25 Facts About the Anne of Green Gables Miniseries


Kindred spirits the world over are celebrating the 30th anniversary of the beloved Anne of Green Gables, which premiered on CBC in December of 1985 (and in America the following year). The four-hour miniseries was adapted from Lucy Maud Montgomery’s classic 1908 book about an imaginative orphan girl adopted by an elderly brother and sister. Here are a few things you might not have known about the miniseries. 


Though he was aware of Anne of Green Gables—and vaguely remembered his teacher reading it to his class in fifth grade—Sullivan (who wrote, directed, and produced the miniseries) hadn’t read the book when he was approached by Robert McDonald, president of the Learning Corporation, about making a film version of the novel in the early 1980s. “I thought, ‘Hmm that could be interesting,’” Sullivan recalled. But even then, he didn’t read the book: “I went and contacted the publisher in New York about the rights to Anne of Green Gables, and ... embarked on a very complicated journey into trying to determine who actually held dramatic rights to the novel. At the end of it all, I was able to put the pieces together and actually turn it into a television production.”


Montgomery’s novel begins with Rachel Lynde watching Matthew Cuthbert drive a buggy to the train station—where he’s going to pick up an orphan boy, but comes back with Anne instead. Sullivan wanted to go beyond that. “I needed to know who she was before she was brought to Prince Edward Island,” he said. “I could only imagine that a child who had that kind of flamboyant imagination had to have already created her own world of escape and that she must have been extremely lonely and extremely downtrodden.”

So he and co-writer Joe Wiesenfeld started Anne’s story with the cranky Mrs. Hammond and her brood of children, who are mentioned briefly in the book. “What I tried to do,” Sullivan said, “was go back several stages in Anne’s life and depict a world that had aspects of severity and cruelty, and that by the time she reached Prince Edward Island, it was like coming to a dream world.”


“One day, out of the blue, I had a call from Katharine Hepburn,” Sullivan recalled. The actress had wanted to play Anne Shirley in the 1934 film adaptation of Montgomery’s book, and was disappointed it hadn’t happened. “She offered me an idea,” Sullivan said. “She asked me to go to California and to meet with her niece, Schuyler Grant, and to audition her ... and Schuyler was terrific.” (You can see photos of Grant as Anne here.) But the film’s financiers, the Canadian Broadcasting Corporation and Telefilm Canada, wanted a Canadian actress to play Anne—so they encouraged Sullivan to search the nation for a Canadian actress to play the part. 


Sullivan’s search took him across the country, from Newfoundland to Vancouver. “I quickly realized through the process that I was not going to find Anne of Green Gables sitting in a field in Saskatchewan—that I really needed someone who was a seasoned performer that would have the ability to play Anne,” he said.

He auditioned 3000 girls for the role, and he actually saw the actress who would finally nab it, Megan Follows, near the beginning of that process. But she looked too old, and her first audition “was almost too contemporary,” he said. “I brought Megan back to do another audition, and this was a real screen test in costume, and the first test that she did really was mediocre.”

Despite the mediocrity, Sullivan eventually called her back again. But there were technical problems with the tape of her second audition, so he asked her to come back yet again. Follows was preparing to leave for a flight to Los Angeles and didn’t have much time—and then, just as she was about to leave, the toilet in her house began to overflow. “It’s spewing over through the floorboards and onto the light fixtures in the downstairs,” she recalled. “There was water pouring out, I’m running out the door, and we’ve tried a plunger; nothing’s working. I got [to the audition] pretty haggled and harassed and finally it just seemed to click ... The piece, it seemed to work much better ... maybe I just needed to be harassed.”

Sullivan agreed. “She was so beside herself and so flummoxed ... that she was totally brilliant,” he said.

Grant, meanwhile, was cast as Diana, Anne’s best friend, and Miranda de Pencier—who had also auditioned to play Anne—was cast as Anne’s frenemy Josie Pye.


“When I knew that it was going, and that they were going to do it, I kept thinking, ‘If they’re going to make Anne of Green Gables, then I really want to play her,’ because she is one of the most important Canadian characters there are, and one of the best characters for young girls and women that was ever written,” Follows said. “I started writing down on paper all these declarations: … ‘I am Anne of Green Gables’ … and I stuck them all over the house. … I was determined to get this part.”

The actress felt some pressure after she was cast as the iconic character, too. “I have to do the best I can do and make it real for me,” she said. “I may not be the Anne of Green Gables for some people and I may be for others, so I just have to be the Anne for this production.” Follows, of course, would go on to be the image of Anne for young girls of a certain generation. 


Those wide shots of Anne in the fall and winter? That’s not Follows; that’s a double. Follows hadn’t yet been cast when the scenes were filmed. Similarly, some shots of Matthew were doubles because Richard Farnsworth was in negotiations for the role but hadn’t yet signed on (you can see Farnsworth’s double in the scene where Matthew and the doctor arrive at the Barry’s house when Diana’s sister, Minnie May, has croup).

“I always think, ‘What would have happened if we hadn’t gotten Richard Farnsworth to do the film?’” Sullivan said in DVD commentary. “We never would have been able to use these sequences. It was a bit of gamble trying to cast and shoot with a double before we’d finalized the arrangements with him to play in the film.” Doubles were also used for Farnsworth and Colleen Dewhurst (who played Marilla Cuthbert) in certain scenes when the actors couldn’t make shooting days; their close-ups and reaction shots were filmed later.


“It was really the first book I ever remembered my mother reading to me,” she said. “Of course, that was after the bunny rabbit books and everything.” Dewhurst took the part even though her agent advised her against it.


Sullivan told the CBC in 1986 that he was close to casting another boy as Gilbert when casting director Diane Polley saw Crombie perform in a high school production of The Wizard of Oz. He remembered in DVD commentary that Polley “walked into my office one day with a photograph of him and said ‘This is Gilbert.’ But it was a photograph of him in front of some ride at Disneyland. And I said, ‘He looks perfect,’ and she said, ‘Cast him, now.’”

So Crombie came in and read for the part. “I thought, I’ll go down, give it a shot, see what it’s like,” he told the CBC. “[I] walked in with my little photo ... and everybody was there with their sheets of resumes, and their 8x10 glossies. I gave it a shot, and didn’t think much of it, and I found out a few days later that I got it. I was shaking on the phone when she told me.”

It was his first on-screen role. “I’d never been in front of a camera before,” he said. “It was straight from high school plays to this. As far as expectations, I really didn’t have many. I was just going to take it as it came.”


Montgomery's book is set on the island, but it was too expensive to do much filming there. Instead, most of the filming for Anne took place around Southern Ontario in locations that Sullivan felt looked the most like Prince Edward Island, and the production dyed the roads red to mimic PEI’s scarlet soil.

Among the locations used were Westfield Heritage Village in Hamilton, Ontario, which stood in for Avonlea; Doon Heritage Village in Kitchener, Ontario, where scenes at Rachel Lynde’s house were filmed; and Simcoe County Museum in Barrie, Ontario, where a schoolhouse from 1900 served as Avonlea’s schoolhouse. Anne walked the ridgepole of a roof of a building in the Pickering Museum Village. Buildings at the University of Toronto doubled as Queens College, and the Spadina Museum in Toronto served as the home of Diana’s wealthy Aunt Josephine.


One house was cast as the front of Green Gables, and another was used for the back. According to Sullivan Entertainment’s website, the building that served as the front of Green Gables was used in all the Anne movies and was “located just off an extremely busy road northeast of Toronto, Ontario. The location of the house presented some logistical challenges because of the traffic noise and limited filming angles.” It was also a working farm; before filming, all modern equipment had to be removed. The house was painted and the picket fence added for the films. The interior of Green Gables was built on a soundstage.


Anne of Green Gables

ended up being a co-production between Canada and Germany, so German actors were cast in two roles—Christiane Krüger, who plays the reverend’s wife, Mrs. Allan, and Joachim Hansen, who plays John Sadler—and nearly nine minutes of extra scenes featuring them were shot specifically for the German broadcast. “A whole other version of the film was taken to Germany and dubbed in German,” Sullivan said in DVD commentary, “and it was very successful there.”


“It isn’t a huge age difference ... but it is in terms of an attitude—it’s a little girl to 16 and a half, which in those days was already a young lady,” Follows said. “I remember a couple days where we’d have five different age changes. I’d go from 12 to 14 to 16 back to 12, and they were all out of sequence, and at first, it was difficult.” Wardrobe and hair and makeup helped her get into character. “The funny thing was that I’d find even when my hair would go into the braids and I’d put the orphan dress and the shoes and all of a sudden I just felt younger, and I’d walk differently,” she said.


Diana’s little sister, Minnie May, was played by Sullivan’s niece, Morgan Chapman, who in one scene had to convincingly play a child with croup. Sullivan had no idea how she’d do. “Poor Morgan was about four at the time, and we brought her onto this hot set in the middle of the summer. She had no idea what making a movie was about, and when she came into it, she totally freaked out,” Sullivan recalled in DVD commentary. “She became a screaming child, and we had to calm her down and get her into the bed, so she looks sick because she’s absolutely sobbing ... When were first premiered the film, people said ‘Who played Minnie May? She was absolutely brilliant.’” (Morgan also makes an appearance in the sequel alongside her brother, Fraser, who played Tommy Bell; Sullivan’s newborn nephew Hudson played Diana’s baby.)

Morgan wasn’t the only family member of the team to make an appearance in the film: The orphanage director, Mrs. Cadbury, was played by Follows’s mother, and the piano player in the opera singer scene was played by the brother of Patricia Hamilton, a.k.a. Rachel Lynde.


And when she did, she’d substitute words for what she couldn’t remember. Follows recalled one long day where the cast was filming the scene where Miss Stacy (Marilyn Lightstone) comes to dinner. “It was Marilyn’s close-up and Colleen had this very long speech and, like all of us do, she’d muddle it up every now and then,” Follows said. “But she’d put in her own words for things, like boofers and whoziggies and whachumacallits ... I couldn’t stop laughing. She had her line—something about ‘your feather-brained ways and you’re more interested in the sound of your own tongue.’ And she couldn’t remember it, so she’d say things like ‘Your absent-minded opinions and the noise of your own mouth!’”

That wasn't an isolated occurrence, either. “There were times when we would have to stop rolling on set because we were all about to crack up, just because of Colleen’s mischievous ways,” Sullivan said in DVD commentary. “She’d completely forget her lines from scene to scene and she would just start talking about boomfers and puffers and we’d have to cut and go to another take.”


“You can see it almost looks gray,” Sullivan said in DVD commentary. “We had to tweak it afterwards when we were making the film to enhance the green so that it would look distinctive.”


“I remember we had shot the spelling competition where Anne wins over Gilbert by spelling chrysanthemum correctly,” Follows wrote for Entertainment Weekly in a eulogy for Crombie, who died in April of this year. “Jonathan decided Gilbert was the worst speller in the world and he could not spell anything. So he’d do this running joke where he would be smiling with a handful of very wilty flowers in his hand and trying to spell what they were. And I’d be laughing hysterically.”

She and Dewhurst also had a tough time keeping it together. “I’d find that when we were on the set, I’d share little looks with her … Kevin would say, ‘Tremble with excitement,’ and Colleen and I would just find that kind of amusing and we’d start laughing,” she remembered. “That was the neat thing about her. We’d find a lot of things humorous and have a good laugh about it.”


“On my very first day of filming the first Anne, I did the bridge scene with Colleen Dewhurst,” Crombie recalled in a fan Q&A. “I remember on our drive back she told me how important it was for actors (especially doing an historical piece) to learn all the details of the character’s place and time—to make it as familiar and authentic as possible. It always stuck with me, and I am a true believer in preparation—having a solid understanding of all the aspects that inform that character’s life. I enjoy the investigation work, and it also gives me a greater sense of confidence for when the filming (or rehearsals) begin.”


“We had filled the dress with some kind of stuffing so that the puffed sleeves would stand up,” Sullivan said in DVD commentary. “Unfortunately, in later scenes, she kept showing up and the stuffing had been forgotten, so in my mind, the dress looks its most spectacular [in its first scene].”

“I remember us making and puffing those sleeves,” Follows told Vulture. “We did it ourselves. We stuck a lot of twill into those puffs. It was like, ‘Let’s make those puffs the puffiest!’ And they really were.”


Especially the corsets. “She wore [the undergarments] for a few days,” Sullivan said in DVD commentary, “and said ‘That’s it.’” Follows wasn’t a fan either. According to Sullivan, after production wrapped on Anne of Green Gables: The Sequel, which was shot in 1986, “Megan was so sick of wearing Victorian corsets that she actually burned hers in a bonfire at the end of the film.”


The scene was filmed in two locations: Close-ups were shot in a swamp outside of Toronto, and the wide shots were done in a pond. Neither body of water had a current. “It was a complicated scene because we needed to have the boat push off and glide down the river on its own, and there was absolutely no current,” Sullivan said in DVD commentary. “So the prop people had to strip down and get into mucky, mucky swamp, full of leeches and everything else, [and go] under the water to pull the boat down the stream. They all had a tremendous amount of fun trying to make this boat move.”

To get the shots of the boat sinking, the production first filmed the scenes of the boat filling up at the edge of the shore, then took it back to the middle of the pond so Follows could sit up. Then, someone was under the boat, making it sink with perfect timing so Follows could grab the pier. The whole sequence had to be shot in sections and then cut together.


It was the sequence where Anne recites “The Highwayman” at the White Sands Hotel. “She was as nervous as Anne was getting up on stage to do it,” Sullivan said in DVD commentary. “It was the first time Megan attempted anything like that.”

The Windermere House, which served as the location for the White Sands Hotel, was destroyed in a fire in early 1996 during filming of The Long Kiss Goodnight.


Dewhurst convinced Sullivan to add in the scene. Sullivan wrote in the foreword to the centennial edition of the novel that Dewhurst “became very concerned during filming that in the script, once Marilla lost Matthew, something in her relationship with Anne was lost. She felt that something was not properly articulated in the shooting script.” Dewhurst pointed out a few lines toward the end of the novel, when Marilla goes to Anne after Matthew’s funeral and says, “It’s never been easy for me to say things out of my heart, but at times like this it’s easier. I love you as dear as if you were my own flesh and blood and you’ve been my joy and comfort ever since you came to Green Gables.”

“It’s a fleeting moment, a mere few lines, but as Colleen pointed out, it is an important revelation between the stern spinster and the orphan she has adopted,” Sullivan wrote. “Colleen pressed me to turn the moment into a scene and although there was little time left in our schedule by that point, I quickly wrote a short scene one morning on set.”

The resulting scene took just 45 minutes to shoot, and Sullivan thought that in it, Dewhurst and Follows gave their best performances of the entire film. They shot it in just three takes, “and by the time we had finished, the crew was overwrought that they all had to leave, and so we broke for lunch,” Sullivan said in DVD commentary. “[They] managed to move a crew, which is very, very difficult.”


The first version of the finale was shot rather quickly, and Sullivan wasn’t happy with the light, so at the end of the production, they went back and shot it again. The original finale is a lot more jokey—when Gilbert calls her “Carrots,” Anne says, “Argh, Carrots! Oh, you!” and smacks him—than the romantic second take that ended up in the final film.


The miniseries won an Emmy and 10 Gemini Awards, and Kevin Sullivan received a Peabody Award.


Anne of Green Gables: The Sequel

(or Anne of Avonlea, as it was called in the States) premiered in 1987. Road to Avonlea, the Anne spin-off featuring characters like Marilla and Rachel, ran from 1990 to 1996. Sullivan also produced an animated version of the series in nine volumes and a third Anne movie starring Follows and Crombie, Anne of Green Gables: The Continuing Story, which was released in 2000. Finally, in 2008, Sullivan released Anne of Green Gables: A New Beginning, which was both a prequel and a sequel to the Anne films and starred Shirley MacLaine and Barbara Hershey.

A new Anne movie is coming next year—but it won’t be a Sullivan production. Sullivan and Montgomery’s heirs aren’t exactly on good terms, but the author’s granddaughter is serving as executive producer on the new Anne film, which stars Martin Sheen as Matthew.

Kodak’s New Cameras Don't Just Take Photos—They Also Print Them

Your Instagram account wishes it had this clout.
Your Instagram account wishes it had this clout.

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.

There's a 10-second self-timer, so you don't have to ask strangers to take your group photos.Kodak

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.

The Kodak STEP Instant Mobile Photo Printer connects to an app that allows you to add filters and other effects to your photos. Kodak

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.

16 Facts About The Other Guys On Its 10th Anniversary, Courtesy of Adam McKay

Mark Wahlberg and Will Ferrell star in Adam McKay's The Other Guys (2010).
Mark Wahlberg and Will Ferrell star in Adam McKay's The Other Guys (2010).
Macall Polay/Columbia TriStar Marketing Group, Inc.

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.

Mark Wahlberg and Will Ferrell are The Other Guys (2010).Macall Polay/Columbia TriStar Marketing Group, Inc.

"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.

Will Ferrell and Eva Mendes in The Other Guys (2010).Macall Polay/Columbia TriStar Marketing Group, Inc.

"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.

Adam McKay on the set of The Other Guys (2010).Macall Polay/Columbia TriStar Marketing Group, Inc.

"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."