‘Sweet Home Alabama’ at 20: Director Andy Tennant and star Josh Lucas reveal never-before-told stories about the rom-com classic and their hopes for a sequel

In the two decades since its release, “Sweet Home Alabama” has gone from a rejected script to an unexpected box office hit to a beloved romantic comedy.

Reese Witherspoon was fresh off the success of “Legally Blonde” when she decided to play Melanie Carmichael, a former southern troublemaker turned New York City fashion designer.

But even in her most optimistic moments, Reese Witherspoon probably did not anticipate that collaborating with director Andy Tennant, whose previous film had performed so poorly that he was placed in “director jail,” and starring opposite an unknown leading man by the name of Josh Lucas would result in enormous success.

However, it is precisely what happened. With an opening weekend of $35,6 million, the film held the record for the biggest September opening for ten years.

Melanie travels to her Alabama birthplace to formalize her divorce from Jake (Lucas), her childhood sweetheart, so she can marry Andrew (Patrick Dempsey), the son of the mayor of New York City (Candice Bergen).

However, things become tricky as Melanie encounters Jake again.

“Sweet Home Alabama” has become a renowned rom-com classic due to the on-screen chemistry between Reese Witherspoon and Josh Lucas, as well as the superb supporting ensemble that included Fred Ward, Jean Smart, Melanie Lynskey, Ethan Embry, Mary Kay Place, and a very young Dakota Fanning.

Insider spoke with Tennant and Lucas to commemorate the 20th anniversary of the film’s theatrical release. Tennant and Lucas shared never-before-told stories about the film’s production, including details about the original ending that had to be reshot, the multiple slaps Lucas received from Witherspoon for a scene that was ultimately cut, and how the romantic comedy almost starred Charlize Theron.

The director of “Sweet Home Alabama” is Andy Tennant.

Photograph by Dimitrios Kambouris/WireImage/Getty

From being in “director prison” to receiving a reprieve because of “Legally Blonde”

Andy Tennant directed television series in the 1980s (“The Wonder Years,” “Parker Lewis Can’t Lose,” and “The Adventures of Brisco Country, Jr.,” respectively), before transitioning to feature films in the mid-1990s (“It Takes Two,” “Fools Rush In,” “Ever After: A Cinderella Story”). He was offered “Sweet Home Alabama” at that time.

Tennant: The script was presented to me; it was not very good. Everyone in town had ignored it. Then I moved on to create “Anna and the King” (starring Jodie Foster and Chow Yun-fat, the 1999 movie received mixed reviews and stirred up controversy when the Thai government deemed it historically inaccurate). This resulted in my placement in “director jail.” After nearly a year in the prison, “Sweet Home Alabama” came around again.

The script was just as horrible as I remembered, but I thought the concept was brilliant. In addition, I had four tiny children to feed. In the original script, I believe the fiancé of Reese’s character was a horrible jerk, but the gentleman from the South was a sexy, handsome man. This was the main insight I and my co-writer, Rick Parks, gained from the rewriting. I believe he drove stock cars. Why don’t we create a love triangle in which the two potential partners are a terrific guy and the right guy? This essentially became our North Star.

Before rewriting the film, Tennant recalled a vacation to the South, which contributed to its southern vibe.

Rick and I traveled throughout Alabama. We traveled to Aliceville and spoke with people who invited us into their porch for sweet tea. It was an enlightening encounter.

We were eating lunch when we heard explosions in the distance, and we were like, “What the hell is that?” A Civil War reenactment was taking place eight to ten miles away. Thus, while conversing with a waitress, we engaged in a lengthy discussion with some locals about how this may have sounded during the Civil War: hearing cannons not too far from where you were. Therefore, we drove out to observe the reenactment, and it was such a bizarre occurrence that we had to include it in the film.

2002 Charlize Theron.

Prior to Reese Witherspoon, Charlize Theron was in talks to play the lead.

Tennant: Charlize and her production business were the project’s original backers. They intended for Charlize to star in the film. When I collaborated with Rick on the revision, I don’t believe she was a fan, and therefore everyone split ways.

I knew Reese since I filmed a television movie with her when she was 15 years old. So we maintained contact. We would eat lunch approximately once a year. I had lunch with her just before submitting the script for “Sweet Home Alabama.” Just as we were catching up, I inquired, “What have you been up to?” She then stated: “I created a film that nobody will see. It’s absurd, but it was a lot of fun to make.” This turned out to be the film “Legally Blonde.” And when she asked what I was doing, I responded, “We just scripted a movie, but I’m not sure if it will ever be produced.” After the release of “Legally Blonde,” the studio called me and asked, “What do you think of Reese Witherspoon?” And I was like, “I have known her since she was 15 years old. She would be fantastic.” Then Reese called and said, “You will never believe it, but they sent me your script!”

“Sweet Home Alabama” was only produced because of “Legally Blonde.”

Lucas in the film Sweet Home Alabama.

Buena Vista Pictures

Josh Lucas was certain he was going to be fired before to the film’s production.

Josh Lucas began performing at age 19 and worked throughout his 20s in television, film, and even an Australian television series. In the mid-1990s, he went to New York City and began performing onstage while appearing in films such as “American Psycho” and “You Can Count on Me.” Then he auditioned for the role of Jake, the male protagonist in “Sweet Home Alabama.”

Lucas: I recall the audition so vividly because I’ve never felt more uncomfortable at an audition. I called my agent at the moment and said, “Listen, please tell them I’m really sorry, but I deserve another chance, let me go back in and do it again correctly.” And my agent informed me, “We spoke with them, and they thought you were fantastic and will bring you back.” And I was like, “What!?!”

There was never a named actor attached to play Jake, according to Tennant. It was always let’s find a good person. Josh arrived from New York, and several female producers and casting directors remarked that he was handsome, wonderful, pleasant, and had a fantastic voice. Everyone agreed, “That was simple.”

I believe that was true for Andy. My recollection is that Andy believed I was the right person to represent him, and he did so vigorously. I don’t know whether anyone else wanted me, including Disney (which released the film through its then-theatrical distribution subsidiary Buena Vista Pictures) and everyone in a position of authority. I was in no way established and lacked a substantial career to support that claim. They phoned me and said, “Disney doesn’t want you to do this film, nobody wants you to do this film but Andy, so they’re offering you nothing, so take it or leave it.” I responded, “Hell yeah, let’s take it.”

Possibly, I was the lowest-paid actor in the entire film. I am referring to every single character in the film. However, it remains one of the best decisions I’ve ever made.

In certain takes, Lucas would be so serious that Tennant would call him “Ralph,” referring to actor Ralph Fiennes, to get him to relax.

Lucas: Certainly I recall that. There was a moment late in filming where we were playing pool at a pub, and I don’t remember what I did, but Andy turned to me and said, “What are you doing?” “My God, when did you become funny? Why did it take so long?”

Tennant: I’ve worked on two films with Josh, and I adore him. It is merely a stuff. Actors understand what works for them, and I needed him to relax a bit. Some of it was accurate, “Josh, the comeback This is a joke.”

“Sweet Home Alabama” features Lucas and Witherspoon.

Buena Vista Pictures

Lucas was convinced he had no rapport with Witherspoon and would be sacked.

Lucas: There was no justification for Reese’s lack of confidence in me. And I believe she had a great deal of apprehension about me and what I would bring, as she was unable to examine my previous work and comprehend why I was cast.

I was, at the very least, rather afraid. I had never undertaken a project of that magnitude before. I was somewhat uncomfortable, so this does not bode well for the individual working across from you. Consequently, I believe Andy was able to take advantage of the intensity of his job experience. We rehearsed the early scenes in the film, including Melanie’s arrival at Jake’s house with the divorce papers for him to sign. There is tension in the relationship as well as an underlying sense of love and desire.

But I was frightened I would be terminated before we even began. I truly was. I felt quite uncomfortable and that it was ineffective. That I was not employed. Andy came over to me on the second or third day and said, “Disney totally adores what you’re doing, you guys are free.” It was intriguing because there was a time when I thought, “Really? It liberated me. Andy just kept having my back.

Tennant: I believe you get the cast you deserve; Reese was coming off a great success with “Legally Blonde.” Patrick Dempsey had done movies previously, but he was the ’80s heartthrob and this was his debut as a leading man, but Josh was unknown, so if Josh was nervous, he should have seen what it was like inside my head.

Melanie Lynskey (with infant…in a bar) and Dakota Fanning in “Sweet Home Alabama.”

Buena Vista Pictures

Tennant had no idea that the line “baby in a bar” would become as famous as the film itself, but he did know that Dakota Fanning was a rising star.

Tennant: I didn’t know how funny that line would be, but Melanie [Lynskey] is wonderful and can make anything work when she portrays Jaclyn Smith and the designer.

We needed someone who resembled Reese, but Dakota was 40 when she was 10 years old. Hello, Mr. Tennant, is there anything I can do for you? she would ask. I thought, “Who are you?”

I anticipated her success due to her talent and dedication. And I believe that was her first kiss captured on tape.

In “Sweet Home Alabama,” Witherspoon and Dempsey star.

Buena Vista Pictures

The marriage proposal sequence was filmed in the actual Tiffany’s, where Tennant’s wife was once proposed to.

When Tennant and Parks submitted the rewrite, one of the studio’s key comments was that Andrew’s proposal to Melanie at the beginning of the film was not special enough.

Tennant: The studio believed the film required a stronger introduction. Therefore, I returned home and spoke with my wife, who informed me, “I was proposed to at Tiffany’s.” And I was like, “What?” In addition, she described how an ex-boyfriend had proposed there. Now, not in the manner Patrick’s character did it, which is private after-hours, but that is where the concept originated.

We shot it in New York City at the genuine Tiffany’s. We were the first film crew to shoot there since “Breakfast at Tiffany’s.”

Witherspoon was intended to slap Lucas at the conclusion of this scene.

Touchstone

The scenario at the coon-dog cemetery intended to conclude with Witherspoon slapping Lucas.

Melanie visits the cemetery of her elderly dog Bear during the most dramatic sequence in the film. She begins to weep, but for reasons well beyond the loss of her dog. She is reminiscing about her life with Jake and the child they lost as a result of her miscarriage. When Jake enters the scene, Melanie is at her most vulnerable, and they share a passionate kiss. Jake yanks her away and instructs her to return to New York City. In the original, she slaps him and then flees. That segment was ultimately eliminated from the film.

Tennant: That’s an unexpected scene for this type of film. It’s merely a beautiful sequence with subtext, which Reese played magnificently. The loss of their child, the loss of their dreams, and the loss of their innocence. In addition, Josh’s character enters and expresses his happiness for her. It succeeds because to the abilities of these two actors.

We were within it. In a sense, Reese and I were in this relationship, not in a real-life capacity, but as characters in this thing. There was an intensity of past and historical suffering. All of this is boiling. Reese brings this to the scene, and I believe I do as well. In some ways, I believe we pushed each other to discover the truth. Thus, there were moments of intensity.

Originally, when I say “Go home” at the conclusion of that scene, Reese slaps me and then walks away.

Melanie slapped Jake for a variety of reasons, according to Tennant. I believe the intention was for her to slap him out of embarrassment over her abrupt display of weakness. He made her feel things she no longer desired to feel, and she exploded.

We performed this action six to ten times. Reese never failed to impress me.

Tennant: When we tested the film, people disliked the slap so much that we eliminated it. However, Josh was struck a number of times. And it was chilly that evening. When you receive a frigid slap, it is significantly more painful.

She rang my doorbell a few times, Lucas.

Tennant: I may have instructed Reese to hit him a few more times simply to annoy him.

In “Sweet Home Alabama,” this bloodhound portrayed both Bryant and Lucas.

Buena Vista Pictures

The dog despised Lucas.

Tennant stated that Parks’ dog would jump into the water and retrieve rocks from the bottom. They included a dog who dives for a bone in the script as a representation of small-town America, but the dog in the film refused to enter the water.

There were other dogs who portrayed Bryant, but the primary one refused to leap for the scene in which he jumps from the dock and swims for the bone. Consequently, I had to throw him down the dock, and he began to despise me thereafter.

Tennant: Yeah. We had to create a false dog head to emerge from the water because, in an ideal world, the dog would have jumped into the water. What do they express? Never interact with children or animals.

In the film, he is my best buddy, but in real life, he was afraid of me. He would see me and immediately avoid me. Bloodhounds are the most incredible canines, however they are not suitable as film dogs.

Fred Ward is featured in “Sweet Home Alabama.”

Buena Vista Pictures

Tennant claims Fred Ward’s character is racist.

Melanie’s gay Black friend Frederick (Nathan Lee Graham) is in her mother’s (Mary Kay Place) trailer discussing her decorative spoon collection near the end of the film. Fred Ward, who portrays Melanie’s father, gives a snide glance while the two converse.

Tennant: I believe we were alluding to racial undertones. However, we were simultaneously creating a comedy. Sincerely, I do not believe you could create “Sweet Home Alabama” today. When Melanie’s mother says things such as “Go get ’em Yankees” and we play it for laughs, I have no idea what is going on. The gap between civilizations is no longer amusing, given the evolution of humor and the current gloomy climate. It would not be suitable.

I believe what worked for us was the fact that everything was accurate. This is why Reese says, “Passports are required to enter this area.” If you’re not from the South, you may be a stranger in a strange land. Being from Illinois and residing in New York, I found the history fascinating and was constantly astonished by the generosity, kindness, and friendliness of Southerners.

An excerpt from “Sweet Home Alabama’s” original finale.

Buena Vista Pictures

The original ending had to be reshot because test audiences believed Reese Witherspoon’s character had passed away.

Melanie flees her wedding and races to the beach to reconcile with Jake in the film’s original ending. After a lightning strike, the scene switches to a wedding reception. Jake enters while cradling Melanie, who appears comatose, in his arms. He informs everyone that Melanie Carmichael has died. Everyone is in disbelief. Then he screams, “Long live Felony Melanie,” and Melanie, who was simply pretending to be dead, kisses him. They then proceed to dance while the song “Sweet Home Alabama” by Lynyrd Skynyrd plays.

Tennant: I’m not sure why we found that so amusing. It was humorous on paper, but when we filmed it, when Josh says “Melanie Carmichael is dead” and the camera cuts to Mary Kay’s reaction to the news that her daughter had died, we wondered, “Who thought this was funny?” Evidently I did.

I did believe the finale would be effective. I thought it was amusing, ridiculous, and odd.

Tennant: When we presented it to a test audience, the entire room exclaimed, “What the hell?” The crowd enjoyed the film till that point. The CEO of Buena Vista Pictures, Nina Jacobson, literally stepped up the aisle before the lights came up and informed me, “We’re reshooting the conclusion.”

Lucas: Hearing that a large reshoot is required is never a good sign, but it worked well.

In 2002, Lucas attended the premiere of “Sweet Home Alabama.”

Lucas was startled by his quick stardom after the film’s release, which followed the film’s release.

Lucas: There wasn’t much buzz about the film, and the premiere wasn’t held in a fancy auditorium, yet what transpired there remains one of the oddest moments of my life.

I believe I had watched the film previously and like it, but I did not get the impression that anyone else did. Consequently, I attended the premiere with my mother and some of my friends, and there was a party afterward. As my mother and I departed, I was essentially ambushed by paparazzi. I mean, seriously assaulted. As we left, they were lying on the limousine. It was something I had never previously or subsequently experienced. I immediately recognized that this was special. The next Friday, the film was released, and I began receiving phone calls from my agent on Sunday, informing me of its massive opening weekend.

I felt like I became a celebrity overnight, and I had no idea it would happen. Nobody had previously informed me that this film would be a huge success. Zero. There is a saying: if you behave like a movie star, people will treat you like a movie star. I never have such a mindset. That’s not who I am, and perhaps that’s why Jake and I are compatible and why we have a connection. In many aspects, I am very similar to him. It came as a complete surprise that my life and work would be affected by this.

Tennant: I honestly do not know how anyone handles with stardom. It is a mystery to me.

My producing partner and editor, both women, were present in the editing room. I am there putting the finishing touches on the film. They were watching the Deep South Glass moment where Josh walks down the stairs in close-up, and I believe I clipped maybe six frames before they both noticed. They were like, “What did you do?” And I responded, “I removed six frames from his close-up.” And they both said, “Put it back!”

Josh possesses a rare combination of charisma and star power.

Lucas: I feared becoming famous. I was not someone who desired fame, but I did observe a change at one point. Since then, it has come and gone, and I am so much past it that I no longer give it much credence. At times, I felt it was a tremendous blessing, while other instances, such as the paparazzi incident, were horrifying.

Witherspoon, Dempsey, and Lucas.

Both Tennant and Lucas are frequently reminded of the film 20 years later, so they desperately want to make a sequel.

Since the release of “Sweet Home Alabama,” Tennant has directed another successful romantic comedy, “Hitch,” starring Will Smith and Eva Mendes. Included in Lucas’s amazing career are the films “Hulk,” “Glory Road,” and “Ford v. Ferrari.” However, neither can escape the popularity of “Sweet Home Alabama.”

Tennant: “Sweet Home Alabama” is frequently broadcast. It held the September opening record for the previous decade. never before seen

But I recall when my wife and I were on our second honeymoon in Tahiti, perhaps ten years ago, and I met a couple in the pool who were also on their honeymoon and they told me that they had included words from “Sweet Home Alabama” in their vows.

In New York City, firemen will approach me on the street and say, “I despise romantic comedies, but I love this one.” People continue to revisit it not as a sinful pleasure but as a relaxing one.

I’ve been an actor for 30 years, and I’m frequently asked if I’ve ever made another film.

I routinely experience this.

Tennant: When I hear that people still cherish Sweet Home Alabama, I phone Josh and say, “God, I wish we were producing a sequel.”

Tennant has penned a treatment for a Sweet Home Alabama sequel.

Tennant: Ava, Reese’s daughter, attended the same school as my son, so I occasionally saw Reese. When the film reached 13 to 14 years later, I began to wonder where they would all be. Where are these four characters now: Melanie, Jake, Andrew, and the character played by Melanie Lynskey, Lurlynn? My children were enrolled in college, which prompted me to consider a new generation of children attending school and falling in love, as well as the effect this would have on parents when they view their children as true adults. If the apple doesn’t fall too far from the tree, how would you describe Melanie’s daughter?

I am aware that Andy has written something, but I have never actually read anything. Andy informed me that it would be honest. That Jake would have midlife troubles and that Jake and Melanie have arrived in different places. Perhaps Jake now resides in a trailer park, while Melanie has created the ideal existence.

Tennant: I’ve written a script, and most of it involves Reese and Melanie Lynskey’s characters taking their children on a college tour. Melanie is unaware of this. I haven’t seen her in years. Insider attempted to interview Lynskey for this story but received no response. I’ve worked on two films with her, “Ever After” and this one. I would do anything and everything to collaborate with Melanie Lyskey once more. She is a dream for directors. The things she performs in every take are excellent. Josh and I continue to lobby Reese despite her hectic schedule. According to Witherspoon’s representative, she was unavailable for an interview for this story.

Lucas: I have not encountered Reese since filming the movie. I keep hearing that others from the film would love to participate. I’d love to do a sequel to “Sweet Home Alabama.”

Tennant: Even Reese’s attorney appreciated the care. But I went no closer than that.

For clarity, the interviews have been reduced and trimmed.