Behind the Scenes of Glass Onion
Dive back into the intricate world of Glass Onion with fresh insights, courtesy of Rian Johnson's latest director's commentary. This time, you'll uncover new layers and hidden gems that enhance your viewing experience.
One of the early scenes in Glass Onion takes us through the personal spaces of the key suspects, including Lionel Toussaint, portrayed by Leslie Odom Jr. In his lab, we see a stack of faxes from Miles Bron, the eccentric tech mogul. These faxes feature odd ideas like "Uber for biospheres" and "A.I. in dogs = discourse." Johnson reveals, "That entire pile of faxes is actually filled with alternate ideas of all the wacky stuff that Miles could have thrown against the wall."
The film was shot during the Delta surge of the pandemic, which meant many of the extras were familiar faces. At Birdie's party, keen viewers might spot production designer Rick Heinrichs and line producer Tom Karnowski in a brief court scene. Johnson explains, "Because we were shooting in the middle of COVID, a lot of these people are also friends and crew members. Anybody who was a trusted, regularly tested member of the crew got roped into a cameo at some point."
Behind the Scenes: Rian Johnson's 'Glass Onion' Revelations
The unexpected appearance of Ethan Hawke in "Glass Onion" as the enigmatic Efficient Man was a fortunate scheduling coincidence. Johnson reveals that Hawke was filming the Marvel series "Moon Knight" in Budapest, conveniently close to the "Glass Onion" production location. This proximity allowed Johnson to invite Hawke and his family for a weekend visit, resulting in the memorable cameo.
Long-time Johnson collaborator Joseph Gordon-Levitt continues his tradition of appearing in the director's films, though this time only through audio. Gordon-Levitt's contribution is the distinctive hourly "DONG!" sound that echoes across Miles' island. Johnson explains this was a deliberate homage to the noonday gun from "Evil Under the Sun," a Poirot adaptation he greatly admires.
For Daniel Craig's return as detective Benoit Blanc, costume designer Jenny Eagan crafted a distinctive sartorial identity. The character's fashion sensibilities were influenced by two cinematic icons: French comedian Jacques Tati and Cary Grant's sophisticated look in "To Catch a Thief," creating a unique visual presence for the returning sleuth.
Rian Johnson, while crafting the screenplay for Glass Onion, was deeply immersed in the musical world of Stephen Sondheim, particularly inspired by Merrily We Roll Along. This thematic connection subtly finds its way into the film through various lyrical Easter eggs.
In Bron's glass trophy room, keen observers can spot several pieces of Beatles memorabilia, such as a glass walrus from Magical Mystery Tour and a reference to "The Fool on the Hill" on the switch of the Mona Lisa's glass door.
During a flashback to the disruptors' neighborhood hangout, Bron sports an outfit that pays homage to Frank T.J. Mackey, the macho, chauvinistic character played by Tom Cruise in Magnolia. This unannounced wardrobe choice by the actor was more than just a prank; it was a deliberate nod to Miles' lack of originality, as Johnson explains: “He didn’t tell me he was going to do this. He just showed up on set. The idea behind it is that Miles has never had an original thought in his life.”
Janelle Monáe’s character, Helen, undergoes a surprising identical-twin twist, which Johnson notes was cleverly executed. “I figured Helen showed the hair reference, but they did it in the mirror. She got it almost right, but her part is on the other side,” he observes.
Initially, the script included a running gag where Helen would juggle mystery-solving with frequent phone calls from her children, who were experiencing some colorful digestive issues. Johnson shares, “Originally, her phone rang, and it was her daughter Facetiming with her, flipping out because her daughter’s poop had turned blue from eating too many blueberry pop-tarts.” However, this subplot was eventually cut to maintain the film's pacing.
The dramatic burning of the Mona Lisa at the end of the film also had a practical, legal requirement. Johnson reveals, “We had reproductions done of all the classic paintings on the walls. If you do that, you have to license the image and then, at the end of the shoot, you actually have to destroy those fake paintings. You have to burn them.” In a way, Helen's fiery act in the film mirrored the real-world necessity to dispose of these carefully crafted replicas.
Wealth and Opulence in the Film
In Rian Johnson's mystery sequel, tech billionaire Miles Bron flaunts his extravagant wealth through an array of high-priced possessions. His private Greek island serves as the opulent backdrop for the film's events, likely costing hundreds of millions to purchase and develop.
The gleaming superyacht that transports guests to his island represents another significant investment, with comparable vessels commanding price tags between $100-300 million, not including the substantial annual operating costs that can reach into the millions.
Bron's island mansion features priceless art, including what appears to be the actual Mona Lisa—borrowed during the pandemic in the film's fiction—alongside other museum-quality pieces that collectively would be valued in the billions if authentic.
His technological indulgences include a hydrogen-based alternative energy system powering the entire compound, cutting-edge security infrastructure, and various prototype gadgets that suggest massive R&D expenditures beyond what most countries could afford.
Perhaps most telling of Bron's excessive wealth is his casual attitude toward these possessions, treating rare artifacts and revolutionary technology as disposable playthings rather than investments.
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