20 Things You Might Not Have Known About Gone with the Wind

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1. Scarlett was cast after filming began.

Producer David Selznick still hadn’t decided, between the many leading actresses at his disposal, who would be best to play Scarlett. But he only needed a stand-in to start filming, since the tremendous “Burning of Atlanta” scene was one of the first. As the fire blazed in the background, actress Vivien Leigh joined Selznick on the director’s platform (after wangling an introduction from his brother), and was, legend says, called in for a screen test immediately.

2. Leigh almost lost the part after her first test reading.

Leigh was English, and she didn’t change her accent when she gave her first informal reading. As a popular actress on the London stage, Leigh was accustomed to clear projection and regal pronunciation. Says director Cukor, “She began reading this thing very sweetly, and very, very clipped.... So I struck her across the face with the rudest thing I could say. She screamed with laughter. That was the beginning of our most tender, wonderful friendship."

3. The Daughters of the Confederacy campaigned against Vivien Leigh

The Ocala, Florida chapter of the United Daughters of the Confederacy were greatly offended that a British actress had been chosen to play such an iconic southern character. However, when they were told that the role could go to Katharine Hepburn, they stopped their protest. Better an Englishwoman than a Yankee.

4. There is screen test footage of the women considered for Scarlett.

It’s fascinating to watch a parade of different actresses declare their love for Ashley in the library scene, each with a mildly different take on who they thought Scarlett was.

5. The author’s own choice for Rhett was Groucho Marx (or not).

The Rhett Butler Margaret Mitchell described in her book was a great deal more dark and nefarious than the one portrayed by the swaggering and polished Clark Gable. Mitchell had been "deviled by the press and the public" since she'd sold the film rights to her novel and would joke in exasperation that comedian Groucho Marx best inhabited the qualities she’d given Rhett. Or Donald Duck, for all she cared.

6. The first director was fired...

Gone with the Wind's original director was George Cukor, who had spent more than two years in planning and developing the film. Officially, he left the picture when he and producer Selznick couldn’t come to terms on the pace of filming and on how much expensive authenticity and detail Cukor was insisting on. However, the rumors surrounding his departure were more salacious, suggesting that Cukor, who was as openly gay as possible for the era, had friction with Clark Gable. Some say Gable didn’t want to work with a homosexual, and some say Gable had been a homosexual hustler in his youth and didn’t want Cukor to expose him. And some just believed that, since Cukor had a reputation for making “woman’s films,” Gable thought he’d lose the spotlight. 

6. ...and Ultimately, the film had a total of three directors.

After Cukor left 18 days into shooting, he was replaced with Victor Fleming, who had been directing another timeless classic, The Wizard of Oz. Later in production, Fleming reportedly had a (possibly faked) nervous breakdown, threatening to drive his car off a cliff. He left for a few well-earned weeks to combat  exhaustion, at which point Sam Wood took over until Fleming returned. The finished product was the result of Cukor’s 18 days of filming, Fleming’s 93, and Wood’s 24.

7. There is long-lost, behind-the-scenes footage of the filming.

Howard Hall was an Iowan business magnate and film enthusiast. At some point during the filming of the barbeque scene, Hall was allowed access to the set. There, he filmed the famous cast and crowds of extras lolling around Busch Gardens, where the scene was filmed. The film lay inside Hall’s Brucemore Mansion until the 2000s, when it was discovered amid other home movies when the estate was turned over to the National Trust for Historic Preservation.

8. Leslie Howard absolutely despised playing Ashley.

Howard was a wan, slim man in his early 40s, and had done a lifetime of roles portraying weak men. He only agreed to portray Ashley Wilkes, who was supposed to be a handsome man of 21 at the start of the film, because Selznick offered him a producer credit in an upcoming film. He described his feelings in a letter to his daughter:

I hate the damn part. I'm not nearly beautiful or young enough for Ashley, and it makes me sick being fixed up to look attractive.

He even disdained the film itself: "Terrible lot of nonsense – Heaven help me if I ever read the book.''

9. Writing the final script for the movie was such a horrible, hilarious event that it was developed into its own play.

The stage comedy Moonlight and Magnolias tells the mostly true story of producer Selznick, director Fleming, and script doctor Ben Hecht locking themselves (or rather, being locked by Selznick) away in an office for a week to turn Mitchell’s doorstop novel into a satisfying screenplay. Selznick reportedly refused his captives any food except bananas and peanuts, believing other food would slow the creative process. By the end of the imprisonment, Selznick had collapsed from exhaustion, requiring resuscitation, and Fleming had burst a blood vessel in his eye.

11. Vivien Leigh brought a copy of the book to the set every day to make director Fleming angry.

Leigh was very unhappy when Cukor was replaced by the boorish, man’s man Fleming, and disagreed with much of his direction. In silent protest, she carried Mitchell’s book to the set each day, reading each scene, to remind Fleming that she found the original source far superior to his interpretation. Eventually, Leigh recalled, “Selznick shouted at me to throw the damned thing away."

12. Gable begged not to be shown crying on camera.

Toward the end of the film, Melanie must gently tell Rhett that Scarlett has miscarried, after Rhett dodged a blow that caused Scarlett to fall down stairs. The news is supposed to bring Rhett to tears, but Gable was afraid such a sight would ruin his image, to the point he threatened to walk off the set. Fleming—who was famous for his ability to work well with male leads—shot two versions: one with crying, one with a back turned in heavy sorrow. Then, Fleming convinced Gable that the weeping version would only endear him to the audience, not make him appear weak.

13. There weren’t enough extras in the entire Screen Actors Guild to shoot the Confederate Wounded scene.

Producer Selznick insisted on no less than 2500 extras to lie in the dirt, portraying the dead and wounded Confederate soldiers toward the end of the war. But at the time, the Screen Actors Guild only had 1500 to offer. Selznick saved money by ordering 1000 dummies to round out the epic suffering he wanted to portray.

14. Selznick pleaded for months to get the word “damn” past the Hays Code.

Rhett’s iconic line, “Frankly my dear, I don’t give a damn,” was integral to the film. That line summed up Rhett’s defeat, and the years of suffering he’d endured both from Scarlett and himself, as well as the severity and finality of his exit. The censors finally agreed to allow the line after much convincing. Selznick insisted that the film would be a mockery if the line was changed to the preferred “My dear, I don’t care.” Selznick also pointed out that the actual dictionary definition of the word referred to nothing prurient, only recording it as “a vulgarism.”

15. Atlanta went crazy for the film’s premiere.

Margaret Mitchell’s book had been a phenomenal best seller, and the film was hotly anticipated. Over a million people poured into Atlanta just to be in the festive atmosphere of the premiere. The Governor of Georgia declared the day of the premiere a state holiday, and the mayor of Atlanta organized three days of parades and parties. Citizens took to the streets in hoop skirts and top hats, celebrating what was to them the faded glory of their homeland. Tickets were scalped at $200 a head (in 1939 money). Attendees of the premiere included the Vanderbilts, the Rockefellers, the Astors, J.P Morgan, and all the Governors of what used to be the Confederacy.

16. Hattie McDaniel became the first African-American to win an Oscar, but was banned from the premiere.

None of Gone with the Wind’s black actors were allowed to attend the film’s Atlanta premiere. Hattie McDaniel, who plays Mammy, won an Supporting Actress Oscar for her performance. It is reported she sat at a segregated table in the back of the venue before and after her acceptance, and that her speech (which contains a cringe-worthy reference to being “a credit to her race”) was written by the studio.

17. Author Margaret Mitchell was fatally struck by a car 10 years after the film's release.

On August 11, 1949, Mitchell and her husband went to see a movie. As they prepared to cross the street, a car appeared. Her husband stepped back, but Mitchell stepped forward and was struck. She never regained consciousness and died five days later, aged 48, without ever having published another book. In recent years, the daughter of the off-duty cab driver who hit Mitchell has written her own version of what happened that night, claiming her father was not drunk or driving recklessly, but the victim of a murderous cover-up.

18. Advanced mathematics account for one of the most beautiful shots in the film.

Early in the movie, there is a glorious shot of Scarlett and her father standing before a fading sun, surveying the beauty of Tara. Nobody could figure out how to make it work. Technology of the day didn’t allow for the synching of the film of the actors, the sunset effect and two different matte paintings. So the crew consulted the Math Department at UCLA, who came up with a way to fit everything together using advanced calculus.

19. Selznick removed racially offensive scenes under pressure from the NAACP.

The book is set in the Civil War, and the language and depictions of black people represent that time. It often did so with stereotypes and terrible bias. When the NAACP heard that there would be scenes referring positively to the Ku Klux Klan and a justified lynching, they threatened a boycott of the movie. Selznick called a meeting of the nation’s most influential black journalists to assure them he’d removed as much inflammatory footage from the film as possible.

20. It took 16 different writers to make the screenplay a viable length.

Sidney Howard was the first screenwriter to try and translate Gone with the Wind to the screen without sacrificing its spirit—but his version would have had a runtime of around six hours. So over two years, a bevy of writers took turns hacking away at it, including F. Scott Fitzgerald, until finally Selznick had his Moonlight and Magnolias lockdown.

All images courtesy of Thinkstock unless otherwise stated. 

10 Forgotten Rankin/Bass Christmas Specials

A scene from Rudolph's Shiny New Year (1976).
A scene from Rudolph's Shiny New Year (1976).
Rankin/Bass Productions

If you're prone to picturing your favorite Christmas characters as stop-motion puppets, you can thank Rankin/Bass. The production company founded by Arthur Rankin Jr. and Jules Bass found success in transforming holiday songs and myths into fully-developed television specials in the 1960s, '70s, and '80s. Their most popular specials, like Rudolph the Red-Nosed Reindeer and Frosty the Snowman, are still staples of holiday programming decades after they first aired.

But not every holiday film that played under the Rankin/Bass banner was an instant success. After adapting the most beloved Christmas stories, the company broadened its definition of holiday material, with varying degrees of success. Some films were forgettable, and others were so strange and unsettling that young viewers forced themselves to forget. Here are some Rankin/Bass specials that may be missing from holiday television marathons this year.

1. Rudolph’s Shiny New Year (1976)

Scene from Rudolph's Shiny New Year.
Rankin/Bass Productions

After the stressful events of his 1964 Christmas special, Rudolph deserved a vacation. In Rudolph's Shiny New Year (1976), the red-nosed reindeer barely has a day to rest before being sent on his next adventure. When Santa Claus and his reindeer return home to the North Pole after delivering presents on Christmas, they learn that Happy the Baby New Year is missing. It’s up to Rudolph to bring him home before midnight on New Year’s Eve or else the calendar will be stuck at December 31. And because it wouldn’t be a Rankin/Bass cartoon without a terrifying villain, a vulture named Eon the Terrible is racing to catch Happy first so he can live forever. Thankfully, Rudolph has a caveman, a Medieval knight, and Benjamin Franklin on his side.

2. The Little Drummer Boy, Book II (1976)

Scene from The Little Drummer Boy, Book II.
Rankin/Bass Productions

The Little Drummer Boy from 1968 ends with the birth of Jesus Christ, a.k.a. the events of Christmas. This meant that Rankin/Bass’s most overtly religious Christmas special wasn’t an obvious choice for a follow-up, but the studio still released one in 1976. The Little Drummer Boy, Book II is inspired by "Silver Bells"—a song whose lyrics have nothing to do with the first Christmas at Bethlehem. In the sequel, the drummer boy Aaron and the wise man Melchior join forces to protect silver bells made for baby Jesus from the Roman soldiers plotting to steal them.

3. Nestor, the Long-Eared Christmas Donkey (1977)

Scene from Nestor, the Long-Eared Christmas Donkey.
Rankin/Bass Productions

By the late 1970s, it was apparent that Rankin/Bass was running out of Christmas myths to expand into television specials. Nestor, the Long-Eared Christmas Donkey, their 1977 stop motion film, tells the story of an outcast donkey who experiences a series of traumatic events during the Roman Empire. After being bullied by other animals, left for dead by his owner, and suffering the loss of his mother, Nestor becomes a hero by carrying a pregnant Mary to Bethlehem, where she gives birth to Jesus. Needless to say, Nestor, the Long-Eared Donkey didn’t have the same cultural impact as Rudolph the Red-Nosed Reindeer.

4. The First Christmas: The Story of the First Christmas Snow (1975)

Scene from The First Christmas.
Rankin/Bass Productions

It may have a happy ending, but The First Christmas (1975) is the bleakest movie on this list. An orphaned shepherd named Lucas is taken in by a group of nuns after he’s blinded by lightning. When snow falls during the abbey’s Christmas pageant, Lucas miraculously regains his eyesight and sees snow for the first time. The story swaps Rankin/Bass's signature humor and fantasy for heavy-handed sentimentality, which may be why it didn’t land as well with kids as the company’s other holiday specials. One highlight is a voice performance by Angela Lansbury as the narrator.

5. Jack Frost (1979)

Scene from Jack Frost.
Rankin/Bass Productions

So this film from 1979 is technically a Groundhog Day special, but its connection to winter means it’s usually lumped in with the rest of Rankin/Bass’s Christmas programming. A groundhog named Pardon-Me-Pete (voiced by Buddy Hackett) narrates the story of Jack Frost. After Jack Frost falls in love with a woman on Earth, Father Winter agrees to make him human, with the catch that Jack will turn back into a sprite if he fails to obtain a house, a horse, a bag of gold, and a wife by the first sign of spring. The special is notable for its weird characters, including a villain with a clockwork horse and henchmen. And—spoiler alert!—because Jack doesn’t get the girl at the end, it’s one of the few Rankin/Bass films that doesn’t have a happy ending.

6. Rudolph and Frosty's Christmas in July (1979)

Scene from Rudolph and Frosty's Christmas in July.
Rankin/Bass Productions

In 1979, Rankin/Bass gave two of its most iconic Christmas characters—Frosty the Snowman and Rudolph the Red-Nosed Reindeer—their own movie. The studio was so confident in the product that Rudolph and Frosty's Christmas in July even had a brief theatrical release overseas. But the film has failed to take the place of the original specials in the public consciousness—maybe because seeing snow snakes terrorize Rudolph and watching an evil wizard transform into a tree were too much for younger viewers to handle.

7. Pinocchio's Christmas (1980)

Scene from Pinocchio's Christmas.
Rankin/Bass Productions

The story of Pinocchio may not be the first thing that comes to mind when you think of Christmas, but that didn’t stop Rankin/Bass from turning the classic Italian fairytale into a holiday special. Pinocchio's Christmas (1980) features many of the same themes and characters as The Adventures of Pinocchio—only this version of the tale centers around the puppet’s first Christmas. Santa Claus even makes a cameo appearance.

8. The Stingiest Man in Town (1978)

Scene from The Stingiest Man in Town.
Rankin/Bass Productions

Charles Dickens’s A Christmas Carol is one of the most widely adapted stories of all time, so of course it shows up in Rankin/Bass’s filmography. An insect named B.A.H. Humbug narrates this musical retelling from 1978, with Walter Matthau starring as Ebeneezer Scrooge. The Stingiest Man in Town joins Frosty the Snowman as one of the few Rankin/Bass Christmas productions made with traditional 2D animation instead of stop-motion.

9. The Leprechauns' Christmas Gold (1981)

Scene from The Leprechaun's Christmas Gold.
Rankin/Bass Productions

Rankin/Bass’s streak of mashing up Christmas with other holidays reached peak weirdness in 1981. That’s when the studio released The Leprechauns' Christmas Gold—a story that follows a young Irish sailor who helps a clan of leprechauns protect their gold from an evil banshee named Old Mag the Hag. By trying to create a special that could air around Christmas and St. Patrick’s Day, the filmmakers ended up with something that made little sense at any time of year.

10. The Life and Adventures of Santa Claus (1985)

Scene from The Life and Adventures of Santa Claus.
Rankin/Bass Productions

In 1970, Rankin/Bass explored how Kris Kringle became Santa Claus with Santa Claus Is Comin’ to Town. Fifteen years later, the studio produced a film that provided an alternate origin story for the character, based on L. Frank Baum's 1902 children's book of the same name. This second special wasn’t as well-received as the first. It starts with an antler-sporting sorcerer called the Great Ak finding an abandoned baby in the forest. The child is taken in and raised by wood nymphs, eventually growing up to become a jolly man who delivers toys to children—all while fighting monsters called Awgwas on the side. It ends with a council of mythical beings granting Santa Claus immortality. What was arguably Rankin/Bass’s most unusual Christmas special was also the last to use stop-motion animation.

25 Surprising Facts About Love Actually

Bill Nighy stars in Love Actually (2003).
Bill Nighy stars in Love Actually (2003).
Universal Pictures Home Entertainment

Though it’s officially classified as a romantic comedy, Love Actually—Richard Curtis’s intertwining tale of love and loss in London in the midst of the Christmas season—has become a staple of holiday movie marathons everywhere. Here are 25 things you might not have known about the hit 2003 film.

1. Love Actually‘s airport footage was shot with hidden cameras.

Footage of passengers being welcomed and embraced by loved ones at Heathrow Airport was shot on location with hidden cameras for a week. In the film’s DVD commentary, writer-director Richard Curtis explains that when something special was caught on camera, a crew member would race out to have its subjects sign a waiver so the moment might be included in Love Actually. This was a fitting production device, as Curtis claims that watching the love expressed at the arrival gate of LAX is what inspired him to write the ensemble romance in the first place.

2. Four plot lines were cut from Love Actually.

Curtis initially aimed to include 14 love stories in the film. Two were clipped in the scripting phase, but two were shot and cut in post. Those lost before production involved a girl with a wheelchair, and one about a boy who records a love song for a classmate who ultimately hooks up with his drummer. Shot but cut for time was a brief aside featuring an African couple supporting each other during a famine, and another storyline that followed home a school headmistress, revealing her long-time commitment to her lesbian partner.

3. A fifth of Love Actually is commonly cut from television broadcasts.

Martin Freeman in ‘Love Actually’ (2003)
Universal Studios

It might be of little surprise that the raciest element of this holiday movie rarely makes it on TV. The love story of John and Judy has Martin Freeman and Joanna Page playing a pair of stand-ins on an erotic drama. Their scenes have the pair mimicking sex acts, but even as simulations of simulated sex, their storyline is usually deemed too hot for TV.

4. Martine McCutcheon’s role in Love Actually was penned just for her.

Curtis wrote his screenplay with some stars in mind, including Hugh Grant, Emma Thompson, and McCutcheon, the charismatic English ingénue best known for her role on BBC drama EastEnders. So sure was Curtis that he wanted McCutcheon for the role of the love interest to the Prime Minister that he had the character’s name as "Martine" in early drafts. Curtis explained in the DVD commentary that the name was changed to "Natalie" before McCutcheon’s audition, "so she wouldn’t get cocky."

5. Richard Curtis sent request letters to his American talent.

Laura Linney, Billy Bob Thornton, and Denise Richards received letters asking them to consider a role in the film. Both actresses were impressed by the unconventional move, but Linney told The Daily Beast she was even more flattered by its contents.

"I got a letter in the mail from Richard Curtis saying that he’d been trying to cast this part, and he’d kept saying to his partner, Emma Freud, that he’d been looking for a ‘Laura Linney-type,’ and she said, ‘Why don’t you ask Laura Linney?’"

6. Bill Nighy didn’t realize he had auditioned for Love Actually.

Bill Nighy in ‘Love Actually’
Peter Mountain, Universal Pictures

This was the first collaboration between Nighy and Curtis, with the former playing the shameless, comeback-seeking rocker Billy Mack. On the film’s 10-year anniversary, Nighy recalled to The Daily Beast, "I did a rehearsal reading of the script as a favor to the great casting director, Mary Selway, who had been trying to get me into a film for a long time. I thought it was simply to help her hear the script aloud and to my genuine surprise I was given the job."

7. Love Actually‘s actors had their own trailer park village during production.

"We didn’t all film together, but we had a big trailer park for all the cast," Nighy told The Guardian. "There were so many famous people in there, we used to talk about being on Liam Neeson Way or Emma Thompson Road or Hugh Grant Avenue. And it was a masterpiece of diplomacy, too; we all had the same size and type of trailer." Linney remembered the place having a warm sense of community.

8. One scene from Love Actually was lifted directly from Four Weddings And A Funeral.

In Four Weddings and a Funeral, also penned by Curtis, there was a scene where Hugh Grant’s character Charles flirts with a woman at a wedding by mocking the terrible catering, only to discover that she is the caterer. The scene was cut from the 1994 film, but was reshot nearly a decade later with Kris Marshall acting out the flirtatious faux pas. In the commentary track, Curtis admits that some drafts of the Love Actually script still had Charles’s name on portions of the scene.

9. The late Joanna was played by a real-life Richard Curtis crush.

In the commentary, Curtis also confessed his affection and admiration for writer-director Rebecca Frayn and how it led to a heartbreaking scene in Love Actually. She’s uncredited in the film because she never has a scene to perform. But when Curtis needed images to create a slideshow of Sam’s beloved mum/Daniel’s departed wife, he turned to Frayn, asking for "all the prettiest pictures of her from her whole life." In real-life, Frayn is married to Oscar-nominated Scottish producer Andy Harries.

10. Emma Thompson shot her crying scene 12 times.

Arguably the saddest moment in Love Actually is when Thompson’s character realizes her husband has been unfaithful. In the privacy of their bedroom, she listens to Joni Mitchell’s "Both Sides Now" and weeps.

"We decided to do it like how Mike Newell did it in Four Weddings—I shot in medium-wide, and didn’t move the camera," Curtis recalled. "We just let it happen, and Emma walked into the room 12 times in a row and sobbed. It was an amazing feat of acting." He also noted this was the only scene she was asked to perform that day.

11. Hugh Grant did not want to dance.

Though Grant and Curtis had worked together on Notting Hill, Bridget Jones’s Diary, and Four Weddings and a Funeral, they had a deep disagreement on how the Prime Minister should be played. Grant wanted it to be a grounded performance and resented Curtis’s push to make the part more whimsical. This came to a head when shooting Grant’s dance number, which the actor refused to rehearse.

"He kept on putting it off, and he didn’t like the song—it was originally a Jackson 5 song, but we couldn’t get it—so he was hugely unhappy about it," Curtis explained. "We didn’t shoot it until the final day and it went so well that when we edited it, it had gone too well, and he was singing along with the words!" It was a tricky thing to cut, but the final result with Girls Aloud’s cover of “Jump (For My Love)” speaks for itself.

12. Tony Blair found it impossible to live up to Hugh Grant’s fictional prime minister.

In 2005, when facing criticism for his dealings with the United States, then-Prime Minister Tony Blair responded by saying, "I know there’s a bit of us that would like me to do a Hugh Grant in Love Actually and tell America where to get off. But the difference between a good film and real life is that in real life there’s the next day, the next year, the next lifetime to contemplate the ruinous consequences of easy applause."

13. It took 45 minutes to pick out Aurelia’s underwear.

When the loose pages of Jamie’s (Colin Firth) in-progress novel blow into a nearby lake, Aurelia (Lúcia Moniz) is quick to strip down and dive in to rescue them. But in the DVD commentary, Curtis admits that what she wore beneath her cozy sweater was a major matter of debate that involved a lengthy meeting with his producers and 20 different sets of bras and panties to be considered.

14. Simon Pegg auditioned for Love Actually.

Before he broke out with 2004’s Shaun of the Dead, Simon Pegg was best known for his work on the British sitcom Spaced. It was in this stage of his career that he was eyed for the role of Rufus, the jewelry salesman in Love Actually. However, Curtis ended up casting Rowan Atkinson, who was not only a bigger star but a longtime friend from their college days; the two had previously worked together on Four Weddings and A Funeral, Mr. Bean, and Black Adder.

15. Rowan Atkinson’s character was meant to be an angel.

Rather than just an overenthusiastic gift wrapper with a good Samaritan streak at the airport, Atkinson’s Rufus was initially written as a heavenly helper in disguise. A scene was even shot were he’d evaporate after helping Sam get past security at Heathrow. "But in the end," Curtis said in commentary, "the film turned out so sort of multiplicitous that the idea of introducing an extra layer of supernatural beings was (too much)."

16. Sarah’s apartment is based on Helen Fielding’s.

When Sarah (Laura Linney) takes her office crush Karl (Rodrigo Santoro) back to her flat, a crane shot reveals that her bedroom is perched above the first floor, with a half-wall serving as a sort of balcony. In the DVD commentary track, Curtis mentioned this layout was poached from the Bridget Jones’s Diary author’s home. To him, it seemed a charming staging place for this tender seduction scene.

17. Test audiences spurred a change to the ending of Sarah’s story.

Curtis originally intended for Sarah and Karl’s love story to fizzle out after the phone call from her brother. However, when Love Actually was screened to test audiences, the feedback begged for a clearer resolution. So Curtis provided it, creating an extra scene in reshoots that made it unmistakable that Sarah and Karl would not end up together. "Be careful what you wish for," he warned on the DVD commentary.

18. Andrew Lincoln hand-wrote those romantic signs.


Peter Mountain, Universal Pictures

In 2013, The Walking Dead star reminisced about his climactic gesture in Love Actually with Entertainment Weekly, and revealed, "It is my handwriting! It’s funny, because the art department did it, and then I said, ‘Well, can I do it?’ because I like to think that my handwriting is really good. Actually, it ended up with me having to sort of trace over the art department’s, so it is my handwriting, but with a sort of pencil stencil underneath."

19. The American bar scene included some improv.


Peter Mountain, Universal Studios

Regarding the scene where three American girls (Elisha Cuthbert, January Jones, and Ivana Milicevic) flirt with Kris Marshall, Cuthbert told VH1, "It was such a creative space and we were allowed to improvise and try different things and it wasn’t just completely set into Richard’s writing. I mean we were allowed to sort of venture … It was nice that we got to sort of play around.”

Curtis remembers it differently, noting in the commentary track that the Brits were "respectful" with his script, but these Americans wanted to "pep it up a bit."

20. Bernard is a running joke based on a real man.

Every film Curtis writes contains a "Bernard," and he’s always the butt of a joke. In Love Actually, he’s the son of Thompson’s character who is described as "horrid." This all dates back to a love triangle that didn’t turn in Curtis’s favor. Bernard was the name of a young man who won the heart of Curtis’s crush Anne, and so he will forever be lampooned. In real life, Bernard is a successful politician, namely Bernard Jenkin, Member of Parliament for Harwich and North Essex since 2010.

21. Olivia Olson’s performance of “All I Want for Christmas Is You” was too good—which was problematic.

Over 200 girls auditioned for the part of Joanna, the talent show star that young Sam (Thomas Brodie-Sangster) falls hard for. But with pipes that blew away the casting director, Olivia Olson blew the competition away. In the commentary track, Curtis notes that Olson sang the song "All I Want For Christmas Is You" so flawlessly that he feared it sounded manufactured. He had sound editors cut in breaths to the performance to make it more believable.

22. Sam and Joanna reunited in 2008.

Child stars Thomas Brodie-Sangster and Olivia Olson were utterly adorable together as drum-playing Sam and his grade school crush Joanna. But Love Actually wasn’t the end of the pair’s onscreen romance. They were reunited in 2008 when Olson joined the voice cast of the Disney Channel cartoon show Phineas and Ferb. While Brodie-Sangster lends his voice to the oft-silent Ferb, Olson often sings as Ferb’s crush, the sleek and cool Vanessa Doofenshmirtz.

23. The movie has already been remade—three times!

The central concept of a movie packed with stars and intertwining love stories has been translated into a trio of films. The first is the Indian offering A Tribute To Love, an unofficial remake in the Hindi language. Next, Poland took a turn with Letters to St. Nicolas. The most recent version is Japan’s It All Began When I Met You, which borrows the concept as well as the film’s poster layout.

24. Love Actually got a sequel (of sorts) in 2017.

In March 2017, in celebration of Red Nose Day, Curtis and several members of the original cast—including Grant, Knightley, Firth, Neeson, Nighy, Lincoln, and Atkinson—reprised their characters for a short film, Red Nose Day Actually, that caught viewers up on what the characters are doing today.

"I would never have dreamt of writing a sequel to Love Actually, but I thought it might be fun to do 10 minutes to see what everyone is now up to," Curtis said when the project was announced. "Who has aged best?—I guess that’s the big question ... or is it so obviously Liam?" The short debuted in the U.K. on March 24, 2017, but American audiences had to wait until May 25, 2017 to see what happened to their favorite characters. (Here’s a cheat sheet.)

25. Alan Rickman’s death prevented Emma Thompson from appearing in the sequel.

Alan Rickman and Emma Thompson in Love Actually (2003)
Universal Pictures Home Entertainment

When it was announced that Curtis would be revisiting some of the Love Actually characters for a short sequel, he knew right away that out of respect for Alan Rickman—who passed away in early 2016—he did not want to revisit Emma Thompson’s character.

"Richard wrote to me and said, ‘Darling we can’t write anything for you because of Alan,’ and I said, ‘No of course, it would be sad, too sad,’" Thompson explained. "It’s too soon. It’s absolutely right because it’s supposed to be for Comic Relief, but there isn’t much comic relief in the loss of our dear friend really only just over a year ago."

But the 2003 film wasn’t the end of the story for Thompson and Rickman’s characters. In 2015, Curtis’s longtime partner Emma Freud live tweeted some details of what happened to the couple after the credits rolled. The short version? "They stay together but home isn’t as happy as it once was," according to Freud.

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