6 Bizarre Lies Hollywood Tells When They Base A Movie On You

It's easy to see why Johnson's story was movie material. She's a former Navy journalist and Marine Corps officer who took an English teaching job with at-risk students from East Palo Alto. Unless you're a skydiving cop who polices the air for free-falling criminals, you can't have a more movie-worthy biography. But that was still not enough for jaded Hollywood screenwriters.

Take one memorable anecdote, for instance. After one of Johnson's students was shot in the leg by a gang member, he called her in the middle of the night to tell her that the rest of the gang was waiting for him outside. So Johnson got into her Fiat Spider ...

... drove to his house, picked him up, and then took him to the basement apartment she rented on Skyline Boulevard outside San Francisco, because she "knew they'd never be able to drive one of those huge gangster cars up there." She literally hid one of her students from murderous gang members in her own home for a few days until they were able to sneak him out of the country like some kind of teenage Edward Snowden. But apparently this wasn't engaging enough, so in the movie version, they just had the guy killed off-screen. But not before they tried to make it oh-so-much worse.

"One of the writers said to me, 'You're going to have an affair with one of your students in this movie.' I said, 'No I'm not. That didn't happen.' They said 'Yeah, listen, it'll be great.'" The writers seemed genuinely surprised that Johnson didn't want the fictionalized version of herself committing major crimes in a blockbuster movie. "I said, 'It's child abuse, statutory rape, and a felony offense. I would lose my license and go to jail. I do not have any money, but I will sue you if you do this. I don't sleep with children.' They never invited me back to the set."

It seems her plea was convincing, though, since Michelle Pfeiffer doesn't bang any teenage boys in the film. Much to the chagrin of teenage boys in the '90s.

In Dangerous Minds, Pfeiffer convinces the kids to care about poetry by playing the song "Mr. Tambourine Man" and explaining that it's secretly about a pot dealer. Then she challenges them to a "Dylan/Dylan Contest," in which they have to find a Bob Dylan song that sounds like a Dylan Thomas poem -- with the promise that whoever wins gets to take her on a dinner date. This happens because the people making this movie are white as hell, have never met a teenager, have no understanding of pop culture beyond the '60s, and really wanted to shoot a scene in which Michelle Pfeiffer fucks a high-schooler.

The reality is far less stupid. Johnson got the kids interested in poetry by having them analyze the poetry in rap lyrics. Stuff they actually cared about. "The kids won't care about Bob Dylan, and smoking pot is not a big deal," she told us. "I knew that if I mentioned the word 'poetry,' they'd shut down, so I brought in lyrics to '911 Is A Joke,' printed out like poetry."

She asked them if they considered the lyrics poetry. They weren't sure. They wanted her to tell them. She made them decide. Poetry it was, and poetry they read. All kinds of poetry, including Shakespeare's sonnets. And it worked: Later, she overheard her students listening to rap on the radio, and one of them pointed out that the song they were listening to had "internal rhyme."

Do not go gentle into that good black planet

We're not the first ones to notice this change, by the way. When Roger Ebert reviewed this movie, he wondered if they cut that out because they didn't want to stretch white audiences' disbelief by implying that hip-hop could be art. "Hip-hop? Art? That's absurd!" cried Hollywood of the '90s. "That's clearly not art. You wanna see art? Check out these extremely detailed sketches we made of Michelle Pfeiffer banging a freshman!"

In the film, on the first day of class, one of the students confronts and sexually harasses Pfeiffer. Like a well-behaved female protagonist, she runs out of the room crying. Not only did that never happen, but it's completely insane, because Johnson spent her pre-teaching years as an officer in the freaking Marine Corps. "If that kid had said to me what he said in the movie, I would've cold-cocked him," she told us. "Real fast. He wouldn't have known what happened. And I would've been fired! But I still would've done it.

"One time, a screenwriter called me and asked about that scene, and I explained what really happened: A kid threw a dictionary at me, and I confronted him. The writer said 'That's better than what I have here!' and I said 'Yeah, you should read my book!' He replied 'I don't have time to read the book. I have to write the movie.'"

That's not the only change. Pfeiffer teaches one class for one semester, and then tries to quit teaching forever because of how intense it is. Johnson taught a full load (because no teacher in the world only teaches one class per semester) for five years, and became a department chair. In fact, she's still teaching, in a classroom, right now, as you're reading this (depending on the time and your position on the Earth). It's like if they made a movie about Batman training exhaustively for his career as a vigilante, only to have him step out into the night for the very first time, punch a single mugger, scream "Parents avenged!" and then give up fighting crime forever.

There's another scene in the movie in which a student, Emilio, bursts into the principal's office to ask for help because a gang member is going to kill him. But he's rebuffed by the stuffy villain, so he goes out to face his enemy, and dies. The real Emilio did approach the principal and was rebuffed, but then a police officer found out and followed Emilio home. As he was walking up the steps to his house, the gang member appeared behind Emilio and put a gun to his head. But before he could pull the trigger, the cop stepped forward and arrested him.

In reality, Emilio understandably freaked out after this. He started driving around drunk with a gun on his dashboard, intending suicide by cop if he got pulled over. We know this because he called Johnson and told her. She talked him down from potential suicide and convinced him to join the Marines, and today he lives in California with his wife and children. So with the Hollywood way, you get yet another at-risk kid tragically gunned down and forgotten, while in reality, our protagonist saves a life in one of the most dramatic ways possible. We're not screenwriters here, but isn't that usually the other way around?

In real life, the one rule in Johnson's classroom was that the kids had to respect both themselves and everyone else in the room. But the people involved in the movie "didn't believe it could be that simple" and decided to make her, well, let's be honest, a complete poser.

"No, I never wore a leather jacket," she told us. "I didn't want the students to see a peer. I wanted them to see an adult. I tried to signal through my clothing that we were serious. That meant wearing serious clothing."

But the worst part is what they did to the kids. In the film, all of her students are minorities, and all of them are criminals or have drug-addicted parents. "I told the producers, 'Ya know, there are black kids who don't have a crackhead for a mom, and there are Hispanic kids who don't speak Spanish.' Their response was that their on-set gangologist said the script was accurate."

What ... what the hell is a gangologist?

"You know what I thought at the time? Some gangster got off the street and was smart enough to market his knowledge in Hollywood. Good for him. After all, the movie has its upsides. It had the greatest song. 'Gangster's Paradise' is a beautiful song. If nothing else, we have that."

She's right, of course. We should look at the upsides here. Dangerous Minds potentially helped a gang member get off the streets and finally earn his degree in gangology, and granted us all a great gift of music. Why, if not for "Gangster's Paradise," we wouldn't have "Amish Paradise," and that's no world we want to live in. Thanks, Hollywood.

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