13 Arresting Facts About Cops

20th Century Fox Television
20th Century Fox Television

To get an idea of how long producer John Langley has been assigning camera crews to film "on location with the men and women of law enforcement," think about this: When Cops premiered on Fox on March 11, 1989, The Simpsons was still eight months away from debuting, and Ronald Reagan had only been out of the White House for less than two months.

In the nearly 30 years since, Cops has barely skipped a beat. When Fox decided to cancel the show in 2013, Spike picked it up and continues to air new episodes every Saturday. If you can’t get enough foot chases, domestic incidents, and eye-darting suspects, check out these facts.

1. JOHN LANGLEY THOUGHT OF THE IDEA DURING A COCAINE BUST.

The producer was in charge of a crew covering a real-life drug raid for a 1983 documentary called Cocaine Blues when inspiration struck: He thought it would be a good idea to have a no-frills chronicle of the everyday experiences of police officers. While the concept (then titled Street Beat) was simple, no one shared Langley’s enthusiasm. He was repeatedly told no show without a narrator, music, or plot could succeed.

2. A WRITERS STRIKE GOT IT ON THE AIR.

Langley had been pushing the idea for most of the 1980s when he met with the new “fourth network,” Fox, in 1988. While executives were still cool to the premise, the 1988 Writers Guild of America strike made Langley’s lack of scripted elements appealing. “Suddenly, a show with no actors, host, script, or writers sounded pretty good,” he said in 2007. Fox didn't completely abandon the notion of star power, though: Burt Lancaster voiced a brief introduction for the pilot episode.

3. THE THEME SONG CAME FIRST.

“Bad Boys” might be one of the most recognizable credit themes of all time, but the group behind it wasn’t thinking about Langley or his show when they recorded it. Reggae musicians Inner Circle put the track on a 1987 album that was heard by a Cops crew member, who then played it for Langley. The rights were sold for $2500; while the show originally used the full version of the song for the pilot, it’s been whittled down to just the chorus for reruns.

4. EACH SHOW HAS A THREE-ACT STRUCTURE.

Discussing the show’s format in 2007, Langley offered that each episode typically begins with an action sequence (a car or foot chase; subduing an uncooperative suspect), a “slow-things-down” sequence (rational conversation; bats in chimneys), and finally a moral message of some sort (a cop lecturing someone to stay off of drugs).

5. THEY USED TO FOLLOW THE COPS HOME.

Langley’s original notion was to document both a police officer’s working shift and his domestic life. In the 1989 pilot, a captain in Florida's Broward County police department was seen arguing with his wife after a long shift. Critic Tom Ensign called it the “only phony aspect” of the show. It was dropped almost immediately. 

6. THE SUSPECTS NEED TO GIVE THEIR PERMISSION TO APPEAR ON THE SHOW.


20th Century Fox Television

Contrary to popular belief, being arrested doesn’t absolve anyone of his or her right to not be filmed for a national television show. Producers on Cops have to get releases signed by arrestees and suspects. If they’re already handcuffed, the crew can follow them to jail and get them to sign there. Langley has said that proper timing is key when it comes to getting their permission—during a fight is a problem—and estimated that 95 percent of everyone filmed signs a waiver to appear. According to Langley, they simply want to be on television.

7. SOME POLICE DEPARTMENTS SEE COPS AS A RECRUITING TOOL.

Citing their belief that police work is not meant to be an entertainment product, Chicago is among a handful of cities that have long refused to let Cops shoot in their territory. But for the dozens of other departments that have, the motivation is often to use the show as a recruiting tool for fellow officers. If a cop does something potentially embarrassing? Precincts almost always retain the right to screen footage before it’s aired.

8. THE CREW HAS HAD TO JUMP IN.

The official Cops crew policy is that camera and microphone operators are there only to observe: They’re not allowed to interfere with anything going on. The exception, Langley says, is if an officer’s life is in danger. In one instance, a suspect was about to secure an officer’s weapon when the sound man put down his gear and jumped in; another show staffer administered CPR to a woman in need. He was a paramedic; the officer didn’t know the technique.

9. THERE’S BEEN ONE FATALITY.

Despite some dangerous situations, Cops has had an excellent track record of crew safety: Any production member riding with police has to wear a bulletproof vest. The single instance of a civilian being mortally wounded came in 2014, when sound supervisor Bryce Dion was accidentally shot by police in Omaha during a confrontation with a man they believed had a firearm. According to CBS, Dion had been with the show seven years.

10. UNUSED FOOTAGE GETS TRASHED.


20th Century Fox Television

Langley’s crew can shoot 400 hours of footage to get a single 22-minute episode of Cops. While he originally tried archiving everything he didn’t use, the series has been around for so long that multiple storage formats have come and gone, rendering their continued existence impractical or expensive to convert. So unused footage is either taped over or thrown out.

11. THEY DID A VERY SPECIAL EPISODE.

Cops rarely breaks from its formula of depicting officers on patrol, planning raids, or executing sting operations. But a crew set up in Boynton Beach, Florida got a different perspective on things when they discovered that an undercover officer named Widy Jean had taped an admission from a woman looking for a hitman to kill her husband. When police set up a “crime scene” for the suspect, Dalia Dippolito, to come view, Cops filmed her reaction. According to ABC News, Dippolito was tried and convicted of solicitation to commit first-degree murder in 2011, but the verdict was thrown out due to improper jury selection. Dippolito says she did not want her husband dead and maintains she and her friends faked the criminal plan in order to post it on YouTube and garner fame. She's set to be retried in May.

12. IT’S A $500 MILLION BUSINESS.

Crime does indeed pay. In 2005, Broadcasting and Cable estimated that Cops had generated $500 million in 17 seasons, with syndication, licensing, and DVD sales reaping huge profits for the modestly-budgeted series.

13. NO, THEY DON’T PAY THE COPS.

Langley, who has been critical of much of the reality television that followed in his wake, has always had a firm no-compensation policy for anyone featured on the show, suspect or police officer. “We don’t pay people to be themselves,” he told Entertainment Weekly in 2011. “If you pay them, you’re affecting their behavior.”

15 Fascinating Facts About Schindler’s List

Universal Pictures
Universal Pictures

In 1993, Steven Spielberg’s Schindler’s List brought to the screen a story that had gone untold since the tragic events of the Holocaust. Oskar Schindler, a Nazi party member, used his pull within the party to save the lives of more than 1000 Jewish individuals by recruiting them to work in his Polish factory. Here are some facts about Spielberg’s groundbreaking film on its 25th anniversary.

1. The story was relayed to author Thomas Keneally in a Beverly Hills leather goods shop.

In October 1980, Australian novelist Thomas Keneally had stopped into a leather goods shop off of Rodeo Drive after a book tour stopover from a film festival in Sorrento, Italy, where one of his books was adapted into a movie. When the owner of the shop, Leopold Page, learned that Keneally was a writer, he began telling him “the greatest story of humanity man to man.” That story was how Page, his wife, and thousands of other Jews were saved by a Nazi factory owner named Oskar Schindler during World War II.

Page gave Keneally photocopies of documents related to Schindler, including speeches, firsthand accounts, testimonies, and the actual list of names of the people he saved. It inspired Keneally to write the book Schindler’s Ark, on which the movie is based. Page (whose real name was Poldek Pfefferberg) ended up becoming a consultant on the film.

2. Keneally wasn't the first person Leopold Page told about Oskar Schindler.

The film rights to Page’s story were actually first purchased by MGM for $50,000 in the 1960s after Page had similarly ambushed the wife of film producer Marvin Gosch at his leather shop. Mrs. Gosch told the story to her husband, who agreed to produce a film version, even going so far as hiring Casablanca co-screenwriter Howard Koch to write the script. Koch and Gosch began interviewing Schindler Jews in and around the Los Angeles area, and even Schindler himself, before the project stalled, leaving the story unknown to the public at large.

3. Schindler made more than one list.

Liam Neeson, Agnieszka Krukówna, Krzysztof Luft, Friedrich von Thun, and Marta Bizon in Schindler's List (1993)
Universal Pictures

Seven lists in all were made by Oskar Schindler and his associates during the war, while four are known to still exist. Two are at the Yad Vashem in Israel, one is at the US Holocaust Museum in Washington, D.C., and one privately owned list was unsuccessfully auctioned off via eBay in 2013.

The movie refers to the first two lists created in 1944, otherwise known as “The Lists of Life.” The five subsequent lists were updates to the first two versions, which included the names of more than 1000 Jews who Schindler saved by recruiting them to work in his factory.

4. Steven Spielberg first learned of Schindler in the early 1980s.

Former MCA/Universal president Sid Sheinberg, a father figure to Spielberg, gave the director Keneally’s book when it was first published in 1982, to which Spielberg allegedly replied, “It’ll make a helluva story. Is it true?”

Eventually the studio bought the rights to the book, and when Page met with Spielberg to discuss the story, the director promised the Holocaust survivor that he would make the film adaptation within 10 years. The project languished for over a decade because Spielberg was reluctant to take on such serious subject matter. Spielberg’s hesitation actually stopped Hollywood veteran Billy Wilder from making Schindler’s List his final film. Wilder tried to buy the rights to Keneally’s book, but Spielberg and MCA/Universal scooped them up before he could.

5. Spielberg refused to accept a salary for making the movie.

Though Spielberg is already an extremely wealthy man as a result of the many big-budget movies that have made him one of Hollywood’s most successful directors, he decided that a story as important as Schindler’s List shouldn’t be made with an eye toward financial reward. The director relinquished his salary for the movie and any proceeds he would stand to make in perpetuity, calling any such personal gains “blood money.” Instead, Spielberg used the film’s profits to found the USC Shoah Foundation, which was established in 1994 to honor and remember the survivors of the Holocaust by collecting personal recollections and audio visual interviews.

6. Before Spielberg agreed to make the movie, he tried to get other directors to make it.

Part of Spielberg’s reluctance to make Schindler's List was that he didn’t feel that he was prepared or mature enough to tackle a film about the Holocaust. So he tried to recruit other directors to make the film. He first approached director Roman Polanski, a Holocaust survivor whose own mother was killed in Auschwitz. Polanski declined, but would go on to make his own film about the Holocaust, The Pianist, which earned him a Best Director Oscar in 2003. Spielberg then offered the movie to director Sydney Pollack, who also passed.

The job was then offered to legendary filmmaker Martin Scorsese, who accepted. Scorsese was set to put the film into production when Spielberg had an epiphany on the set of the revisionist Peter Pan story Hook and realized that he was finally prepared to make Schindler’s List. To make up for the change of heart, Spielberg traded Scorsese the rights to a movie he’d been developing that Scorsese would make into his next film: the remake of Cape Fear.

7. The movie was a gamble for Universal, so they made Spielberg a dino-sized deal.

When Spielberg finally decided to make Schindler’s List, it had taken him so long that Sheinberg and Universal balked. The relatively low-budget $23 million three-hour black-and-white Holocaust movie was too much of a risk, so they asked Spielberg to make another project that had been brewing at the studio: Jurassic Park. Make the lucrative summer movie first, they said, and then he could go and make his passion project. Spielberg agreed, and both movies were released in 1993; Jurassic Park in June and Schindler’s List in December.

8. Spielberg didn't want a movie star with Hollywood clout to portray Schindler.

Kevin Costner and Mel Gibson auditioned for the role of Oskar Schindler, and actor Warren Beatty was far enough along in the process that he even made it as far as a script reading. But according to Spielberg, Beatty was dropped because, “Warren would have played it like Oskar Schindler through Warren Beatty.”

For the role, Spielberg cast then relatively unknown Irish actor Liam Neeson, whom the director had seen in a Broadway play called Anna Christie. “Liam was the closest in my experience of what Schindler was like,” Spielberg told The New York Times. “His charm, the way women love him, his strength. He actually looks a little bit like Schindler, the same height, although Schindler was a rotund man,” he said. “If I had made the movie in 1964, I would have cast Gert Frobe, the late German actor. That’s what he looked like.”

Besides having Neeson listen to recordings of Schindler, the director also told him to study the gestures of former Time Warner chairman Steven J. Ross, another of Spielberg’s mentors, and the man to whom he dedicated the film.

9. Spielberg did his own research.

In order to gain a more personal perspective on the film, Spielberg traveled to Poland before principal photography began to interview Holocaust survivors and visit the real-life locations that he planned to portray in the movie. While there, he visited the former Gestapo headquarters on Pomorska Street, Schindler’s actual apartment, and Amon Goeth’s villa.

Eventually the film shot on location for 92 days in Poland by recreating the Płaszów camp in a nearby abandoned rock quarry. The production was also allowed to shoot scenes outside the gates of Auschwitz.

10. The little girl in the red coat was real.

Promotional image for 25th anniversary rerelease of Schindler's List.
Universal Pictures

A symbol of innocence in the movie, the little girl in the red coat who appears during the liquidation of the ghetto in the movie was based on a real person. In the film, the little girl is played by actress Oliwia Dabrowska, who—at the age of three—promised Spielberg that she would not watch the film until she was 18 years old. She allegedly watched the movie when she was 11, breaking her promise, and spent years rejecting the experience. Later, she told the Daily Mail, “I realized I had been part of something I could be proud of. Spielberg was right: I had to grow up to watch the film.”

The actual girl in the red coat was named Roma Ligocka; a survivor of the Krakow ghetto, she was known amongst the Jews living there by her red winter coat. Ligocka, now a painter who lives in Germany, later wrote a biography about surviving the Holocaust called The Girl in the Red Coat.

11. The movie wasn't supposed to be in English.

For a better sense of reality, Spielberg originally wanted to shoot the movie completely in Polish and German using subtitles, but he eventually decided against it because he felt that it would take away from the urgency and importance of the images onscreen. According to Spielberg, “I wanted people to watch the images, not read the subtitles. There’s too much safety in reading. It would have been an excuse to take their eyes off the screen and watch something else.”

12. The studio didn't want the movie to be in black and white.

The only person at MCA/Universal who agreed with Spielberg and director of cinematography Janusz Kaminski’s decision to shoot the movie in black and white was Sheinberg. Everyone else lobbied against the idea, saying that it would stylize the Holocaust. Spielberg and Kaminski chose to shoot the film in a grimy, unstylish fashion and format inspired by German Expressionist and Italian Neorealist films. Also, according to Spielberg, “It’s entirely appropriate because I’ve only experienced the Holocaust through other people’s testimonies and through archival footage which is, of course, all in black and white.”

13. Spielberg's passion project paid off in Oscars.

Schindler’s List was the big winner at the 66th Academy Awards. The film won a total of seven Oscars, including Best Picture and Best Director awards for Spielberg. Neeson and Ralph Fiennes were both nominated for their performances, and the film also received nods for Costume Design, Makeup, and Sound.

14. Schindler's List is technically a student film.

Steven Spielberg gives a speech
Nicholas Hunt, Getty Images

Thirty-three years after dropping out of college, Spielberg finally received a BA in Film and Video Production from his newly minted alma mater, Cal State Long Beach, in 2002. The director re-enrolled in secret, and gained his remaining credits by writing essays and submitting projects under a pseudonym. In order to pass a film course, he submitted Schindler’s List as his student project. Spielberg describes the time gap between leaving school and earning his degree as his “longest post-production schedule.”

15. Spielberg thinks the film may be even more important to watch today.

In honor of the film's 25th anniversary, it's currently back in theaters. But Spielberg believes that the film may be even more important for today's audiences to see. "I think this is maybe the most important time to re-release this film," the director said in a recent interview with Lester Holt on NBC Nightly News. Citing the spike in hate crimes targeting religious minorities since
2016, he said, "Hate's less parenthetical today, it's more a headline."

Additional Sources:
The Making of Schindler’s List: Behind the Scenes of an Epic Film, by Franciszek Palowski

An earlier version of this article appeared in 2015.

The Most-Searched Holiday Movie in Every State, Mapped

iStock.com/chrispecoraro
iStock.com/chrispecoraro

Do you live in a Gremlins state or a Home Alone state? StreamingObserver is here to tell you. The streaming-industry site recently used Rotten Tomatoes and other public data sources to figure out the most popular Christmas movies in each state. Spoiler: It’s a Wonderful Life isn’t quite the Christmas classic you thought it was.

The list takes some liberties with what might be considered a “Christmas” movie. Die Hard (a favorite in Missouri and Wisconsin) made the list, as did Batman Returns (California’s most-searched movie) and Edward Scissorhands (popular in Nevada and Arizona). They aren’t quite the traditional Hallmark holiday fare, but they each include at least some nod to the Christmas season.

Then there’s the more standard Yuletide entertainment, like A Christmas Carol (Tennessee’s favorite) and Frosty the Snowman (South Dakota's pick). Christmas in Connecticut, oddly enough, is Montana’s favorite (unclear whether that’s the 1945 film or the 1992 TV movie), while Connecticut’s favorite is the 1983 Eddie Murphy film Trading Places. The Apartment, The Snowman, Miracle on 34th Street, and The Best Man Holiday also make an appearance. Seven states list Gremlins as their favorite, while six chose Home Alone and three chose Scrooged.

The data is based on Google searches, rather than surveys, so it's possible that the movie at the top of each state's list isn't so much beloved as it is curiosity-inspiring. It's possible that all these people are Googling Gremlins, then deciding not to watch it. But we feel fairly confident saying a lot of people will be watching Die Hard this Christmas season. (Tip: You can't stream it on Netflix right now, but you can rent it on Amazon.)

The 2018 results are fairly different from StreamingObserver's 2016 data, which you can compare here. Do you agree with your state's preferences?

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