21 Things You Might Not Know About Elf

Warner Home Video
Warner Home Video

Everyone knows the best way to spread Christmas cheer is singing loud for all to hear! But the second best way is to enjoy Elf. On the 15th anniversary of the film's release, revel in the giddy glow of this modern holiday classic with a slew of secrets from behind the scenes.

1. JIM CARREY WAS INITIALLY EYED FOR BUDDY THE ELF.

When David Berenbaum's spec script first emerged in 1993, Carrey was pre-Ace Ventura: Pet Detective and attached to front the Christmas film. However, it took another 10 years to get the project in motion, at which time Saturday Night Live star Will Ferrell was signed to star. Carrey would go on to headline his own Christmas offerings—the live-action How The Grinch Stole Christmas and the CGI animated A Christmas Carol.

2. WILL FERRELL WAS ONCE A MALL SANTA.

And his A Night at the Roxbury co-star Chris Kattan was his elf. This was back when the pair were pre-Saturday Night Live, and part of the comedy troupe The Groundlings. Ferrell recollected to Spliced Wire, "I have some experience playing Santa Claus … Chris Kattan was my elf at this outdoor mall in Pasadena for five weeks, passing out candy canes. It was hilarious because little kids could care less about the elf. They just come right to Santa Claus. So by the second weekend, Kattan had dropped the whole affectation he was doing and was like (Ferrell makes a face of bitter boredom), 'Santa's over there, kid.'"

3. DIRECTOR JON FAVREAU FAVORED PRACTICAL EFFECTS.

Inspired by the Christmas specials he grew up with, Favreau explained in the film's commentary track that he employed “old techniques” instead of CGI whenever possible. This included stop-motion animation, and using forced perspective to make Buddy look like a giant among his elf peers. For North Pole scenes, two sets were built—one larger scale for the actors playing elves, the other smaller to make Buddy and Santa look big. These elements where then carefully overlaid in camera, using lighting to blend the seams.

4. SNOW WAS OFTEN COMPUTER GENERATED.


Warner Home Video

Some effects just couldn't be practical. These included the snowflakes that drift over the opening credits, and many of the snowballs in Buddy's pivotal fight scene. It's probably not much of a shocker that much of these were added in post, considering Buddy's perfect aim. But to further underscore the drama that is a snowball fight in frosty New York, Favreau asked composer John Debney to give this section a Western vibe that would recall The Magnificent Seven.

5. ELF'S PRODUCTION DESIGN WAS HEAVILY INFLUENCED BY RUDOLPH THE RED-NOSED REINDEER.

The classic stop-motion Christmas special from 1964 gave a memorable presentation of Santa's winter wonderland to which Favreau wanted to pay tribute. The elves' costumes in Elf were inspired by those worn by Hermey and his peers in the animated film. And Elf's workshops were modeled after the Rankin/Bass designs, as were the stop-motion animals of the area. The production did secure permission for these allusions, and was even granted the privilege of using the company's signature snowman. 

6. THERE'S A CHRISTMAS STORY CAMEO.

Peter Billingsley, who memorably played the Red Ryder-wanting Ralphie in the 1983 holiday classic, popped in to play Ming the elf. It's an uncredited role, but between the glasses and those bright baby blue eyes, Billingsley stands out as an A Christmas Story Easter egg. This marks just one of many Billingsley and Favreau's collaborations. Billingsley has been a producer on several of Favreau's film and television projects.

7. FAVREAU PLAYED MULTIPLE PARTS IN ELF.

As a writer/director/actor, Favreau has often appeared in his own films. He fronted Made with friend Vince Vaughn, and later found a sweet supporting role for himself in Iron Man. You may have picked him out as the doctor in Elf, but on the DVD commentary, Favreau revealed he also tapped in to his inner narwhal and provided the voices for some of the stop-animation critters who see Buddy off from the North Pole. He also voiced the rabid raccoon Buddy encounters.

8. BABY BUDDY WAS FIRED.

To play the bubbly baby version of the titular elf, Favreau had initially cast twin boys whose blonde curly hair made them great little doubles for the mop-topped Ferrell. However, the production ran into a problem when the boys couldn't perform. Instead of smiling and crawling as needed, they cried relentlessly. To replace them, brunette triplet girls were brought in, who were far perkier and more playful, and thereby ready for their close-ups.

9. BUDDY WAS BULLIED IN AN EARLY VERSION.

In first drafts of Berenbaum's Elf script, Buddy's decision to seek out his dad was in part because he was being hassled by the actual elves for being different. Favreau pushed to take out this element. He preferred to keep the North Pole characters warm, even when Buddy bugs them. In the DVD commentary, Favreau offers, “It explained why Buddy was doing all these good things in New York if he grew up in a world where everybody was so sweet even when he’s obviously screwing everything up and doesn’t fit in at all.”

10. ELF HOCKEY HIT THE CUTTING ROOM FLOOR.

Poor Buddy accidentally wreaks all kinds of havoc on his elf community because of his ungainly size. One such scene of his well-meaning mayhem featured Buddy playing hockey on a frozen pond. The friendly game becomes unintentionally violent when the too-big Buddy takes to the ice. Though it was shot, it ended up being chopped from the finished film.

11. ELF WAS SHOT ON LOCATION IN NEW YORK WHEN IT COUNTED.

Like many productions, this one took advantage of the financial benefits of filming in Canada, and much of Elf was shot in sound stages in Vancouver. However, when Buddy comes to New York, it was important to Favreau to shoot on location whenever possible. This includes all the Manhattan exteriors, as well as scenes shot at Rockefeller Center, Central Park, and Central Park West, where Buddy's dad lives. 

12. SOME OF THE SETS WERE BUILT IN A HORROR FACTORY.

Okay, technically it was an abandoned mental hospital, where the production team constructed the interior sets for Walter's Central Park West apartment, Gimbels's lavish toy department, and that grim prison cell. The facility is called Riverview Hospital, and it has played host to a long list of film and television productions, including The X-Files, Final Destination 2, Jennifer's Body, and See No Evil 2.

13. MACY'S STOOD IN FOR GIMBELS.

The sprawling department store that takes up a whole block in Manhattan was digitally altered to transform into Elf's Gimbels. A bit awkward: Gimbels was once a real department store, and a noted rival of Macy's. Though immortalized here and in the 1947 classic Miracle on 34th Street, the department store closed its doors in 1987, its 100th year of operation. 

14. WILL FERRELL BROKE JAMES CAAN.


Warner Home Video

The Academy Award-nominated star of The Godfather was hired to play Walter in part because Favreau wanted a stern persona to play against Ferrell's giddy Buddy, and Caan took the comedy of Elf seriously. He knew it was crucial for Walter to be annoyed—never amused—by his supposed son's antics. But when it came to the blood test scene where Buddy bellows when pricked by a needle, Caan cracked. Watch closely and you'll see he turns away from the camera so as not to ruin the take.

15. THE STUDIO DIDN'T GET A JOKE FROM THE MAILROOM SEQUENCE.

This was the last set piece shot for Elf, and one that filmmakers were wavering on from its conception late in production. Grizzled Mark Acheson's casting as Buddy's drinking buddy concerned execs because of the line, "I'm 26 years old." The studio noted the actor does not look 26, to which Favreau—who had previously cast Acheson in a small role that had been cut before production—responded that this disconnect was part of the joke. 

16. FERRELL WENT METHOD WITH THOSE JACK-IN-THE-BOXES.

In the scene where Buddy suffers as a toy tester, he's subjected to popping open an endless stream of menacing jack-in-the-boxes. The anxiety etched on Ferrell's face in these scenes is real. Rather than standard jack-in-the-boxes that would pop at the song's end, these were remote controlled by Favreau, who purposely manipulated their timing to toy with his star and get authentic reactions. 

17. FERRELL FROLICKED ALL OVER NEW YORK CITY IN CHARACTER.

The final day of Elf's New York shooting was pared down from a massive crew to just three people: its star, its director, and one cameraman. Together, this trio traveled around the city, looking for mischief for Buddy to get into with random passersby turned background extras. This included him leapfrogging across a pedestrian walk, happily accepting flyers, and getting his shoes shined, all of which made it into the movie's cheerful montage.

18. THAT EPIC BURP WAS REAL, BUT OVERDUBBED.

Though uncredited, that lengthy belch came not from Ferrell, but from noted voice actor Maurice LaMarche, who might be best known for Brain of Pinky and the Brain. LaMarche shared his secret to such an impressive burp with The A.V. Club, saying, "I’ve always been able to do this weird effect, where I turn my tongue, not inside out, but almost. I create a huge echo chamber with my tongue and my cheeks, and by doing a deep, almost Tuvan rasp in my throat, and bouncing it around off this echo chamber, I create something that sounds very much like a sustained deep burp."

19. ELF MADE ITS STAR STICK.

In the movie, Buddy is happy to gobble down an endless supply of sweets, including maple syrup-coated spaghetti and cotton balls made of cotton candy. But this sugary diet played havoc on Ferrell, who told About Entertainment, "That was tough. I ingested a lot of sugar in this movie and I didn't get a lot of sleep. I constantly stayed up. But anything for the movie, I'm there. If it takes eating a lot of maple syrup, then I will—if that's what the job calls for."

20. FERRELL REFUSES TO MAKE ELF 2.

Though the comedian reprised the role of Ron Burgundy for Anchorman 2: The Legend Continues and returned as Mugatu in Zoolander 2, he flat out rejected the possibility of bringing back Buddy, even after being offered a reported $29 million. In December of 2013, he told USA TODAY, "I just think it would look slightly pathetic if I tried to squeeze back in the elf tights: Buddy the middle-aged elf." 

21. ELF BECAME A HIT BROADWAY MUSICAL.

From November 2010 to January 2011, Elf the musical ran on Broadway, boasting songs like "World's Greatest Dad," "Nobody Cares About Santa," and "The Story of Buddy The Elf." This run was a huge success, taking in more than $1.4 million in one week, a record for the Al Hirschfield Theater where it debuted. Plus, The New York Times called it, "A splashy, peppy, sugar-sprinkled holiday entertainment." A revival hit in time for Christmas 2012, and national tours have been recurring. 

8 Provocative Facts About the X Film Rating

iStock/tolgart
iStock/tolgart

When the Motion Picture Association of America (MPAA) introduced the modern movie ratings system in 1968, they couldn’t have known that one of their classifications would become the calling card of pornography. The X rating, intended to denote films not suitable for anyone under the age of 17, went from being attached to Academy Award contenders to filling video store spaces located behind saloon doors. Fifty years after its debut, we’re taking a look at the most infamous letter in moviegoing history.

1. ACCEPTING THE RATING WAS VOLUNTARY (KIND OF).

In 1968, the MPAA and its president, Jack Valenti, introduced a four-tier system to classify films. G was suitable for all audiences; M was the equivalent of PG (which replaced M in 1970), indicating that juveniles should consult with a parent before attending; R was intended for adults, or children only with a guardian present; X marked films that shouldn’t be seen by adolescent eyes. But the MPAA never forced a film studio to submit to its decision. It could release a film with no rating at all. The problem? The MPAA’s arrangement with the National Association of Theater Owners meant that an unrated film would almost certainly have difficulty finding a theater to screen it.

2. A ROBERT DE NIRO MOVIE WAS THE FIRST TO GET SLAPPED WITH AN X.

Immediately after the introduction of the new MPAA system, the advisory board got its first bona fide sample of an X-rated submission: Director Brian De Palma’s Greetings, a 1968 film starring Robert De Niro as a New Yorker confronting the possibility of being drafted, garnered the rating due to its sexually explicit content, including nudity that would likely earn an R rating today. (De Palma would later run afoul of the MPAA multiple times; 1980's Dressed to Kill, 1981's Blow Out, and 1983's Scarface were all threatened with an X before being edited.)

3. FILMMAKERS COULD GIVE THEMSELVES THE RATING.

Dustin Hoffman and Jon Voight in Midnight Cowboy (1969)
Dustin Hoffman and Jon Voight in Midnight Cowboy (1969)
Sony Pictures Home Entertainment

Though it was quickly going to become taboo, there was a time when an X rating for a mainstream film was a badge of honor and an effective marketing tool that signaled a film was being made for discerning moviegoers—not just viewers looking for titillation. Arthur Krim, the head of United Artists, willingly gave 1969’s Dustin Hoffman and Jon Voight film Midnight Cowboy an X of his own volition even after he realized the MPAA would give the film an R designation. (The MPAA later applied an R to the movie in 1971.)

4. IT WAS WELCOME AT THE ACADEMY AWARDS.

The X rating was not an impediment to critical or commercial acclaim. In 1970, Midnight Cowboy won Best Picture at the Academy Awards; Stanley Kubrick’s A Clockwork Orange, released in 1971, earned four Oscar nominations, including one for Best Picture; Bernardo Bertolucci's Last Tango in Paris (1972), starring Marlon Brando as a sex-obsessed American in France, got two nominations, including Brando for Best Actor.

5. THE XXX MARK MAY HAVE STEMMED FROM AN ALCOHOL DESIGNATION.

A neon XXX sign
iStock/07_av

In the hyperbole of film marketing, studios and advertisers didn’t believe one X was enough. Some films, like 1968’s Starlet!, were advertised as having an unofficial XXX designation to signify it was even more intense than other adult-oriented films. The label may have come from an old practice of denoting the strength of beer with a X, XX, or XXX label.

6. PORN TOOK OVER THE RATING DUE TO AN MPAA OVERSIGHT.

A rating of X in 1969 was no big deal. By the mid-1970s, it signaled to audiences that they were about to watch an anatomy lesson. That’s because the burgeoning adult film industry of the 1970s was screening films in theaters—VHS was not yet a household acronym—and blared advertisements with promises of “XXX” salaciousness. The MPAA never reviewed these films, and titles like 1972’s Deep Throat and 1978’s Debbie Does Dallas used the mark freely. The reason? The MPAA never bothered to copyright X as it applies to film ratings, allowing anyone to use it. In short order, the X rating became synonymous with pornography and grew into a scarlet letter for films. No reputable theaters would book such movies, and few newspapers would take ads for them.

7. PEOPLE COLLECT X-RATED FILMS.

The seedy, lurid films that applied their own X (or XXX) ratings in the 1970s and 1980s have developed a small but devout following of collectors who have a “strong desire to own, preserve, and reclaim erotic history,” according to one aficionado who spoke with The New York Times in 2014. These specialists focus mostly on the 16mm and 35mm films that were produced prior to the advent of VHS.

8. ONE STUDIO SUED OVER IT.

Antonio Banderas and Victoria Abril in 'Tie Me Up! Tie Me Down!' (1989)
Antonio Banderas and Victoria Abril in Tie Me Up! Tie Me Down! (1989)
The Criterion Collection

When the MPAA gave an X rating to the 1989 Pedro Almodóvar drama Tie Me Up! Tie Me Down!, Miramax decided to sue, claiming such a label would harm the film financially. The studio lost the suit, but it signaled the end of the war.

In 1990, a year that saw 10 movies get slapped with an X, the MPAA overhauled the ratings system. It dropped the X in favor of NC-17, which it hoped would distance films with artistic merit from pornographic material. And this time, the pornography industry couldn't co-opt it: Learning from its past mistake, the MPAA trademarked the designation.

Stranger Things's David Harbour Shared Some Season 3 Spoilers—With Absolutely No Context

Matt Winkelmeyer, Getty Images
Matt Winkelmeyer, Getty Images

While Netflix likes to keep the details of Stranger Things a mystery, David Harbour, who plays Detective Hopper, likes to have fun with his fans.

Harbour posted a cryptic image to his Instagram which, while it clearly contains Stranger Things Season 3 spoilers in both the photo and the caption, does not give away any “context,” hence leaving us with very little real information.

Harbour did share that he has wrapped filming on season 3 of Stranger Things—and that we can kiss his mustache goodbye.

The mysterious post raises a number of questions. In the photo, Harbour rocks a hat that supports a local Hawkins business. The hat reads, "Gary's Plumbing & Heating, Warming Hawkins, IN since 1972."

We’re not sure if the hat is referencing the Gary already in the show, as he is the coroner, but we can’t wait to find out.

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