Business Wire/WWE
Business Wire/WWE

10 Larger-Than-Life Facts About André the Giant

Business Wire/WWE
Business Wire/WWE

Although a number of professional wrestlers have transcended the squared circle to become worldwide stars—Hulk Hogan, The Rock, and Jesse Ventura among them—few have captivated the public quite like André the Giant. Born André Roussimoff in Grenoble, France on May 19, 1946, the towering grappler stood nearly 7 feet tall and weighed over 500 pounds shortly before his death in 1993 due to heart failure.

It’s fitting that André’s mythological proportions have led to a number of myths surrounding his life, from an exaggerated height (he was often billed as 7 feet, 4 inches) to his alleged propensity for drinking hundreds of beers. HBO's new documentary, which just premiered, may resolve some of those urban legends. In the meantime, we’ve sifted through some of the more sensational stories to separate fact from fiction. As it turns out, the Giant’s life needed no embellishment.

1. SAMUEL BECKETT DROVE HIM TO SCHOOL.

In the 1950s, playwright and novelist Samuel Beckett took up residence in Ussy-sur-Marne in France and commissioned local laborers to construct a cottage. The property was just a few hundred yards from the Roussimoff residence and along a stretch of road where Andre and other school children started their walk to class. (There was no bus.) Like many of the kids, Andre would sometimes accept Beckett's invitation to hop on the back of his pick-up truck to get a ride to school. Over the years, the story has been exaggerated to the point where Beckett and Andre are the only occupants in the truck, though it's unlikely Beckett paid him any particular attention. Still, the unlikely pairing has inspired several plays, including the recent Sam & Dede, Or My Dinner with André the Giant.

2. HE GREW SO FAST HIS OWN PARENTS DIDN’T RECOGNIZE HIM.

Andre the Giant is interviewed ringside by Vince McMahon
Business Wire/WWE

When Andre turned 14, he left home to seek employment and opportunities outside the boundaries of his rural farm community in France. At 19, he visited his parents for the first time, having already broken into the professional wrestling business. According to a 1981 Sports Illustrated profile, André had grown so dramatically in the interim, stretching to nearly 7 feet tall, that his parents did not recognize the stranger who knocked on their door. As André explained his career choice, they realized they had even seen him wrestle on television under his alias, Jean Ferré, without ever knowing they had been watching their own son.

3. HE ENJOYED MOVING CARS AS A PRANK.

André’s dimensions were the result of acromegaly, a disorder of the pituitary gland that causes uninhibited growth hormone secretion. Because his body was so generous in its strength, André rarely (if ever) lifted weights for additional power. His resistance training seemed to come in the form of moving his friends' cars around during nights he was out drinking with friends. The smaller vehicles could be easily slid over to tight spaces or turned to face the opposite direction.

4. HIS FINGERS PRESENTED UNIQUE PROBLEMS.

While André’s height and girth proved to be problematic when it came to traveling—most vehicles made for uncomfortable rides that required him to slouch—his hands and fingers posed special challenges. Said to have fingers so large that silver dollars could pass through his rings, André could never use a conventional rotary phone without sticking a pencil in the dial; learning to play the piano was also out of the question, since one finger would strike three keys at once.

5. HE HAD FUN FARTING ON OPPONENTS.

Andre the Giant poses with several models
Business Wire/WWE

By most accounts, André was a jovial giant, content to play cards, socialize, and enjoy all the food and drink his success afforded him. During matches, he amused himself by stepping on an opponent’s long hair or wringing the sweat from his singlet into their face. In one bout, Jake “The Snake” Roberts recalled that André waited until Roberts was on the mat before he squatted down and unleashed his flatulence. “This went on for like 30 seconds,” Roberts said. "Giants fart for extremely long periods of time."

6. HE LOVED QVC.

When he wasn’t traveling for his wrestling engagements, André largely kept to himself in his North Carolina ranch home, which featured a tree growing through the middle of each of its three stories. Because shopping could be a cumbersome experience, Andre grew fond of QVC, the home shopping channel that had launched in 1986. His friends recalled that André bought several steam cleaners and lots of porcelain butterflies from the channel.

7. RELATIVELY SPEAKING, HE WAS NOT AN EXCESSIVE DRINKER.

Nothing pours fuel on an André story quite like alcohol, with the Giant allegedly consuming over 100 beers in a single sitting. But most of his colleagues report that alcohol had surprisingly little effect on him, with no hangovers or slurred speech affecting his wrestling duties. There were only a handful of exceptions. According to Cary Elwes, his co-star in the 1987 film The Princess Bride, André once drank enough to pass out in a hotel lobby. Since it was impossible to move him, hotel employees arranged a velvet rope around his slumbering frame so he wouldn’t be disturbed. 

8. HE WORE A BACK BRACE UNDER HIS SINGLET.

Andre the Giant poses for a publicity photo in his singlet
Business Wire/WWE

As years of wrestling and his acromegaly condition conspired to affect his health, André underwent spinal surgery in late 1986. When he returned to wrestling, his signature black singlet helped hide a back brace that provided support for his ailing frame. His physical condition was reportedly so diminished at this point that André spent his remaining years in wrestling in pain and able to perform only basic maneuvers. According to his peers, some of Andre's most famous matches—like the bout with Hulk Hogan at WrestleMania III in 1987—were nowhere near what he had been able to do earlier in his career.

9. BABY OIL REALLY ANNOYED HIM.

For reasons known only to André, his genial demeanor didn’t apply to opponents in the ring who would use baby oil to make their muscles stand out more. André reportedly despised baby oil, and extended that enmity to “Macho Man” Randy Savage, who was disliked by the Giant simply because he used a lot of the stuff while wrestling. “André hated baby oil," Randy’s brother, Larry Poffo, told the Tampa Bay Times in 2017. “But Randy wouldn't stop wearing it. He stubbornly said 'André's gimmick is being a giant and mine is baby oil.' He never backed down from André and they never got along because of it."

10. HE PROBABLY WASN’T AS TALL AS YOU THINK.

Because wrestling is prone to exaggerating size, ability, and accomplishments, it didn’t take much for promoters to latch on to the idea of promoting André as the largest athlete on the planet. From his earliest matches in Montreal, he was billed as being 7 feet, 4 inches tall, enough to exceed the towering Kareem Abdul-Jabbar by two inches. But when André’s height was measured at the age of 24 in 1970, he stood exactly 6 feet, 9 and ¾ inches.

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Shout! Factory
10 Surprising Facts About Mr. Mom
Shout! Factory
Shout! Factory

John Hughes penned the script for 1983's Mr. Mom, a comedy about a family man named Jack Butler (Micheal Keaton) who loses his job. To ensure their three kids are taken care of, his wife, Caroline (Teri Garr), goes back to work—leaving Jack to fight off a vacuum cleaner and learn why it's never a good idea to feed chili to a baby.

In 1982, Keaton turned in a star-making role in Ron Howard’s Night Shift, but Mr. Mom marked the first time he headlined a movie, and it launched his career. Hughes had written National Lampoon's Vacation, which—oddly enough—was released in theaters the weekend after Mr. Mom. But Hughes himself was still a relative unknown, as it would be another year before he entered the teen flick phase of his career, which would make him iconic.

In the meantime, Mr. Mom hit home for a lot of viewers, as the economy was on the downturn and more and more women were entering (or reentering) the workforce. But some people think that the movie's ending—which sees the couple revert to traditional gender roles—sidelined the movie's message. Still, on the 35th anniversary of its release, Mr. Mom remains an ahead-of-its-time comedy classic.

1. IT'S BASED ON A TRUE STORY.

Mr. Mom producer Lauren Shuler Donner came across a funny article John Hughes had written for National Lampoon. Based on that, she contacted him and the two became friends. “One day, he was telling me that his wife had gone down to Arizona and he was in charge of the two boys and he didn’t know what he was doing,” Donner told IGN. “It was hilarious! I was on the floor laughing. He said, ‘Do you think this would make a good movie?’ And I said, ‘Yeah, this is really funny.’ So he said, ‘Well, I have about 80 pages in a drawer. Would you look at it?’ So I looked at it and I said, ‘This is great! Let’s do it!’ We kind of developed it ourselves.” In the book Movie Moguls Speak, Donner mentioned how Hughes “had never been to a grocery store, he had never operated a vacuum cleaner. John was so ignorant, that in his ignorance, he was hilarious.”

The players involved with the movie told Donner and Hughes they thought it should be a TV movie. Hughes had a TV deal with Aaron Spelling, who came aboard to executive produce. “Then the players involved were upset because John was writing out of Chicago instead of L.A.,” Donner said in Movie Moguls Speak. “They fired John and brought in a group of TV writers. In the end, John and I were muscled out. It was a good movie, but if you ever read John’s original script for Mr. Mom, it’s far better.”

2. JOHN HUGHES REJECTED THE IDEA OF DIRECTING MR. MOM.

Stan Dragoti ended up directing the film, but only after Hughes turned it down, because he preferred to make his movies in Chicago, not Hollywood. “I don’t like being around the people in the movie business,” Hughes told Roger Ebert. “In Hollywood, you spend all of your time having lunch and making deals. Everybody is trying to shoot you down. I like to get my actors out here where we can make our movies in privacy.” Hughes remained in Chicago and filmed his directorial debut, Sixteen Candles, there.

3. MICHAEL KEATON GOT THE ROLE BECAUSE OF NIGHT SHIFT.

In 1982’s Night Shift, Keaton’s character works at a morgue and starts a prostitution ring with co-worker Henry Winkler. Donner had an agent friend, Laurie Perlman, who represented the not-yet-famous actor. She contacted Donner and pitched Keaton to her. “’Look, I represent this guy who is really funny. Would you meet with him?’" Donner recalled of the conversation. "So I met with him. Usually I don’t like to do this unless we’re casting, but I met with him because she was my friend. And then she said, ‘You have to see this movie Night Shift that he’s in.’ So I went to see Night Shift, and midway through I couldn’t wait to get out of that theater to give Mr. Mom to Michael Keaton. Fortunately, he liked it."

Keaton told Grantland that he turned down one of the main roles in Splash to play Jack Butler. “I just remember at the time thinking I wanted to get away from what I’d just done on Night Shift,” he said. “I thought if I do it again, I might get myself stuck. So then Mr. Mom came along. So I said no [to Splash] so I could set up this framework right away where I could do different things.”

4. THE FILM BROKE NEW GROUND.

Teri Garr, Michael Keaton, Taliesin Jaffe, Frederick Koehler, and Martin Mull in Mr. Mom (1983)
Shout! Factory

In 1983, more women stayed at home than worked, so it was a novelty for a man to be a stay-at-home dad. Today, an estimated 1.4 million men are stay-at-home dads, and 7 million men are their children's primary caregiver. “Mr. Mom became part of the vernacular,” Donner told Newsweek. “Mr. Mom represented a segment of men who were at home dealing with the kids who, up until then, really hadn’t been heard from. That’s what really told me about the power of film, because it spoke for a lot of men. It also helped women, because I think that women sometimes, if you’re a housewife, you’re not really appreciated for what you do. This sort of made women feel better about what they did because they knew that men were understanding it.”

5. TODAY, “MR. MOM” IS CONSIDERED A PEJORATIVE TERM.

More than 30 years after the film’s release, stay-at-home dads feel the term “Mr. Mom” should die. The National At-Home Dad Network launched a campaign to terminate the phrase and instead have people refer to men as “Dad.” In 2014 Lake Superior State University voted to banish “Mr. Mom” from the lexicon.

“At least, the pop-culture image of the inept dad who wouldn’t know a diaper genie from a garbage disposal has begun to fade,” wrote The Wall Street Journal, after declaring “Mr. Mom is dead.”

6. TERI GARR DIDN’T KNOW IT WAS A MESSAGE MOVIE.

The movie redefined gender roles, but when the producers pitched the premise to Garr, they hid the plot reversal. “They just told me it was about a guy who does the work that a woman does, because it’s so easy,” she told The A.V. Club. “And I went, ‘Oh, yeah. Ha ha.’ It’s so easy. All the women I know who stay home and take care of their kids, they go, ‘Oh yeah, this is easy.’ Hmm.”

7. MARTIN MULL IMPROVISED THE “220, 221” LINE.

The quote everyone remembers from the movie comes from Jack, holding a chainsaw, standing next to Ron Richardson (Martin Mull) and discussing what kind of wiring Jack will use in renovating the house: “220, 221, whatever it takes,” Jack says.

“We’re doing the scene and it was okay,” Keaton told Esquire. “And I remember saying to the prop guy, ‘Go find me a chainsaw.’ When he comes back with it, he says, ‘You wanna wear these?’ And he holds up some goggles. I go, ‘Yeah.’ You know, they make me look crazy. And when Martin shows up, I know I should look under control, I’m not sweating it. I’m a dude. So we’re standing there, Martin pulls me aside and says, ‘You know what you ought to say? When I ask about the wiring, you oughta just deadpan: ‘220, 221.’ I died. It was perfect. I may have added ‘whatever it takes.’ But it was his.”

“That was a little ad-lib that we just threw in, but every carpenter or construction person I’ve ever worked with, they’re always quoting that line from Mr. Mom,” Mull told The A.V. Club.

8. MR. MOM OUTGROSSED HUGHES’S OTHER 1983 SUMMER MOVIE—VACATION.

Mr. Mom only opened on 126 screens on July 22, 1983, but managed to gross $947,197 during its opening weekend. Once the film went wide a month later to 1235 screens, it hit number one at the box office and spent five weeks at the top. By the end of its run, the film had grossed just shy of $65 million, making it the ninth highest-grossing film of 1983 (just between Staying Alive and Risky Business). National Lampoon’s Vacation, Hughes’s other film that summer, came out July 29 and ended its theatrical run with $61,399,552 (at its height, it showed on 1248 screens). Vacation finished the year in 11th place.

9. THE MOVIE LED TO HUGHES BEING CALLED “A PURVEYOR OF HORNY SEX COMEDIES.”

During a 1986 interview with Seventeen magazine, Molly Ringwald asked the writer-director why he never showed teen sex in Sixteen Candles or The Breakfast Club. “In Sixteen Candles, I figured it would only be gratuitous to show Samantha and Jake in anything more than a kiss,” he said. “The kiss is the most beautiful moment. I was really amused when someone once called me a ‘purveyor of horny sex comedies.’ He listed The Breakfast Club and Mr. Mom in parentheses. I thought, ‘What kind of sex?’ Yes, in Mr. Mom there’s a baby in a bathtub and you see its bare butt.”

10. MR. MOM WAS MADE INTO A TV MOVIE AFTER ALL.

In the beginning, producers wanted Mr. Mom to be a TV movie, not a feature film. But a year after the film came out in theaters, ABC produced a TV movie called Mr. Mom, with the same characters and premise. Barry Van Dyke played Jack and Rebecca York played Caroline. A People magazine review of the movie stated: “They and their three kids are immediately likable … But it goes downhill from there as the script lobotomizes all its characters. Here’s a textbook case in how TV takes a cute idea—and a script that does have some good lines—and leeches the wit out of it.”

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Hulton Archive/Getty Images
The Star Trek Theme Song Has Lyrics
Hulton Archive/Getty Images
Hulton Archive/Getty Images

The Star Trek theme song is familiar to pretty much anyone who lived in the free world (and probably elsewhere, too) in the late 20th century. The tune is played during the show's opening credits; a slightly longer version is played, accompanied by stills from various episodes, during the closing credits. The opening song is preceded by William Shatner (as Captain Kirk) doing his now-legendary monologue recitation, which begins: "Space, the final frontier ..."

The show's familiar melody was written by respected film and TV composer Alexander Courage, who said the Star Trek theme's main inspiration was the Richard Whiting song "Beyond the Blue Horizon." In Courage's contract it was stipulated that, as the composer, he would receive royalties every time the show was aired and the theme song played. If, somehow, Star Trek made it into syndication—which, of course, it ultimately did—Courage stood to make a lot of money. And so did the person who wrote the lyrics.

WAIT... THERE WERE LYRICS?

Gene Roddenberry, the show's creator, wrote lyrics to the theme song.

"Beyond the rim of the star-light,
my love is wand'ring in star-flight!"

Why would Roddenberry even bother?

The lyrics were never even meant to be heard on the show, but not because the network (NBC) nixed them. Roddenberry nixed them himself. Roddenberry wanted a piece of the composing profits, so he wrote the hokey lyrics solely to receive a "co-writer" credit.

"I know he'll find in star-clustered reaches
Love, strange love a star woman teaches."

As one of the composers, Roddenberry received 50 percent of the royalties ... cutting Alexander Courage's share in half. Not surprisingly, Courage was furious about the deal. Though it was legal, he admitted, it was unethical because Roddenberry had contributed nothing to why the music was successful.

Roddenberry was unapologetic. According to Snopes, he once declared, "I have to get some money somewhere. I'm sure not gonna get it out of the profits of Star Trek."

In 1969, after Star Trek officially got the ax, no one (Courage and Roddenberry included) could possibly have imagined the show's great popularity and staying power.

Courage, who only worked on two shows in Star Trek's opening season because he was busy working on the 1967 Dr. Doolittle movie, vowed he would never return to Star Trek.

He never did.

THE WORDS

If you're looking for an offbeat karaoke number, here are Roddenberry's lyrics, as provided by Snopes:

Beyond
The rim of the star-light
My love
Is wand'ring in star-flight
I know
He'll find in star-clustered reaches
Love,
Strange love a star woman teaches.
I know
His journey ends never
His star trek
Will go on forever.
But tell him
While he wanders his starry sea
Remember, remember me.

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