Daytime soap operas aren’t as popular as they used to be, but there was a time when soon-to-be movie stars regularly honed their skills with the kind of over-the-top emotional melodrama that you can only find on daytime television. Here are 15 of them.
1. TOMMY LEE JONES
From 1971 to 1975, Tommy Lee Jones played the suave Dr. Mark Toland on One Life to Live. Throughout his four-year run, Jones’s character became less stable and more evil, transforming from an affable M.D. to a shifty con artist. Dr. Toland was eventually shot in the head, freeing Jones up to pursue a career in movies like Coal Miner's Daughter, JFK, No Country for Old Men, and The Fugitive, which earned him a Best Supporting Actor Oscar in 1994.
2. JULIANNE MOORE
In 1985, Julianne Moore got her big break on As The World Turns, where she played the dual role of half-sisters Frannie and Sabrina Hughes, and earned a Daytime Emmy Award for Outstanding Ingenue in a Drama Series for her efforts in 1988. She left As The World Turns for a career on Broadway later that year. "I gained confidence and learned to take responsibility," Julianne Moore said of her time working in daytime television. She returned to As The World Turns in a very brief cameo appearance during the soap opera’s final season in 2010. Earlier this year, the five-time Oscar nominee became a bona fide Oscar winner for her work in Still Alice.
3. LEONARDO DICAPRIO
One year before he landed a recurring role on Growing Pains in 1991, Leonardo DiCaprio appeared on NBC's Santa Barbara. He played the young Mason Capwell in only one episode, but moved on to make appearances on Roseanne and the short-lived sitcom Parenthood. In 1993, DiCaprio landed his first two starring roles on the big-screen in This Boy's Life with Robert De Niro and What's Eating Gilbert Grape?, which earned him his first of five Oscar nominations, including one for Best Picture as one of the producers of The Wolf of Wall Street in 2014.
4. WILLIAM H. MACY
While he started his acting career on the stage with playwright David Mamet, William H. Macy made an appearance on Another World in 1982. He played the character Frank Fisk and was credited as “W.H. Macy.” Macy later received an Academy Award nomination for Best Supporting Actor in 1997 for his breakout performance in Fargo.
5. MARISA TOMEI
After attending Boston University for only one year, Marisa Tomei landed a recurring role on As The World Turns in 1983. She played ditzy teen Marcy Thompson, who married a prince, Lord Stewart Cushing, and moved to England, where she became Lady Marcy Cushing. Tomei left As The World Turns in 1985 when she received a series regular role on the sitcom A Different World in 1987.
6. ELLEN BURSTYN
Although Ellen Burstyn began her acting career on Broadway in 1957, she also worked on television throughout the 1960s. She starred as Dr. Kate Bartok on the daytime soap The Doctors in 1964. At the time, she was credited as "Ellen McRae,” but changed her name when she married actor/writer Neil Burstyn. Since making the transition to films, Burstyn has received six Oscar nominations, beginning with 1971's The Last Picture Show and most recently for 2000's Requiem for a Dream (she won in 1975, for Martin Scorsese’s Alice Doesn't Live Here Anymore).
7. JAMES EARL JONES
At age 35, James Earl Jones appeared as two separate doctors in two different daytime soaps in 1966. First he played Dr. Jerry Turner on As The World Turns and then he played Dr. Jim Frazier on Guiding Light. Five years later, he received an Academy Award nomination for Best Actor for The Great White Hope.
8. MELISSA LEO
Melissa Leo made her on-screen debut as Linda Warner on All My Children in 1984. Leo remained a cast member until 1988, when she took a role on the short-lived TV Western The Young Riders. Leo later pursued a career in film, where she received an Academy Award nomination for Best Actress in 2009 for Frozen River and won a Best Supporting Actress Oscar for The Fighter two years later.
9. KEVIN KLINE
After establishing a traveling acting company during the early 1970s, Kevin Kline settled in New York City and appeared as the character Woody Reed on the now-defunct Search For Tomorrow on CBS in 1976. He later left the daytime soap for a career on Broadway and eventually on the big screen, where he won an Academy Award for Best Supporting Actor in 1989 for the comedy A Fish Called Wanda.
10. NAOMI WATTS
Naomi Watts’s career began on television in Australia during the early 1990s. She appeared in a number of sitcoms and commercials before landing a recurring role on the daytime soap Home and Away in 1991. Ten years later, she made her mark on Hollywood with her breakout role in David Lynch's Mulholland Drive. Since then, she has received two Academy Award nominations for Best Actress for her work in 2003's 21 Grams and 2012's The Impossible.
11. SUSAN SARANDON
At the beginning of her career, Susan Sarandon spent two years on two different daytime soaps. In 1971, she appeared as Patrice Kahlman on the short-lived A World Apart, then landed a role as Sarah Fairbanks on Search for Tomorrow the following year. She left daytime television to appear in Billy Wilder’s film adaptation of The Front Page in 1974 and played Janet Weiss in The Rocky Horror Picture Show a year later. Of the five Oscar nominations Sarandon has received throughout her career, she has won one: Best Actress in 1995's Dead Man Walking.
12. BRAD PITT
In 1987, Brad Pitt made a two-episode appearance as Chris, a basketball playing teen, on Another World. Later that year, he landed a meatier recurring role on the primetime soap Dallas. Brad Pitt eventually gained Hollywood stardom as J.D. in Thelma & Louise in 1991 and a Best Supporting Actor Academy Award nomination for his performance as the deranged Jeffrey Goines in 12 Monkeys in 1996. Of his five Oscar nominations, Pitt has only one once—in 2014 for Best Picture as a producer of 12 Years a Slave.
13. MORGAN FREEMAN
During the early 1980s, Morgan Freeman appeared on two daytime soap operas before taking up a career in movies. In 1981, he played Cicero Murphy on Ryan’s Hope. The following year, he landed the role of Dr. Roy Bingham on Another World, where he remained for two years. Throughout his career, Freeman has been nominated for five Academy Awards; in 2005, he took home the Oscar for Best Supporting Actor for Million Dollar Baby.
14. KATHY BATES
In 1977, Kathy Bates made her TV debut on The Doctors. In 1984, she appeared on All My Children as Erica Kane’s (Susan Lucci) cellmate Belle Bodelle. Though her stint on the latter was short, her story arc as a frightening and crazy prison inmate was memorable among fans—and might very well have prepared her for her Oscar-winning turn as Annie Wilkes in 1990's Misery.
15. ALEC BALDWIN
Before he received an Academy Award nomination for Best Supporting Actor in The Cooler in 2003, Alec Baldwin started his professional acting career on the daytime soap The Doctors in 1980. He played Billy Aldrich, a character who was killed by two separate men, unbeknownst to each other, at the same time. Baldwin left The Doctors in 1982 and in 1984 landed a recurring role on the primetime soap Knots Landing.
Snapping a photo and immediately sharing it on social media is definitely convenient, but there’s still something so satisfying about having the printed photo—like you’re actually holding the memory in your hands. Kodak’s new STEP cameras now offer the best of both worlds.
As its name implies, the Kodak STEP Instant Print Digital Camera, available for $70 on Amazon, lets you take a picture and print it out on that very same device. Not only do you get to skip the irksome process of uploading photos to your computer and printing them on your bulky, non-portable printer (or worse yet, having to wait for your local pharmacy to print them for you), but you never need to bother with ink cartridges or toner, either. The Kodak STEP comes with special 2-inch-by-3-inch printing paper inlaid with color crystals that bring your image to life. There’s also an adhesive layer on the back, so you can easily stick your photos to laptop covers, scrapbooks, or whatever else could use a little adornment.
For those of you who want to give your photos some added flair, you might like the Kodak STEP Touch, available for $130 from Amazon. It’s similar to the regular Kodak STEP, but the LCD touch screen allows you to edit your photos before you print them; you can also shoot short videos and even share your content straight to social media.
If you want to print photos from your smartphone gallery, there's the Kodak STEP Instant Mobile Photo Printer. This portable $80 printer connects to any iOS or Android device with Bluetooth capabilities and can print whatever photos you send to it.
All three Kodak STEP devices come with some of that magical printer paper, but you can order additional refills, too—a 20-sheet set costs $8 on Amazon.
This article contains affiliate links to products selected by our editors. Mental Floss may receive a commission for purchases made through these links.
August marks the 10th anniversary of The Other Guys, director Adam McKay’s send-up, and tribute, to the buddy cop movies that have been a Hollywood mainstay for decades. Will Ferrell and Mark Wahlberg play Detectives Allen Gamble and Terry Hoitz, two disgraced and otherwise dismissed desk jockeys who inadvertently uncover a massive financial scandal at the exact moment when corporate malfeasance begins grabbing overdue newspaper headlines. The duo’s comic chemistry thrives on Ferrell’s bookish awkwardness juxtaposed with Wahlberg’s macho exasperation, while McKay (working with writer Chris Henchy) exercises a growing social consciousness against the backdrop of one of cinema’s most familiar and durable genres. Supporting performances by Eva Mendes, Michael Keaton, and Steve Coogan, plus cameos by Dwayne "The Rock" Johnson and Samuel L. Jackson (not to mention a murderer’s row of up-and-coming comedians and improvisers) breathe unforgettable life into an escalating series of side-splitting scenarios.
McKay’s most vivid memory of the shoot, he tells Mental Floss, was of the cinematic and gastronomic indulgence he enjoyed shooting a (for him) robustly-budgeted action movie in New York City. “I think I put on literally 25 pounds during that shoot,” he says. “At the end, my wife just looked at me and was like, 'You look as big as a house.' I mean, some days my body would hurt from laughing all day, and then I just ate like chicken parm sandwiches and pizza.
"That's the closest I've come to a full-on decadent Hollywood movie," McKay continues. "We had a really big budget. We were in New York City. We had cars blowing up. We had all these big actors everywhere. It's still, by the way, a budget that's probably half of a Marvel movie or a Michael Bay movie. But that's the closest I've ever come to feeling like Tony Scott and that kind of world."
Exclusive to Mental Floss, check out these behind-the-scenes tidbits and trivia from the making of The Other Guys, straight from McKay himself.
1. The Other Guys started with the unlikely pairing of Mark Wahlberg and Will Ferrell—as dinner companions.
"We went to a little Italian place off Santa Monica and the energy between the two of them was really funny," McKay recalled of what kicked off the idea for Will Ferrell and Mark Wahlberg's on-screen pairing. "Mark's a Boston guy, athlete, tough, boxer; Will's big—Will's 6-foot-3 and definitely an athlete and no pushover—but at the same time, at root, kind of a sweetheart. And they just had a funny dynamic between them. I kept laughing the whole night. And that was really what launched it."
2. Adam McKay didn’t set out to make The Other Guys a parody, but Hollywood quickly taught him not to edge too closely to familiar properties.
"There was some movie that came out about two 'star' cops. And I jokingly said, 'We should do the movie about the cops in the background of the star cops,'" McKay says. "Because they were doing an A-Team movie, I said, 'We should call ours The B-Team.' We may have even announced the movie as that, and someone back-channeled us, like, 'By the way, don't call your movie The B-Team. We're not going to sue you, but like, just don't do that.'"
3. As appealing as it was to send up buddy-cop movie conventions, then- (and still-) current events helped solidify The Other Guys's themes.
"The other big component was that the financial collapse was actively happening," McKay says of the timing of The Other Guys. "We kept talking about how you can't do a jeopardy plot that’s about drug smugglers—like we'll be looking back wistfully at the days of drug smugglers and safe crackers and bank robbers. And so a big part of it was: How do you do a modern cop buddy film when banks have disappeared trillions of dollars and millions of people have lost their homes through this kind of bureaucratic malfeasance? And that launched Ferrell’s character, a forensic accountant into paperwork—and the idea was that the new cop heroes are going to be bureaucrats who are into paperwork."
4. Michael Keaton’s repeated TLC references were written into The Other Guys script, though Adam McKay wasn't sure how well the running joke would translate.
A running joke in The Other Guys has Michael Keaton's Captain Gene continually quoting TLC songs. "We had done a couple readings of the script where it played really well, not that that means it's going to play funny in the final movie," McKay says. "We've had bits that killed in read-throughs, and then they go in the final cut and something about the rhythm just doesn't work. We were fairly confident in that joke. There are other times though where you do discover the bit and you're improvising, you're throwing out alternatives, the actors are playing around, and you discover a bit. Then I'll turn to Kate Hardman, our script supervisor and say, 'Alright, we’ve got to keep that one alive.' And then in future scenes, she would remind me, 'Remember, you had this joke you wanted to keep alive' and I'll get one take where we do it."
5. Dirty Mike and the Boys, on the other hand, were not in the original script.
"Rob Huebel improvised the line 'soup kitchen' and we kept joking about Dirty Mike and The Boys. The scene where I show up with our DP Oliver Wood, [our property master] Jimmy Mazzola, and our producer Pat Crowley, and we're Dirty Mike and the Boys, was not scripted," McKay explains. "That came out of us loving Huebel’s improv so much that we knew we had to put Dirty Mike and the Boys in the movie. That was a perfect example where improv spawned a bit that ended up running through the movie."
6. The scene involving Allen’s ex-girlfriend “Christinith” was inspired not just by the particular way some people spell or pronounce their names, but by their annoyance when it's mispronounced.
"Obviously it was a running joke that very beautiful women love Allen Gamble," McKay says. "And we were joking about people through the years who have names they want pronounced a certain way and they're oddly hostile about it. There was someone we'd known who was named Anna, but she wanted to be called 'Ana,' and if you called her Anna, she would get mad and I'd be like, 'Wait a minute, what? You can't get mad about that.' So that was where the Christinith joke came from."
7. Will Ferrell’s “Gator” alter ego in The Other Guys was created to further develop the film’s “paper-pushers as heroes” idea.
"The character [Allen] was a guy who appears very mousy and very beta and quiet and we just kept kicking around the idea of: What's power now? What's a hero now? And we had this idea that the reason that Allen Gamble was so conservative and buttoned-down was that he had kind of let his power out once before and it hadn't gone very well," McKay explained of the many dichotomies of Ferrell's character. "And then we just started laughing about the idea that he became a pimp and didn't realize it. So that was the joke—the idea that he’s like, 'No, no, no, I'm helping them run a dating service.' 'No, you were a pimp.' And the lifestyle pulling him down without him really realizing what he's become. The thing that makes me laugh the hardest is when he's first talking to the girl in college, she's just going, 'I could go on dates with guys.' 'Oh yeah. I can make sure to collect the money.' It’s so innocent."
8. Adam McKay and his collaborators refined a unique technical process leading up to The Other Guys to keep track of the many variations attempted, and often improvised, during production.
"Brent White, the editor on The Other Guys, has this great system where you can go to each line of the script and click it and all the alt versions of it will be underneath it," McKay explains. "That was really a breakthrough, and once he really got that system going, it changed a lot of things. Every version, every permutation of the joke is right in front of you, and it made the whole thing easier to sort."
9. The Other Guys composer Jon Brion is a musical chameleon, but Adam McKay didn’t direct him to draw on the sound of, say, Michael Kamen’s Lethal Weapon scores for Allen and Terry’s themes.
"A lot of movies I did with Will are always kind of in between an original story and a parody," McKay says. "We want them to be original, but they're clearly messing around with the tropes of the genre that you're used to. So the trick was I wanted it to sound like a cop score, but I also wanted it to be good. So we kept kind of batting that around."
10. The Oscar-worthy end credits song “Pimps Don’t Cry” emerged from a need for actress Eva Mendes to have a melody to sing, and Jon Brion’s chops corralling heavy hitters for a comedy-soul classic.
"We just wrote 'Pimps Don't Cry' for the scene," McKay explains. "When [Eva Mendes] sang it, we're like, wait a minute, can we record this? And, of course, Jon Brion knows everyone and has access to studios. So before you know it, we had CeeLo Green in there and it turned out Eva Mendes could sing. We recorded a whole track and I think even shot a video. But it came out of the scene. The actors were like, 'Well, what's the melody?' And we're like, 'Jon, you want to write something?' And then of course I was like, I gotta hear that song!"
11. Adam McKay explored the idea of Pop-Up Video-style detours in The Other Guys, but couldn’t figure out how to pull it off in the pre-streaming era.
"We had a thing that we were going to try and do in the movie where we would freeze-frame scenes and then a little box would pop out and show something from a couple months later. That was a style that was written into the script we had happening a bunch of times, and we could not get it to work. It's funny because now I know how I would do it, but at that time we just couldn't [make it work]."
12. The Other Guys's planned “flash-forward” scenes also included future President Donald Trump, whose Trump Tower gets blown up in the opening scene.
Future president Donald Trump filmed a cameo for The Other Guys, but it didn't make the final cut. "Donald Trump just basically wants to get paid," McKay says. "So if you show up and you write out a check for a certain amount of money, I can't remember what the amount was, $75,000 or $100,000 or something, he'll do it. Pretty much anyone could go to him and be like, 'Here's a check for $75,000,' and he will do it. Never in a trillion years imagining the guy would become president. He sort of was a New York joke for years, and Trump Tower was kind of known as being this cheeseball place, so it was a pure joke. But when we put it in the movie, we were like, 'Donald Trump’s so cheesy and cheap, let's not put this in the movie.' Even for the silly movie we were doing, it felt cheeseball, so we ended up cutting it out."
13. If there was a scene in The Other Guys that gave Adam McKay the “tingle in his balls” as a filmmaker that Allen and Terry feel while pursuing bad guys, it was the “Aim for the bushes” scene that sets up the whole film.
"I mean, that's one of my all-time favorite moments from anything I've ever been involved in," McKay says of his favorite scene. "I would say the family prayer scene in Talladega Nights, the Jenga tower scene in The Big Short, the other one was in Anchorman, when Jack Black kicks the dog off the bridge where the audience made this weird sound and were so stunned by it. And then Danson and Highsmith jumping off the building —oh my god, I had so much fun watching that with test audiences. No one saw it coming.
"[The Rock and Samuel L. Jackson] are such big stars that just in a million years, no one imagined it. When the guys were falling off the tower, they were so convinced they weren't going to die. You would hear people in the audience go, 'Yeah right, they would never survive that.' But when they hit, there was such a collective inhale from the whole audience, and then just explosion of laughter. But the other great moment for that was when I was in the edit with Erica Weis, our music editor and music supervisor, and we discovered the Foo Fighters song for that moment. It was just so perfectly over-the-top and a little cheesy, yet plausible. Of course the filmmakers would play this song! The entire puzzle clicked together perfectly when that song went in."
14. Adam McKay credits his executive producer for the coup of recruiting Dwayne Johnson and Samuel L. Jackson as the “star cops” by whose police work Allen and Terry would be measured.
"I give [executive producer] Kevin Messick a lot of credit for that casting," McKay says. "We wanted two big action stars that you would never think would die in a movie, and boy, Kevin really helped us get them. He had some connection to Dwayne Johnson, and he worked the phones to really help us get Sam Jackson. I saw Sam Jackson years later and he's like, 'People keep asking me if we're going to do a spinoff movie with these guys.' I was like, oh man, that could be fun. And Dwayne Johnson told me too he had people come up to him and mention those characters all the time."
15. The original ending to The Other Guys was even more bleak than the statistics that play over the end credits.
"We had this whole ending where like they bust Steve Coogan's character Ershon and they pull the thing together and they take him in and it turns out Congress has changed the laws and what he's done is no longer illegal," McKay explains. "I wish we had ended with that. That would have been a better ending. And then we had this other ending with Derek Jeter, where he comes out and it turns out he's connected to this whole underground thing that's fighting against the big banks. That's in the TV version they air, but it didn't really work ... when I say work, I don't care if the audience loved it. It didn't work for me with the narrative when we a test screened it. So I didn't think we stuck the landing on the ending on it."
16. Adam McKay always worked culturally relevant themes into his films, but The Other Guys galvanized this approach going forward, reflected more prominently in The Big Short and Vice.
"Ferrell and I would do these comedies, and we would always have something [else] going on in them," McKay says of his desire to weave bigger themes into his films. "Even Step Brothers was kind of about how consumer culture turns us into big giant children. And the Iraq War was such a horrible tragedy and disaster that right around that time, and that’s when I started thinking, 'I just gotta do some stuff that's more overt.' When the financial collapse hit, it was just like, all bets are off. So yeah, we tried to craft the whole movie like a comedic allegory for the financial collapse. If you look at the movie, they keep ignoring their union. And then there’s a big financier covering losses by taking money from workers. Of course, when the movie came out, no one cared—the movie just played as a comedy. Except for the ending credits, people really didn't catch it at all. Which I don't blame them! I think it was a little bit of an experiment in that sense. And the good news is the movie’s funny and I really love how it turned out."