Richard Matheson

Jeremy Licht Reflects on the Making of ‘Twilight Zone: The Movie’

Posted on by The Ultimate Rabbit

Twilight Zone Movie Jeremy Licht

Grauman’s Chinese in Hollywood had a special screening of “Twilight Zone: The Movie” in honor of its 30th anniversary, and the screening was put together by Mad Monster. Before fans got to watch the movie in its pristine digital presentation, there was a Q&A with one of the movie’s stars, Jeremy Licht. Perhaps best known for his work as a child actor on television shows like “The Hogan Family,” Licht was very happy to share his memories of making this film.

Twilight Zone The Movie poster

Licht appears in the movie’s third segment, “It’s a Good Life,” in which he plays Anthony, a young boy who is suddenly befriended by schoolteacher Helen Foley (Kathleen Quinlan). But when Anthony takes Helen home to meet his “family,” she ends up meeting a group of people who live in sheer horror of Anthony as he lives to terrify them if he suspects they disapprove of him.

The movie is the theatrical version of Rod Serling’s classic television series “The Twilight Zone,” and it is essentially an anthology of four different films by four directors. Licht described the audition process for it as being “really interesting” and that he was not hired until after the filmmakers started shooting the first couple of segments.

“I auditioned a couple of times and knew it was starting to get close, and it was really exciting,” Licht said of the process. “On the second audition that I had, Joe Dante was in there (who directed “It’s a Good Life”). It wasn’t often that I got star struck, but I was kind of in awe of him because of what he had done. He had made ‘Piranha’ which I’m sure you all know more than I do.”

Of course, it’s impossible not to talk about “Twilight Zone: The Movie” without mentioning the tragic accident which still casts a heavy shadow over it. During the filming of the first segment, “Time Out” directed by John Landis, a helicopter crashed and killed actor Vic Morrow and two child actors, Myca Dinh Le and Renee Shin-Yi Chen. Licht got the news about the accident a week after his second audition.

“I figured that was it. That was the end of it and they were going to shelve the film,” Licht said. “About six months later, I ended up getting a call from my agent that they were actually back in production and that they had wrapped up that segment (“Time Out”), and to come back and for a third audition. I went back in, and at this point I knew it (the material) back and forth, and I walked in and there was Steven Spielberg. He had just come off of ‘E.T.’ and it was really an amazing audition. By the time I had gotten home from that audition there was an offer. It was extremely exciting time for me and for my family and we accepted the offer, and we wound up on the Warner Brothers soundstage in Burbank within a week and we spent three months in principal photography.”

“It’s a Good Life” was a remake of the classic “Twilight Zone” episode of the same name, but Licht said he never watched it until after filming was complete. It also turns out Bill Mumy, who played Anthony in the original episode, makes a cameo appearance as a restaurant patron who intervenes when his friend starts pushing Licht’s character around.

But unlike the original television episode, Dante ended up taking “It’s a Good Life” in a different direction as it was more cartoony. Licht went on to describe Dante as a very “hands-on” director as well as a “big kid,” and that this movie was “his playground.”

“Working with a director like him truly was a treat,” Licht said of Dante. “He was really into letting the actors find what they were looking for. Obviously it was over the top; he was looking for that. He was looking for that cartoonish, extremely uncomfortable feel which I think we certainly accomplished.”

In terms of what was the most rewarding thing about doing “Twilight Zone: The Movie,” Licht replied it was being part of a film which has a huge following. The television series was always unpredictable in how you never knew what direction it would take from episode to episode, and it made fans wonder what the movie was going to be like. Having acted mostly on television and in several “movies of the week,” Licht also came to discover how fortunate he was to play Anthony in this film.

“It’s very rare as a kid, let alone at 13, to be asked to lead or be one of the principals in a film or play a character where nothing is what you think it is,” Licht said. “It’s rare to have that kind of a script, to have something like that come to you, let alone be asked by Joe Dante or Steven Spielberg to be in it. I was pretty honored and pretty humbled, and I am to this day really.”

As for the question Licht gets asked the most about “Twilight Zone: The Movie,” he said it was if the cast really had to eat those peanut butter covered hamburgers.

“I read the script and I thought, ‘Wow, that is really vile! I can’t imagine doing that,’” Licht said of this unusual meal. “The day that we shot it, they actually brought in McDonald’s hamburgers and basically we tried it. First of all, if you’re peanut butter person, it’s really not bad. The problem is, good luck saying your lines with a mouthful of peanut butter!”

Licht retired from acting in the 1990’s although he did appear in a short film in 2009 called “The Closer.” These days, he has his own financial planning company called JL Capital Management which has turned out to be very successful. For a former child actor, he has done very well for himself, and he has not allowed himself to be swallowed whole by the kind of vices which have destroyed so many lives. When asked why some child actors easily transition to an adult career while others don’t, Licht sounded very level-headed in his explanation.

“When I was doing it, there were paparazzi but nothing like things are now where every moment is recorded and every stumble that you take is magnified,” Licht said. “I’ve seen it all. I’ve had friends that have had very successful careers, and sadly I’ve had friends that have fallen. I grew up with good people around me and I still do surround myself with good people. My folks are important and my family is really important. I got into the business very young, but not necessarily at the urging of my family. I wasn’t supporting my family. It (acting) was a hobby that sort of took off. My parents said to me the whole time, ‘If you stop liking this or you become unpleasant to be around, you’re out. You’re gone because this is not what that’s for.’”

“I think a degree of it is luck, I think a degree of it is also upbringing and family, but I think a lot of it is luck,” Licht continued. “It’s like any of your lives growing up, but under a big microscope. I’m sure that we’ve all had times in our life, if you can imagine if cameras were on you, when you stumble the hardest, and how can you recover from that? You can recover privately, but when everybody’s watching you and judging you it’s a tough deal.”

We keep hearing stories day after day of child actors going bad, but we never hear enough about the ones who don’t. Licht is one of those former child actors who has done very well for themselves, and it would be great to hear more about people like him instead of getting all these random updates on others who don’t have the same support.

Mad Monster Celebrates 30th Anniversary of ‘Jaws 3-D’ with Guests

Posted on by The Ultimate Rabbit

Jaws 3D Mad Monster poster

Okay, “Jaws 3-D” is not a great movie (I’m being generous here), but I couldn’t pass up the opportunity to see it on the big screen where it was being shown in 3D. I had seen it on television so many times and kept wondering if the experience of watching it with the extra dimension would make it more exciting. Mad Monster put together the 30th anniversary screening for this much-maligned sequel together at TCL Chinese Theatres in Hollywood back in 2013, and they presented fans with a beautiful DCP 3D print to watch. I have a hard time believing the 3D effects looked as good in 1983 as they did that evening.

In addition, Mad Monster also brought along guests who were involved in the making of “Jaws 3-D:” director Joe Alves, screenwriter Carl Gottlieb and producer Rupert Hitzig. All three were eager to talk about the making of this sequel, but they never did discuss how it was received when it was released 30 years ago.

The original plan for the third “Jaws” movie was to make it into a spoof to be called “Jaws 3, People 0.” Plans for this, however, fell through due to conflicts with Universal Studios, and this led to David Brown and Richard Zanuck resigning from the studio. Alves remarked how the pre-production on “Jaws 3-D” showed how smart Hollywood executives are. Of course, he said this with a bit of sarcasm.

“They really didn’t want to make ‘Jaws,’ and we fought to get that made. They tried to stop it four times,” Alves said of the executives. “’Jaws 2,’ after they fired the first director, they closed it down and Verna Fields (who won the Best Editing Oscar for “Jaws”) and I had to convince Ned Tanen (then President of Universal Studios) that we should go ahead and make it. And then here comes the third one, and they think so much of their biggest movie that they title it ‘Jaws 3, People 0’ which means they are making fun of their most successful film.”

Fields, who later became Vice President of Universal Studios, contacted Alves and told him, since Brown and Zanuck left, the rights to “Jaws” were sold to Alan Landsburg, a television producer best known for “That’s Incredible,” and he was making a mess of everything. Fields asked Alves to talk with Landsburg, which he did, and Landsburg offered him the chance to produce the sequel. But having worked 100 days as a Second Unit Director on “Jaws 2,” Alves was far more interested in directing it. But the conversation became very interesting when Landsburg told Alves of what his plans were for this sequel.

“I said you have to think about making a big shark,” Alves told Landsburg. “And he said, ‘oh no, no, no, no, no. I just want to use real sharks from what I have from ‘That’s Incredible’ and mechanical people.’ So that’s how great the thinking was when this production started.”

Alves then went to visit various aquatic parks for research, and he came across an underwater exhibit which was in 3D. He thought it was great and loved the depth of the technology being used. After exiting the exhibit, he started to think about the possibilities of filming “Jaws 3” in 3D.

“With ‘Jaws 3-D,’ you accomplish two things,” Alves said. “You take the onus off the third because there were very few thirds back then; I think ‘Rocky III’ was the only one at the time. And then you introduce a fresh look at it (the franchise). I went home and did a shark drawing in 3D and I took it to Landsburg and to Sid Sheinberg, and he looked at it and said, ‘Can I have this?’ I said ‘Sid, you’re President. You can have whatever you want! I just got to show it to Lew Wasserman first.’ I got the directing job and that’s how it started.”

Gottlieb had written the screenplays for the previous two “Jaws” movies, but he originally was not brought on board to write the third. The original script was credited to the late, great Richard Matheson whom Gottlieb said he great respect for, but at the same time he found his script to be “problematic” at best. As a result, the studio called him to see if he could help them out once again.

“When Joe (Alves) and Rupert came on, they all agreed on me,” Gottlieb said. “I had done the other two under difficult circumstances, and they said, ‘Can you do it again?’ So off I went to Florida and looked at Sea world, surveyed the situation and thought, yes I can do the script.”

Once everything was ready to go, the cast and crew proceeded to Orlando, Florida to film “Jaws 3-D,” and Gottlieb said the only food down there was “deep fried, refried or just fried.” Making the movie proved to be challenging not only because they were filming in 3D, but also due to the fact they were dealing with water and a big shark. Alves described the process of working with 3D to the audience.

“We worked with one film and not two cameras,” Alves said. “You take and split 35mm film one way that you have a proportion that is really difficult to compose. A shark is very difficult to get out into the audience because it has a dorsal fin. If you cut the dorsal fin off, you could float it right into the audience. You could take a snake through it, but as soon as something hits that frame it jumps back. So, the shark could come out as far as the dorsal fin and that was it.”

Hitzig went into further detail about the complexities of working with 3D back in 1983.

“This film was so different because we were so awed by the concept of 3D, but you only see in 3D those frames that work; you don’t see the ones that don’t work,” Hitzig said. “Now there is a point of convergence, and the two lenses of the camera have to be put into convergence. So if I’m focusing on you and you’re in vertical in the back, then I’m focused on you but you’re gonna be two images in the back. Joe had to watch out that there were no verticals in the back because they were going to be too strong. So we go to the motel room in Orlando and we would be watching the movie and going ‘that shot is beautiful’ and ‘oh no!’ Our eyes would go cross eyed or walleyed and we ducked to the floor. Nobody was looking at the performances. So, after the third week, I put a sign in the motel room that said ‘just when you thought it was safe to open your eyes – Jaws 3-D!’”

Now its 30 years later, and 3D has come back to life thanks to new technologies which have made it far more effective than ever before. Then again, not everyone is a big fan of 3D and many are tiring of seeing every other movie with the extra dimension. Gottlieb shared with us his thoughts on 3D.

“I haven’t seen it (‘Jaws 3-D’) in 30 years and I’m looking forward to it,” Gottlieb said. “Every 3D movie is an experience, and sometimes I like to see them twice; once in 3D to have the stuff whizzing by, and a second time flat so that I can enjoy the story and the performances and everything else without the distractions of shooting for effects.”

Before the screening of “Jaws 3-D” began, Hitzig wanted to remind the audience of something.

“Remember that its 30 years ago,” Hitzig said. “We didn’t have CGI, we didn’t have video editing and everything was cut on film which was a problem with 3D. I remember in the very beginning, Sid Sheinberg said, ‘If you can get the shark to come through the screen and land in the audience’s lap, we’ll all be rich. So try and get that shark (which was so huge) through that little screen.’ Instead of CGI, we had to composite on videotape and then go back to 3D which was almost an impossible technical stunt. It’s not an apology, it’s just a realization of what you’re going to see.”

Alves also remarked on a conversation he once had with film critic Gene Shalit.

“I had talked to him on ‘Jaws 2,’ and he wanted to know what we were doing on the third one,” Alves said of Shalit. “I was showing him the 3D stuff and was saying, ‘If it was a snake I could get it into the audience.’ A couple of years later I happened to be working on another movie and I saw Gene and he yelled over, ‘It should have been a snake!’”

Gottlieb left us with one last technology note.

“This script was typed on a typewriter. Fingers on keys, an IBM electric, clickety-clack, clickety-clack.”

Well, “Jaws 3-D” will never go down as one of the finest motion pictures ever made, but watching it reminded us of how much better it is than “Jaws: The Revenge.” Plus, seeing it in 3D made the experience more fun than without it, and this is saying a lot because these days 3D isn’t worth the extra money. The film may not have been a critical success, but it still did turn a profit at the box office and people have not forgotten about it. Big thanks to Joe Alves, Carl Gottlieb and Rupert Hitzig for taking the time to talk about their experience making “Jaws 3-D.”