19 Big Facts About Honey, I Shrunk the Kids

Rick Moranis stars in Honey, I Shrunk the Kids (1989).
Rick Moranis stars in Honey, I Shrunk the Kids (1989).
Walt Disney Home Video

What would it be like to be a quarter of an inch tall? Moviegoers in the summer of 1989 were eager to find out. They flocked to theaters to watch as the Szalinski and Thompson kids dodged refrigerator-sized drops of water, befriended a giant ant, fought a fearsome scorpion, and feasted upon a massive cream-filled cookie. Honey, I Shrunk the Kids, starring Rick Moranis, is often viewed as the quintessential live-action Disney film, but its roots are firmly in the horror movie genre. Here are a few surprising facts about the film, which is about to get a reboot courtesy of Disney—with Moranis returning.

1. Stuart Gordon, the horror director behind Re-Animator, came up with the idea for Honey, I Shrunk the kids.

Stuart Gordon wasn’t the first filmmaker one would think of to direct a Disney film. With a background in experimental theater—including a trippy, in-the-nude version of Peter Pan—he made his name with campy horror films like 1985’s Re-Animator, about a scientist who brings the dead back to life, and 1987's Dolls, about a murderous collection of dolls (tagline: “They Walk. They Talk. They Kill.”). After he became a father, Gordon decided to make a kids’ movie. Along with Brian Yuzna, who had worked with him on Re-Animator, and Dolls writer Ed Naha, Gordon came up with an idea for a film about a hapless inventor who accidentally shrinks his children and throws them out with the garbage. He pitched the idea to Disney, who loved it and gave Gordon the green light to direct.

2. Honey, I Shrunk the Kids's original title was Teenie Weenies.

The title was a nod to William Donahey’s comic strip from the early 1900s, which followed the adventures of a tiny, inoffensive band of characters. Disney executives hated it, thinking the title would turn off adult moviegoers. So Gordon and company changed the title to Grounded, then The Backyard before deciding to borrow a line of dialogue that Wayne Szalinski utters to his wife, Diane.

3. Disney was really nervous about Honey, I Shrunk the kids.

Although Disney was excited about Gordon’s idea, they weren’t exactly confident the horror director could deliver a family-friendly feature. "Disney was worried that I was going to kill all the kids," Gordon said in one interview. "And I kept saying, 'No, I’m not going to kill them. But I want the audience to think they might die.'" Disney’s trepidations extended to the movie’s creature effects—most notably Anty, the heroic ant.

The studio told Gordon they wanted Anty to look less like a real ant and more like E.T. "I said, 'Well E.T. scared more kids than an ant does,'" according to Gordon. To convince the brass, Gordon invited them to the workshop where crew members were putting the finishing touches on the robotic puppet. Gordon made Anty nuzzle him like a horse to show how friendly the creature could act. And just like that, the executives were convinced.

4. Joe Johnston replaced Stuart Gordon as Honey, I shrunk the Kids's director at the 11th hour.

Just as production on the film was set to begin, Stuart Gordon became sick and had to leave the set. Unable to delay the shoot, Disney brought in Joe Johnston, a visual effects specialist who had worked on Raiders of the Lost Ark and all three Star Wars films. It was his first directing job. After the success of Honey, I Shrunk the Kids, Johnston went on to direct The Rocketeer, Jumanji, Jurassic Park III, and, most recently, Captain America: The First Avenger. Gordon, meanwhile, finally got his shot at directing Honey, I Shrunk the Kids—albeit 10 years later, helming one episode of the television show, which ran for three seasons in the late 1990s.

5. Honey, I Shrunk the kids was filmed in Mexico City.

If you thought the Szalinskis's suburban California neighborhood and backyard looked like the real deal, well, think again. The entire set—including several houses, complete with white picket fences and manicured lawns—was erected on a back lot at Mexico City’s Churubusco Studios. Established in 1945, Churubusco was the epicenter of Mexican film production in the 20th century and a favorite of cost-conscious American producers, with scenes from Butch Cassidy and the Sundance Kid, Total Recall, Free Willy, and numerous other films shot there. The set work is very convincing, but there are a few seams showing: If you look carefully in the scene where the mailman is walking the neighborhood, you can see the beams in the back lot wall, which had been painted blue to stand in as the sky.

6. Anty took up to 12 workers to operate.

The heroic ant, who befriends the pint-sized Szalinski and Thompson kids and (SPOILER ALERT) tragically dies fighting off a scorpion, took a lot of effort to bring to life. The special effects team built multiple versions of Anty, including a miniature for stop-motion animation sequences. Most of the scenes in which Anty interacts with the actors involved a large robotic puppet whose legs, eyes, head, and antennae were all controlled by separate crew members. “It takes somewhere between seven and 12 people to make the ant run," Peter Zamora, the film’s miniatures assistant, said in a making-of documentary.

7. Look closely and you might notice that Marcia Strassman's hair was two different colors.

Two weeks into filming, Marcia Strassman, who played Diane Szalinski, received a note from Disney head Jeffrey Katzenberg requesting she change her hair color from reddish-brown to blonde. Strassman complied, and she kept her hair that color for the sequel, 1992’s Honey, I Blew Up the Kid. "We said, 'But we've been shooting for two weeks,'" Strassman told The Philadelphia Inquirer. "And [Katzenberg] said, 'No one will notice.' And no one did. No one noticed that my hair is two totally different colors in that movie."

8. Honey, I Shrunk the Kids's set designers used a lot of foam.

From giant broom bristles to towering blades of grass, the movie’s set designers were masters at fashioning latex and polyurethane foam into outsized versions of everyday objects. To show the kids getting swept into Wayne Szalinski’s dustpan, designers attached the giant foam bristles to a hanging screen that swept across the stage. The enormous cream-filled cookie, meanwhile, was also made out of foam, with globs of actual cream mixed in for the kids to shovel into their mouths.

9. Honey, I Shrunk the Kids's bumblebee flight required some technical wizardry.

By 1980s movie standards, and even current ones, the bumblebee ride that Nick Szalenski and Little Russ Thompson take is impressive. Creating the sequence required a giant bee model for close-up shots with the actors, along with an extended shot by a camera that zipped and dove around the Szalenski backyard. Pretty standard stuff, but visual effects lead Tom Smith added a third element: a small, $30,000 robotic bee with miniatures of the actors on top. The fine movements of the robotic bee were spliced in with the close-up shots against the green screen, then touched up with some added digital effects in post-production to create the final sequence. “We were able to cut them quickly enough and mix them up so that it gives the incredible sense of flight when you see it,” Smith said.

10. Honey, I Shrunk the Kids's animated opening credits were groundbreaking.

The movie opened with an animated sequence showing two tiny children running from a record needle, a typewriter, and other menacing everyday objects as title credits cleverly materialized. According to the graphic design site Art of the Title, the sequence—created by Kroyer Films—was one of the first to combine hand-drawn animations with 3D models. The team that created the sequence included Andrew Stanton, who would go on to work on Toy Story, Monsters, Inc., Finding Nemo, and WALL·E, along with Eric Stefani, an acclaimed animator and brother of Gwen Stefani. Kroyer went on to produce animated sequences for two other films that year: Troop Beverly Hills and National Lampoon’s Christmas Vacation.

11. Honey, I Shrunk the Kids's opening credits were also grounds for a lawsuit.

The musical score that accompanies the animated credits, written by James Horner, sounds very similar to the 1937 song “Powerhouse,” by jazz composer Raymond Scott—a little too close, by some estimations. Scott’s estate sued Disney for failing to credit the composer. The studio settled the case out of court and made sure the estate received its fair share of future royalties.

12. Honey, I Shrunk the Kids was a surprise hit.

Honey, I Shrunk the Kids’s $14 million haul on opening weekend was the biggest opening ever for a Disney movie—by a long shot. It was also a surprise for the studio, considering the movie wasn’t a sequel, and had received mixed reviews from critics. "Our tracking showed that there was awareness of the film out there, but there was nothing to make us think it would do what it did," then-Disney head Jeffrey Katzenberg said at the time. In all, Honey, I Shrunk the Kids would earn more than $130 million domestically and $92 million in worldwide release.

13. Batman contributed to Honey, I Shrunk the Kids's success.

Honey, I Shrunk the Kids opened on June 23, 1989—the same day as Tim Burton's Batman, which finished number one at the box office and had fans lining up around the block to see it. According to the Los Angeles Times and other sources, many theatergoers who couldn’t get in to see Batman opted to see Honey, I Shrunk the Kids instead, helping to boost that movie to number two at the box office.

14. Disney revived the long-dormant animated short with Honey, I Shrunk the Kids.

Those who saw Honey, I Shrunk the Kids in theaters may remember the animated short Tummy Trouble, starring Roger Rabbit, that preceded the film. The seven-minute romp—which also features Baby Herman, a swallowed rattle, and a trip to the hospital gone awry—was the revival of the short films that studios often played before a feature presentation. It was Disney’s first “short” in nearly 25 years, and one of several that the studio released aimed at boosting the popularity of classic characters like Mickey Mouse and Donald Duck with younger viewers.

Given the popularity of Who Framed Roger Rabbit, released the previous year, Disney figured its goofball hare would also boost viewership for Honey, I Shrunk the Kids. Indeed, Disney gave the two productions equal space on promotional posters and print ads, despite the difference in run times.

15. Honey, I Shrunk the Kids earned an award for poor grammar.

As any English major could tell you, Honey, I Shrunk the Kids is not a grammatically correct title (it should be “Shrank”). This earned public ridicule from SPELL, the Society for the Preservation of English Language and Literature, which awarded the film its Dunce Cap Award for 1989. A Disney executive was quick to fire back that the mistake was deliberate, as it’s taken from a line of dialogue in the film (and the error certainly didn't do anything to hurt the movie's box office haul).

16. It took 20 years for Honey, I Shrunk the Kids's soundtrack to be released.

Aside from the film’s opening theme, which became tainted by controversy, the music from Honey, I Shrunk the Kids isn’t particularly memorable. Thus the film’s score wasn’t subsequently released as a soundtrack. But\ composer James Horner, who had previously scored Aliens and Cocoon, became increasingly popular in the years to come as he scored films like Field of Dreams, Braveheart, Titanic, and Avatar. Demand for the score also rose as Honey, I Shrunk the Kids became a reliable cable rerun. So in 2009, tiny music label Intrada put out a limited run of 3000 copies of the Honey, I Shrunk the Kids soundtrack. It’s sold out, but if you just have to have such classic tracks as “Watering the Grass” and “Lawnmower," you can nab a used copy for around $60 on Amazon. Sadly, Horner was killed in a plane crash in 2015.

17. Only one of Honey, I Shrunk the Kids's young actors is still working.

A scene from 'Honey, I Shrunk the Kids' (1989)
Walt Disney Home Video

For the young actors in Honey, I Shrunk the Kids, box office success didn’t translate into long-term career success. Robert Oliveri and Jared Rushton, who played young Nick Szalinski and Ron Thompson, respectively, gave up acting in the 1990s. Same with Amy O’Neill, whose only other major role was in 1993’s White Wolves: A Cry in the Wild II (though she popped up in an uncredited role on Baskets earlier this year). Only Thomas Wilson Brown, who played Little Russ Thompson, continues to appear in films and TV shows, and only sporadically at that.

The adult ensemble, meanwhile, fared somewhat better. Matt Frewer (Big Russ Thompson) has worked steadily in films and TV series like Orphan Black and 12 Monkeys, while Marcia Strassman, known for roles in M*A*S*H and Welcome Back, Kotter, made regular appearances on shows like Tremors, Highlander, and Providence, until her tragic death from breast cancer in 2014.

18. Rick Moranis retired from acting in the mid-1990s, but is coming back!

In the mid-1990s, Rick Moranis went completely off the radar to focus on raising his two kids after his wife passed away. In recent years, he has said that he would return to acting if the right role came along and in 2018 he made a brief appearance on the 1980s-set sitcom The Goldbergs, reprising his role as Dark Helmet from Spaceballs. More recently, on February 12, 2020, it was confirmed that the 66-year-old actor would officially be coming out of retirement to appear in Disney's planned reboot of Honey, I Shrunk the Kids.

19. Honey, I Shrunk the Kids is basically a horror movie.

Consider the evidence: It’s got an obsessive scientist, giant bugs, a near-death by lawnmower, and the Freudian nightmare of a father nearly eating his son. The nod to horror films of the past was intentional on the part of Gordon, who sees the movie as an homage to fright-night flicks like Attack of the Crab Monsters and The Incredible Shrinking Man. In recent interviews, he’s quick to lump it in with other horror movies he’s made. “Really, it’s not that different than Re-Animator,” Gordon said. “It’s about a mad scientist and an experiment that goes wrong, and so forth. The potential for severing some heads was there when you have a giant ant coming at you with those big mandibles. Who knows what could happen?”

11 Fascinating Facts About Mad Max

Mel Gibson stars in George Miller's Mad Max (1979).
Mel Gibson stars in George Miller's Mad Max (1979).
Metro-Goldwyn-Mayer Studios Inc.

What began as director George Miller's ambitious action film about a solitary cop (Mel Gibson) on a mission to take down a violent biker gang has evolved into a post-apocalyptic sensory overload of a franchise that now has four films to its credit—Mad Max (1979), The Road Warrior (1981), Mad Max Beyond Thunderdome (1985), and Mad Max: Fury Road (2015)—and additional sequels in the works. So let's obsess over Miller’s masterpieces even more with these 11 things you might not know about the franchise.

1. Director George Miller worked as a doctor to raise money for Mad Max.

Mel Gibson in Mad Max (1979)
Mel Gibson in Mad Max (1979).
Metro-Goldwyn-Mayer Studios Inc.

Since the film only had a budget of $350,000, Miller scraped together extra money as an emergency room doctor to keep the movie going. “It was very low budget and we ran out of money for editing and post-production, so I spent a year editing the film by myself in our kitchen, while Byron Kennedy did the sound,” Miller told CraveOnline. “And then working as an emergency doctor on the weekends to earn money to keep going. I’d got my best friend, and friends of friends of friends of his, and Byron ditto, and I thought, ‘Oh my God, we made a film and it won’t cut together and we’re going to lose all their money.’”

Miller’s medical training is all over the film: Max Rockatansky is named after physician Carl von Rokitansky, a pathologist who created the Rokitansky procedure, a method for removing organs in an autopsy.

2. Mel Gibson went to the Mad Max audition to accompany his friend, not for the part.

Gibson was black and blue after a recent brawl with “half a rugby team” when his friend asked him to drop him off at his Mad Max audition. Because the agency was also casting “freaks,” they took pictures of Gibson, who was simply waiting around, and asked him to come back when he healed. When he did, Miller gave him the role on the spot. In a clip for Scream Factory, Gibson recalled the moment: “It was real weird. [Miller] said, ‘Can you memorize this?’ and it was like two pages of dialogue with a big speech and stuff. I was like, ‘Yeah, sure.’ I went into the other room and just got a gist of what it was and I came out and just ad-libbed what I could remember. I guess they bought it.”

3. George Miller paid Mad Max crew members in beer.

With barely enough money to finish the original film, Miller offered to pay ambulance drivers, a tractor driver, and some of the bikers on set with “slabs” (Australian for a case of 24 cans) of beer, according to The Guardian.

4. Real-life motorcycle club the Vigilanties played Toecutter’s gang for Mad Max.

Forget the money required to train stuntmen; Miller and crew hired real bikers to professionally ride into production. In an interview with Motorcyclist Online, actor Tim Burns said about working with them: “[The Vigilanties] all wanted to ride the bikes as fast as possible, as often as possible, by their nature. Their riding was individually and collectively superb.” Additionally, stuntman Dale Bensch, a member of The Vigilanties, recalled seeing the ad for the shoot at a local bike shop, and took a moment to clarify a mishap that had happened during production. Bensch said, “There’s an urban myth that a stuntman was killed, and that was me. The scariest thing was dropping the bike on that bridge. They took the speedo and tach off because they didn’t want to damage more than they had to. They wet the surface to make it easier, but I hung onto the bike too long and it flipped me over with it; that’s why it looked bad. But it’s a famous scene, so it worked out all right!”

5. Mad Max 2: The Road Warrior was inspired by the oil crises of the 1970s.

During an interview with The Daily Beast, Miller discussed the making of The Road Warrior. Of its inspiration, he said, “I’d lived in a very lovely and sedate city in Melbourne, and during OPEC and the extreme oil crisis—where the only people who could get any gas were emergency workers, firemen, hospital staff, and police—it took 10 days in this really peaceful city for the first shot to be fired, so I thought, ‘What if this happened over 10 years?’”

6. Mel Gibson only had 16 lines of dialogue in The Road Warrior.

Upon Fury Road’s release in 2015, social media lit up with complaints that Tom Hardy was underutilized, only there to grunt and utter a couple of one-liners. But just to remind you, in Mad Max 2, Mel Gibson only has 16 lines of dialogue in The Road Warrior.

On his use of sparse dialogue, Miller told The New York Times, “Hitchcock had this wonderful saying: ‘I try to make films where they don’t have to read the subtitles in Japan.’ And that was what I tried to do in Mad Max 1, and I’m still trying to do that three decades later with Fury Road.”

7. Mel Gibson says The Road Warrior is his favorite movie in the original trilogy.

Once upon a time Mel Gibson enthusiastically spoke about Beyond Thunderdome, telling Rolling Stone, "[The films are] a sort of cinematic equivalent to rock music. It's something to do with the nihilistic sentiments of the music of the ’80s—which can't continue. I say, let's get back to romanticism. And this film [Thunderdome] is actually doing that. It's using that nihilism as a vehicle, I think, to get back to romance.”

Years later, he told Playboy what he really thought of the films, namely that The Road Warrior was his favorite. “It still holds up because it’s so basic,” Gibson said. “It’s about energy—it didn’t spare anyone: people flying under wheels, a girl gets it, a dog gets it, everybody gets it. It was the first Mad Max, but done better. The third one didn’t work at all.”

8. Beyond Thunderdome was inspired by Lord Of The Flies.

Mel Gibson and Tina Turner in Mad Max Beyond Thunderdome (1985).
Mel Gibson and Tina Turner in Mad Max Beyond Thunderdome (1985).
Warner Home Video

Even though Miller and his producers were on the fence about a third Mad Max, they couldn’t help but give in. "George was sitting and talking to me about … quantum mechanics, I think," Miller’s co-writer Terry Hayes recalled to Rolling Stone. "The theory of the oscillating universe. You could say he's got a broad range of interests. And I said something about ‘Well, if there was ever a Mad Max III ...' And he said, 'Well, if there was ...'"

In a 1985 interview with Time Out, Miller recalled the story himself. “We were talking one day and Terry Hayes started talking about mythology and how where people are short on knowledge, they tend to be very big on belief. In other words, they take a few fragments of knowledge and, if you take like the Aboriginal tribes of Australia, they just take simple empirical information and using those little bits of the jigsaw construct very elaborate mythological beliefs, which explain the whole universe,” Miller said. “Terry was saying if you had a tribe of kids after the apocalypse who had only a few fragments of knowledge, [they would construct] a mythological belief as to what was before. And what would happen if Max or someone like that [came in] ... and it kicked off the idea of kids who were Lord of the Flies-type kids, and that led to this story.”

9. Tina Turner was cast in Beyond Thunderdome because of her positive persona.

According to Rolling Stone, Tina Turner beat out Jane Fonda and Lindsay Wagner for the role of Aunty Entity. On her casting, Miller told Time Out, “One of the main reasons we cast Tina Turner is that she’s perceived as being a fairly positive persona. You don’t think of Tina Turner as someone dark. You think of the core of Tina Turner being basically a positive thing. And that’s what we wanted. We felt that she might be more tragic in that sense. But more importantly [when] we actually wrote the character, as a shorthand way of describing the character we said someone ‘like Tina Turner’—without even thinking of casting her. We wanted a woman ... we wanted someone who had a lot of power, charisma, someone who would hold a place like that together—or build it in the first place. And we wanted someone who was a survivor.”

10. Mad Max characters’ names hint at their backstories.

One of the most peculiar quirks of Miller’s franchise has to be his bizarre character names. In an interview with Fandango, Miller explained exactly how he comes up with them: “One of the things is that everything in the story has to have some sort of underlying backstory. Not just every character, but every vehicle, every weapon, every costume—and the same with the language. So [the concept] was always found objects, repurposed. Immortan Joe is a slight adjustment to the word 'immortal.' The character Nux says 'mcfeasting' instead of using the word 'feasting,’” Miller explained, adding that his favorite name of all is Fury Road’s The Dag (played by Abbey Lee). “In Australia, the dag is sort of a goofball-type.”

11. George Miller is a proud feminist.

Director George Miller, recipient of the Feature Film Nomination Plaque for “Mad Max: Fury Road," poses in the press room during the 68th Annual Directors Guild Of America Awards at the Hyatt Regency Century Plaza on February 6, 2016 in Los Angeles
George Miller poses with the Feature Film Nomination Plaque for Mad Max: Fury Road during the 68th annual Directors Guild Of America Awards in 2016.
Frederick M. Brown/Getty Images

Perhaps evidenced by Charlize Theron’s scene-stealing role as Imperator Furiosa, Miller is a proud, outspoken feminist. He told Vanity Fair, “I’ve gone from being very male dominant to being surrounded by magnificent women. I can’t help but be a feminist.” That female influence even stretched behind the scenes, with Miller asking his wife Margaret Sixel to edit Fury Road. “I said, ‘You have to edit this movie, because it won’t look like every other action movie,” Miller recalled. Moreover, feminist activist Eve Ensler also consulted on the film to offer, according to Ensler herself, “perspective on violence against women around the world, particularly in war zones.”

What Happens During a Jeopardy! Commercial Break?

Jeopardy! host Alex Trebek chats with the show's contestants.
Jeopardy! host Alex Trebek chats with the show's contestants.
Getty Images Entertainment

Jennifer Quail:

Typical Break One: First, if there are "pickups" (re-recordings where Alex misspoke or coughed or stuttered, or Johnny mispronounced someone’s name or hometown) to record, they do those. A stagehand brings water bottles for the contestants. The production team who wrangles contestants comes over and gives their pep talk, makes any corrections, like if someone is consistently buzzing early; and keeps you quiet if there are pickups. Alex gets the cards with the "fun facts" (there are about three, one highlighted, but which one he goes for is ultimately up to Alex alone) and when the crew is ready, they come back from commercial to Alex’s chat with the contestants.

Typical Break Two: If there are any pickups from the second half of the Jeopardy! round they do those, the water gets distributed, the production team reminds the contestants how Double Jeopardy! works and that there’s still lots of money out there to win, and Alex comes over to take a picture with the two challengers (the champion will have had their picture taken during their first match.) Then we come back to Double Jeopardy!.

Typical Third Break: This is the big one. There are pickups, water, etc. and they activate the section of the screen where you write your wager. One of the team members brings you a half-sheet of paper ... and you work out what you want to bet. One of your "wranglers" checks it, as does another production team member, to make sure it’s legible and when you’re sure that’s what you want, you lock it in. At that point you can’t change it. They take away the scratch paper and the part of the board where you write your answer is unlocked. Someone will tell you to write either WHO or WHAT in the upper left corner, so you do know at least whether it’s a person or thing. They make sure the "backup card" (a piece of card stock sitting on your podium) is turned to the correct who or what side, just in case your touchscreen fails. If everything’s ready, then as soon as the crew says, they come back and Final Jeopardy! starts.

There are breaks you don’t [even know about, too]. If there is a question about someone’s final answer, they will actually stop tape while the research team checks. Sometimes if something goes really off, like Alex completely misreads a category during the start of a round, they’ll stop and pick it up immediately. Those [are breaks] you’ll never notice because they’ll be completely edited out.

This post originally appeared on Quora. Click here to view.

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