Being John Malkovich

Kaufman's idea of Being John Malkovich originated simply as "a story about a man who falls in love with someone who is not his wife." Gradually he added further elements to the story which he found entertaining, such as floor ​7 ¹⁄₂ of the Mertin Flemmer building; among his first ideas, Malkovich was "nowhere to be seen".[3] He wrote the script on spec in 1994 and though it was widely read by production company and film studio executives, all turned it down.[4] Hoping to find a producer, Kaufman sent the script to Francis Ford Coppola, who passed it on to his daughter's boyfriend Spike Jonze.[5]

Jonze first read the script in 1996 and had agreed to direct the film by 1997.[4][6] Jonze took the script to Propaganda Films, which agreed to produce the film in partnership with production company Single Cell Pictures.[4][6] Single Cell producers Michael Stipe and Sandy Stern pitched the film to numerous studios, including New Line Cinema, who dropped the project after chairman Robert Shaye asked: "Why the fuck can't it be Being Tom Cruise?".[7] Jonze recalled that Malkovich asked the same question, and that Malkovich had felt that "Either the movie's a bomb and it's got not only my name above the title but my name in the title, so I'm fucked that way; or it does well and I'm just forever associated with this character."[8] Jonze explained in the same interview that he had not realized how brave Malkovich's performance was.[8]

With a budget of $10 million,[9] principal photography of Being John Malkovich began on July 20, 1998, and continued through August.[6][10] Filming took place primarily in Los Angeles;[10] specific locations included the University of Southern California campus and the Observation Bar on board the RMS Queen Mary.[11][12]

The puppets were created by Kamela Portuges and Images in Motion. Phillip Huber animated the puppets.[13] About Huber's puppetry, Jonze has said he was a full-time puppeteer and controlled his puppets with impressive means, such as using strings and no rods to control them, as well as swinging the puppets on high wires.[14]

Diaz's make-up artist Gucci Westman described styling Diaz in the role as "a challenge, to make her look homely."[15] The script included minimal physical descriptions of characters, and thus when Diaz took up the role she did not know that "people weren't going to recognize me."[16]

Cusack read the film's script after he had asked his agent to present him with the "craziest, most unproduceable script you can find." Impressed with the script, he asked his agent to follow its progress and book him an audition, which won him the role.[17]

Keener cited Being John Malkovich as an instance of her taking up a role based on the director's previous work. She had heard about Jonze's experience with music videos and took up the part of Maxine although she initially disliked the character and did not feel that she was right for the part.[18][19] She was subsequently nominated for an Oscar.

Kaufman said that there was never another actor in Malkovich's place in the script: "The screenplay was always "Being John Malkovich", even before I had any expectation that John Malkovich would even read the script."[6] He chose Malkovich because he believed there to be "an enigmatic quality about him that works",[20] though Malkovich was partly chosen because of the sound of his name in repetition. Kaufman explained that "When we were thinking of alternatives, we found that a lot of them weren't fun to say."[3] Jonze's then-father-in-law Francis Ford Coppola was able to contact Malkovich,[4] and Jonze flew with producer Sandy Stern to Malkovich's home in France. Stern said that Malkovich was "half intrigued and half horrified" when he first read the script, but he eventually agreed to star in the film.[7]

Being John Malkovich was given limited release in the United States theatres on October 22, 1999, and opened across 25 screens. On its opening weekend, the film grossed US$637,731 across 25 screens with a per-screen average of $25,495.[21] It expanded to another 150 screens the following week,[21] bringing in $1.9 million with a per-screen average of $10,857.[22] In its third week, the film's release widened to 467 locations and grossed $2.4 million, averaging a lower $5,041 per screen with a cumulative gross of $6.1 million.[23] It moved into a wide release the next week, expanding to 591 screens, and grossed $1.9 million with a 20% drop in ticket sales.[24] Its fifth week brought in $2.2 million with a 17% increase in ticket sales,[25] which dropped a further 33% the following week despite further expansion to 624 screens.[26] It finished its theatrical run after 26 weeks with a total gross of $22,863,596.[27]

The film opened in the United Kingdom in March 2000, earning £296,282 in its debut week[28] and closing after fifteen weeks with a total gross of £1,098,927.[29] In France, the film opened in December 1999 with a gross of US$546,000 from 94 venues and went on to further success due to positive reviews and word of mouth.[30][31] It grossed $205,100 from 109 screens on its opening weekend in Italy and ticket sales dropped by 37% the following week with a cumulative gross of $480,000 from 82 screens.[30][32] Its German release brought in a total of $243,071.[33] Being John Malkovich had a total foreign gross of $9,523,455, combined with its domestic gross to give an international total of over $32 million.[1]

Being John Malkovich was initially released in 2000 on VHS, both as a regular edition and a limited edition collector's set,[34][35] and on DVD, with special features including a theatrical trailer, TV spots, cast and crew biographies, the director's photo album and featurettes on floor 7½ and puppeteering.[36] A special edition DVD, released later the same year, included the aforementioned features, an interview with Jonze and two behind-the-scenes featurettes.[37] It was released on HD DVD in 2008. The Criterion Collection released a special edition of the film on Blu-ray and DVD in 2012.[38]

All tracks are written by Carter Burwell, except where noted.