F-bombs thrown in The Wolf of Wall Street.

8. TONY MONTANA WAS NAMED FOR A FOOTBALL STAR.

Stone, who was a San Francisco 49ers fan, named the character of Tony Montana after Joe Montana, his favorite football player.

9. TONY IS ONLY REFERRED TO AS "SCARFACE" ONCE, AND IT'S IN SPANISH.

Hector, the Colombian gangster who threatens Tony with the chainsaw, refers to Tony as “cara cicatriz,” meaning “scar face” in Spanish.

That chainsaw scene, by the way, was based on a real incident. To research the movie, Stone embedded himself with Miami law enforcement and based the infamous chainsaw sequence on a gangland story he heard from the Miami-Dade County police.

10. VERY LITTLE OF THE FILM WAS ACTUALLY SHOT IN MIAMI.

The film was originally going to be shot entirely on location in Miami, but protests by the local Cuban-American community forced the movie to leave Miami two weeks into production. Besides footage from those two weeks, the rest of the movie was shot in Los Angeles, New York, and Santa Barbara.

11. ALL THAT "COCAINE" LED TO PROBLEMS WITH PACINO'S NASAL PASSAGES.

Though there has long been a myth that Pacino snorted real cocaine on camera for Scarface, the "cocaine" used in the movie was supposedly powdered milk (even if De Palma has never officially stated what the crew used as a drug stand-in). But just because it wasn't real doesn't mean that it didn't create problems for Pacino's nasal passages. "For years after, I have had things up in there," Pacino said in 2015. "I don't know what happened to my nose, but it's changed."

12. PACINO'S NOSE WASN'T HIS ONLY BODY PART TO SUFFER DAMAGE.

Still of Al Pacino as Tony Montana in 'Scarface' (1983)
Universal Home Video

In the film's very bloody conclusion, Montana famously asks the assailants who've invaded his home to "say hello to my little friend," which happens to be a very large gun. That gun took a beating from all the blanks it had to fire, so much so that Pacino ended up burning his hand on its barrel. "My hand stuck to that sucker," he said. Ultimately, the actor—and his bandaged hands—had to sit out some of the action in the last few weeks of production.

13. STEVEN SPIELBERG DIRECTED A SINGLE SHOT.

De Palma and Spielberg had been friends since the two began making studio movies in the mid-1970s, and they made a habit of visiting each other’s sets. Spielberg was on hand for one of the days of shooting the Colombians’ initial attack on Tony Montana’s house at the end of the movie, so De Palma let Spielberg direct the low-angle shot where the attackers first enter the house.

14. SOME COOL TECHNOLOGY WENT INTO THE GUN MUZZLE FLASHES.

In order to heighten the severity of the gunfire, De Palma and the special effects coordinators created a mechanism to synchronize the gunfire with the open shutter on the movie camera to show the huge muzzle flash coming from the guns in the final shootout.

15. SADDAM HUSSEIN WAS A FAN OF THE FILM.

The trust fund the former Iraqi dictator set up to launder money was called “Montana Management,” a nod to the company Tony uses to launder money in the movie.

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