On-Set Mistakes That Led To Great Movie Scenes

You'd think the most ubiquitous sound effect in one of the greatest movies ever wouldn't have come from a dumb accident, but it did. According to Burtt, he was carrying a tape recorder with a "broken mic cable ... the shielding had come off of it." Luckily, instead of electrocuting himself (which would presumably have given him the power to read women's minds), he inadvertently stumbled upon the sound of your childhood.

As he walked past the TV in his apartment, it "picked up the hum from the picture tube directly into the broken wire," and like a 12-pack of Miller Lite, it "made a buzz." Burtt thought it sounded appropriately space-wizard-like and used it as the basis for the lightsaber's sound. He probably could have gotten some sweet audio for the Emperor's finger-zapping power by taking a bath with a toaster, but luckily he never went that far.

But perhaps the most iconic moment in Jaws similarly comes from a random bit of luck. When Sheriff Brody (played by Roy Scheider) spies the shark for the first time, instead of more realistically filling the soundtrack with the sound of diarrhea on denim, he delivers the classic line "You're gonna need a bigger boat."

Universal Pictures "For all the diarrhea, I mean."

According to co-writer Carl Gottlieb, the line came from a running joke amongst the crew. Apparently, the film's cheap-ass producers didn't hire a big enough boat to tow the giant barge full of lights, camera equipment, and craft services for filming at sea. So "You're gonna need a bigger boat" became a "catchphrase for anytime anything went wrong." Whenever something screwed up, someone would inevitably shout the line. Eventually, it got to the point where even Scheider jumped on the bandwagon (tugboat?) and started ad-libbing the line at different points in his performance.

Universal Pictures"You're gonna need a bigger boat, fish." "CUT! Roy, that makes no sense. Please stop, we're begging you."

Thanks to the film's editor, one moment where he dropped the in-joke made for one of the most memorable quotes in film history. That's like if it turned out that "I'm gonna make him an offer he can't refuse" happened because Marlon Brando refused to stop quoting a local carpet commercial during The Godfather -- which, now that we think of it, is a scenario well within the realms of possibility.

The breakthrough star of the series, though, is Ghostface, the deadly killer who looks like Skeletor reacting to his parents telling him there's no Santa Claus.

Dimension Films That's his origin story, too!

While the Ghostface mask has become iconic, it wasn't always a part of Scream. In fact, the screenplay only goes so far as to describe it as "a ghostly white mask," which could be anything from some Casper The Friendly Ghost merchandise to a rubber mask of deceased soul legend Barry White. This left the film's design team to try to create a mask for the killer, and most of what they came up with was objectively dumb as hell:

Dimension Films They would have gone with the first one, but it turns out Universal owns the exclusive rights to Clint Howard.

As the start of filming loomed (and characters from the underside of a 13-year-old's skateboard were being considered for the villain's face), producers were scouting locations. While examining an elderly woman's house to see if it would be an appropriate place for teenagers to fuck and disembowel each other, one of them randomly came across the ghost mask. According to the old lady, her husband "used to collect masks," and definitely wasn't a serial killer who was never caught. She let the Scream people take the mask with them, presumably in exchange for not asking any further questions.

At first, Craven's crew tried to make their own legally dissimilar version, but since even that turned out looking like the product of a county fair cartoonist on crystal meth, they ended up ponying up the money to pay the Halloween costume company.

The key moment comes when the two hop on a public bus, and after a moment of elation, the shot lingers, revealing the awkwardness and uncertainty of their future.

MGMThe moment Benjamin realizes Mrs. Robinson was 36 and her daughter was 27.

The ambiguity and melancholy of the ending is what makes the movie, but it wasn't scripted that way. Originally, the film was going to end with the lovebirds holding hands, and the final shot was of a gang of irate wedding guests congregating outside the church, presumably while shaking their fists and vowing to get revenge on that meddling kid.

MGM At least it didn't end with Mrs. Robinson becoming a slutty grandma (that's in the book sequel).

According to a new interview with Bobbie O'Steen, a film historian and wife of The Graduate's editor, the definitive ending was a total accident. Her husband was asked by director Mike Nichols to stand in for him on the bus, and essentially be the director for that scene. Since the guy was an editor and "wasn't an experienced director, he forgot to yell 'cut.'"

Naturally, Hoffman and Katharine Ross "didn't know what to do and they weren't going to break character so they just kept sitting there." So while the ending was interpreted as two young people not knowing what to do with the rest of their lives, it was really two actors wondering why the scene was over but they were still stuck in the back of a smelly bus. It wasn't until the director and editor saw the dailies that they realized they'd fallen ass-backwards into a moment of cinematic genius.

One of the most memorable parts of Last Temptation is the ending, in which Christ's death is conveyed in a hauntingly beautiful final shot -- again reinforcing that this is the Jesus movie made by one of the greatest directors in history, and not the one from the star of What Women Want. After Jesus overcomes the temptation to live a mortal life, he finds himself (spoiler alert) nailed to a cross, and as he closes his eyes and fulfills his destiny, the image gives way to a flickering ethereal light:

Universal Pictures "Hide ... painted eggs ... in my name."

It's cool how they made it look like the camera screwed up at the very last moment, right? Yeah, but that's because that's exactly what happened. Scorsese saved the shots of Willem Dafoe dying on the cross for last, and as they were shooting perhaps the most important part of the movie, the film was "accidentally exposed by some kid" (as in, light got inside the camera and ruined the celluloid). According to one report, no one realized what had happened until they were back in New York editing the movie. Editor Thelma Schoonmaker thought Scorsese was gonna freak out when he saw the mistake and go Taxi Driver on some motherfuckers.

However, Scorsese "fell in love with the image," and had to convince Schoonmaker that leaving the mistake in made for an awesome ending. That's pretty ingenious, when you think about it. Had a boom mic bobbed into frame, Scorsese probably could have convinced us all it was just God's finger, and no one would have said shit.

The Super Soaker approach to violence would end up being copied in many ensuing Samurai movies, a slew of spaghetti westerns, and the work of Quentin Tarantino -- who, as we all know, uses stylish movie tropes the way a wedding DJ uses ABBA mp3s.

Miramax He has singlehandedly kept the tomato juice industry afloat for the past 24 years.

Kurosawa's original effect, though, was totally unintentional. There was supposed to be blood, yes, but not the ridiculous geyser that flooded out of the actor as if his armpit was the elevator at the Overlook Hotel. However, the compressor hose attached to the actor blew a coupling, and the blast was so crazy strong that it almost lifted him off the ground -- meaning Kurosawa revolutionized movie violence and nearly invented those stupid hydro jetpacks at the same time.

J.M. McNab co-hosts the pop culture nostalgia podcast Rewatchability, which can also be found on iTunes. Follow him on Twitter @Rewatchability.

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