-From an early 1982 issue of "FANGORIA," before the film's release.
Above, Steven Spielberg gives (direction?) to Craig T. Nelson and James Karen in the film's climax.
"Tobe isn't what you'd
call a take-charge sort of guy. He's just not a strong presence on a
movie set. If a question was asked and an answer wasn't immediately
forthcoming, I'd jump up and say what we could do. Tobe would nod agreement, and that became the process of the collaboration. I did not want to direct the movie-I had to do 'E.T.' five weeks after principal photography on 'Poltergeist.'"
"My enthusiasm for wanting to make 'Poltergeist' would have been difficult for any director I would have hired. It derived from my imagination and my experiences, and it came out of my typewriter [after re-writing the Grais/Victor draft]. I felt a proprietary interest in this project that was stronger than if I was just an executive producer. I thought I'd be able to turn 'Poltergeist' over to a director and walk away. I was wrong. [On future films] If I write it myself, I'll direct it myself. I won't put someone else through what I put Tobe through, and I'll be more honest in my contributions to a film."
-Steven Spielberg made the above comments to writer
Dale Pollock in a May, 1982 interview with the "L.A. Times." He also
said that he "designed" the movie through story boards and that he was
involved in all the camera setups and the designing of the specific
shots. Spielberg went on to say that his intense
involvement with the film came from his commitment to MGM to bring the
production in within 10% of its approved budget of $9.5 million (it
ultimately cost $10.8 million). This newspaper article was published
before the film was even released, and it gave voice to the numerous
rumors that were already circulating in Hollywood that Spielberg had
largely supplanted Tobe Hooper as director during filming. Largely due
to this article, the DGA began an investigation into Spielberg's
statements. On June 2, 1982, Spielberg would issue an apology of sorts
in a letter to Hooper, which was published in "Variety": "My enthusiasm for wanting to make 'Poltergeist' would have been difficult for any director I would have hired. It derived from my imagination and my experiences, and it came out of my typewriter [after re-writing the Grais/Victor draft]. I felt a proprietary interest in this project that was stronger than if I was just an executive producer. I thought I'd be able to turn 'Poltergeist' over to a director and walk away. I was wrong. [On future films] If I write it myself, I'll direct it myself. I won't put someone else through what I put Tobe through, and I'll be more honest in my contributions to a film."
"Regrettably, some of the press have misunderstood the rather unique, creative relationship which you and I shared throughout the making of 'Poltergeist.' I enjoyed your openness in allowing me, as producer and writer, a wide berth for creative involvement, just as I know you were happy with the freedom you had to direct Poltergeist so wonderfully.Through the screenplay you accepted a vision of this very intense movie from the start, and as the director, you delivered the goods. You performed responsibly and professionally throughout, and I wish you great success on your next project."
Spielberg attempted further damage control when he wrote a letter of clarification to "Time" magazine for their June 21, 1982 edition (in response to comments he made in an interview with them the prior issue):
TIME has made E.T. and me very happy. However, a comment slipped in that is unfair to Tobe Hooper, the director of Poltergeist. I am quoted as indicating that I took over the project. While I was creatively involved in the entire production, Tobe Hooper alone was the director.
-Notice how he says his comment about "taking over" the film "slipped in" (during the prior interview). He doesn't deny making the comment.
In a July 1982 AP article after the film was released, Jobeth Williams was asked about the issue:
But
according to Miss Williams and other industry insiders, the directing
job was more of a collaborative effort."Steven (Spielberg) was there
every day," said the Texas-born actress. "He had very clear and strong
ideas about what he wanted done and how he wanted it done. "Even though
Tobe was there and participating," she added, "you felt Steven had the
final say on everything." The actress says that in the initial days of
shooting there often was confusion with two people giving conflicting
directions. "Sometimes Steven would tell us one thing and Tobe another,"
Miss Williams said. "But they soon realized that was doing us more harm
than good, so they stopped. Later on, whatever discussions Tobe and
Steven had, they held in private and then came to us with their
decisions."
In 2000, Tobe Hooper was asked about the controversy in an interview with the "AV Club" web site. Full interview here.
Excerpt:
O: How did you come to direct Poltergeist?
TH: I'd known Steven Spielberg from the time I came to L.A. He and I were talking, and I said I wanted to do a ghost story. And he said, "Cool." I mean, I don't know if he said "cool," but he said let's do it. I mentioned The Haunting, the Robert Wise film, and that had also been a favorite of Steven's when he was growing up. So it came out of that moment.
O: History has shifted some of the credit toward Spielberg. Can you set the record straight on that?
TH: I've kind of talked that one to death, really. I've been asked that so many times that I feel the record should be straight already. The genesis of it came from an article in The L.A. Times: When we were shooting the practical location on the house, the first two weeks of filming were exterior, so I had second-unit shots that had to be picked up in the front of the house. I was in the back of the house shooting Robbie [actor Oliver Robins] and the tree, looking down at the burial of the little tweety bird, so Steven was picking those shots up for me. The L.A. Times arrived on the set and printed something like, "We don't know who's directing the picture." The moment they got there, Steven was shooting the shot of the little race cars, and from there the damn thing blossomed on its own and started becoming its own legend. Really, that is my knowledge of it, because I was making the movie and then I started hearing all this stuff after it was finished. I really can't set the record much straighter than that, because Steven did write the screenplay and there are other credits on there, but it came down to Steven and myself sitting at his house. He wrote the screenplay, and we gathered around a poltergeist textbook for the research, which was actually Robert Wise's research book that he had on The Haunting. When I got my offices at Universal, a couple of books had been left behind. Robert Wise had just moved out.
************************
However, the "L.A. Times" article Hooper mentions above actually went into much more detail than he claimed. It's the same article in which Spielberg made the statements that spurred the DGA inquiry. Some additional excerpted quotes from the article follow. You can purchase a copy of the full version ('POLTERGEIST': WHOSE FILM IS IT?) here.
However, the "L.A. Times" article Hooper mentions above actually went into much more detail than he claimed. It's the same article in which Spielberg made the statements that spurred the DGA inquiry. Some additional excerpted quotes from the article follow. You can purchase a copy of the full version ('POLTERGEIST': WHOSE FILM IS IT?) here.
******************
Tobe Hooper (saying he did everything his contract as director required of him)
"I don't understand why any of these questions have to be raised. I always saw this film as a collaborative situation between my producer, my writer, and myself. Two of those people were Steven Spielberg, but I directed the film and I did fully half of the story boards. I'm quite proud of what I did...I can't understand why I'm being slighted. I love the changes that were made from my cut. I worked for a very good producer who is also a great showman. I felt that was a plus, because Steven and I think in terms of the same visual style."
Jobeth Williams
"It was a collaboration with Steven having the final say. Tobe had his own input, but I think we knew that Steven had the final say. Steven is a strong-minded person and knew what he wanted. We were lucky because we got input from two very imaginative people."
Craig T. Nelson
"Tobe gave me a lot of direction. It's not fair to eliminate what Tobe did-he gave me a tremoundous amount of support because he's a warm, sensitive, caring human being. Tobe was simply pushed out of the picture after turning in his cut."
Bill Varney (Sound Mixer), said he had no contact with Tobe:
"He [Tobe] dropped by one or two times, but he had no input whatsoever as far as our (sound) work was concerned. Basically, Tobe didn't particpate at all."
Dennis E. Jones (Production Manager)
"Some directors kick the producer off the set. In this particuluar case, that didn't occur. It was an amicable situation-Tobe seemed to resolve Steven's participation in his mind. But I'm sure inside he was hurting."
Mike Fenton (Casting Director)
"Did he [Tobe] direct the film? Not that I saw."
Jerry Goldsmith (Composer), says he worked exclusively with Spielberg. He said the situation was "unusual, because 99% of the time I work with the director."
Willie Hunt (Production Executive who was working with United Artists but had supervised "Poltergeist" when she was with MGM)
"Both people were on the set all the time, and Tobe was very much involved, as far as I could tell. But Steven was the creative force in my opinion; his stamp is on the film, even though there was a good, solid competent director there."
Frank Marshall (Producer)
"It all depends on your definition of director. The job of the producer is to get the film finished, and that's what we did. The creative force on this movie was Steven. Tobe was the director and was on the set every day. But Steven did the design for every story board and he was on the set every day except for three days when he was in Hawaii with [George] Lucas."
Also according to Marshall, Hooper handed in his cut of the film on October 17, 1981, and was virtually not involved in any post-production work until he screened the movie on April 17, 1982. Spielberg and Marshall denied that Hooper was denied access to or control of the film at any stage.
And finally, from the article, when talking about how Spielberg's contract with Universal forbade him from working on any other picture while directing "E.T.":
"Even had it not, Directors Guild rules prevent anyone assigned to a production prior to a director being fired from replacing the director-including the producer. 'There is a director of 'Poltergeist' and he is listed as Tobe Hooper,' said Michael Franklin, national executive secretary of the Directors Guild. 'If something is going on that dereogates that credit, the guild would be concerned.'"
In addition, here's some info I received from someone who at one time had planned to write a book about the making of "Poltergeist":
I even did interviews with James Karen, Zelda Rubinstein, Jerry Goldsmith, and started an aborted one with Craig T. Nelson. Long story short, but some forces at Amblin threatened (or hinted at) legal action about the book. So my publisher dropped it, and I went on to do [another book].
Anyway, the interviews were interesting -- I still have them on cassette tape. Particularly the whole 'Who really directed 'Poltergeist'' thing. Rubinstein was hilarious -- 'Tobe Hooper couldn't even direct traffic!' -- while James Karen was all pro-Hooper. Goldsmith claims he never even met Hooper, only Spielberg. Nelson was just a jerk, quite frankly.
Here's an excerpt from producer Julia Phillips' book "You'll Never Eat Lunch in this Town Again":
Steven takes a tentative puff on my joint, coughs, and passes it back to me. We haven't spoken in four years, but we have run into each other on the MGM lot, where he is directing "Poltergeist." He is supposed to be producing it, but Tobe Hooper, the director, it is whispered, has lost his cookies and Steven has had to step in. I wonder if Steven has been the first to whisper the Hooper rumors. It would fit his m.o. We are acting as if nothing bad ever happened between us, and Steven has walked back to my set of offices with me, the ex-offices of Louis B. Mayer, which I have defiled with acres of chintz. Steven has asked for the joint, which surprises me, he is such a straightnik. Maybe it is his way of getting along with me on my terms. We hang out for a considerable period, and I am furious the entire time. I don't indicate this externally at all, so I am working on a hell of a stomach ache. Thank God there is no Sara Lee anything around. "Yup, all hell is gonna break loose in this room," Steven says. "We're gonna rotate the whole room day after tomorrow..."
........
"You should come by and see it..." he says now.
Julia went on to say she'd visit the set, but apparently never did.
Zelda Rubinstein would say this about the issue in a 2007 AICN interview: http://www.aintitcool.com/node/34266
Quint: There’s one thing that I’m really curious about. Being an Austinite I’ve run into Tobe Hooper and I’ve talked to him at length about his work on POLTERGEIST and I brought up the big rumor that Spielberg came in to direct it and kind of took over. Tobe was very adamant that he directed the film.
Zelda Rubinstein: I can tell you that Steven directed all six days I was there. I only worked six days on the film and Steven was there. Tobe set up the shots and Steven made the adjustments.
You’re not going to hear that from Tobe Hooper, you’ll hear it from Zelda, because that was my honest to God experience. I’m not a fan of Tobe Hooper.
Quint: You’re not?
Zelda Rubinstein: No, I’m not, because I feel he allowed… I don’t know how to say this… he allowed some unacceptable chemical agents into his work.
I felt that immediately. I felt that when I first interviewed for the job. Steven was there, Tobe was there, two casting people from MGM were there and I felt at that time Tobe was only partially there.
As Zelda implies above, persistent rumors about Tobe's alleged substance abuse at the time (and possible entry into rehab after the film finished shooting) have circulated for years. Author John Baxter, in the unauthorized biography "Steven Spielberg," writes on page 250 about cocaine use in Hollywood: "Rumours also spoke of its wide-spread use on the set of Poltergeist." Who was allegedly engaging in this widespread use was left unsaid.
Baxter also interviewed Jerry Goldsmith, who stated "I worked only with Steven. One day Hooper came into a screening and sat down. Steve just ignored him, and after five minutes he got up and left." [Goldsmith's] estimate of the shooting: "Hooper said 'Action' and that's the last thing he did."
Writer David Giler of "Alien" fame was an extra in the football scene early in the film, along with Spielberg's agent Guy McElwaine. Quoted in Joesph McBride's book "Steven Spielberg-A biography," Giler states "When I came back from the set, I said 'Well, now I know what the executive producer does. I've always wondered. He sets up the camera, tells the actors what to do, stands back, and lets the director say 'Action!'" Another person who visited the set told McBride that it was "uncomfortable," since whenever Hooper would give an instruction to cinematographer Matthew F. Leonetti, Leonetti would look over his shoulder at Spielberg, who would either shake his head or nod.
At a 25th anniversary screening of the film I attended in Santa Monica, I recorded a panel discussion in which the "who really directed it" question was asked:
As you'll see in the clip, Mark Victor and James Karen sort of tap danced around the question and offered "politically correct" statements, but Zelda was more than happy to say that she "had a slightly different view." She explained how during the 6 days she worked on the film, Tobe would line up the shots, but Steven would "make final adjustments." In conclusion, she said "Tobe was the nominal director...but this was a Steven Spielberg film" (to the sounds of applause from the audience).
Clip: http://video.google.com/videoplay?docid=4099450078852807092
I came across some VERY interesting comments on one of the message boards over at the fan site SpielbergFilms.com. The person who made the postings calls himself "BenThere." He worked on the original film and had his own thoughts about the controversy. He did not want to reveal his real name or what he did on the film (I know who he is but will not reveal his identity). Below are his excerpted postings. For the full original discussion, I've also got the link to the message board where his comments first appeared (note: the link below doesn't work because the site was taken down, but luckily I was able to retain Ben's posts):
from:
As this is my first-ever post here, I'll start
by thanking and congratulating Steven Awalt for creating a site that so
wonderfully allows this exchange of opinion and commentary.
I find it fascinating that some two and a half decades 'after the fact' no definitive answer has, yet, been given the question of Poltergeist's director. How could so many eye-witness the making of this film and not uniformly recall who, exactly, called "Action!" and "Cut!"... who, exactly, provided the stage direction... who, exactly, answered the questions from all cast and crew?
Take, for example, the claim of actor, William Finley, who, according to E-Buzz, said: "... Finley confirms he was originally cast in the role of Marty, presumably by Tobe Hooper. He (Finley) says: "I can't tell you that whole story because it's still sort of a Hollywoood scandal... One of the people who did direct the movie cast me in it and one of the people who did direct the movie cast me out of it... one of those people won."
A more ambiguous quote seems unlikely - but it holds the best clue in this entire thread. I suggest you'll more properly and much more quickly solve this mystery upon changing focus from who directed Poltergeist to why any doubt should still exist. Discover the "why" and the reason for all ambiguity in this matter will be quite apparent. To point you in the right direction, I'll reference the following comments - and allow this obvious hint... (DGA).
Steven Awalt allowed, that, "The L.A. Times ran a great piece on the situation back in 1982. An article that, I believe, spurred the DGA inquiry and Spielberg's subsequent full page letter to Hooper in the trades."
And furtney replied, "From what I understand, Spielberg was forced by the DGA to place that ad in "Variety" (it was part of the "settlement" he agreed to).
Again: WHY does the question of Poltergeist's director still exist?
I find it fascinating that some two and a half decades 'after the fact' no definitive answer has, yet, been given the question of Poltergeist's director. How could so many eye-witness the making of this film and not uniformly recall who, exactly, called "Action!" and "Cut!"... who, exactly, provided the stage direction... who, exactly, answered the questions from all cast and crew?
Take, for example, the claim of actor, William Finley, who, according to E-Buzz, said: "... Finley confirms he was originally cast in the role of Marty, presumably by Tobe Hooper. He (Finley) says: "I can't tell you that whole story because it's still sort of a Hollywoood scandal... One of the people who did direct the movie cast me in it and one of the people who did direct the movie cast me out of it... one of those people won."
A more ambiguous quote seems unlikely - but it holds the best clue in this entire thread. I suggest you'll more properly and much more quickly solve this mystery upon changing focus from who directed Poltergeist to why any doubt should still exist. Discover the "why" and the reason for all ambiguity in this matter will be quite apparent. To point you in the right direction, I'll reference the following comments - and allow this obvious hint... (DGA).
Steven Awalt allowed, that, "The L.A. Times ran a great piece on the situation back in 1982. An article that, I believe, spurred the DGA inquiry and Spielberg's subsequent full page letter to Hooper in the trades."
And furtney replied, "From what I understand, Spielberg was forced by the DGA to place that ad in "Variety" (it was part of the "settlement" he agreed to).
Again: WHY does the question of Poltergeist's director still exist?
"So why is there (this) whole section about it? I
know (Spielberg) produced it but he produced a lot of movies that
aren't here." (Jimmy Legs)
EXACTAMUNDO, Jimmy. Spielberg "produced" about 50 films that also credit someone else as their "director." Why, then, do you figure, that, of all those films, Poltergeist is the only one to have resulted in a controversy over who REALLY directed it?
--------------
"... Turner Classic Movies (cable channel) runs a short documentary from the 80's about Poltergeist (that) shows Steven Spielberg on set with Tobe Hooper... and without Hooper directing the actors and crew." (tashtego)
I've seen another documentary showing just the opposite. Of course, at a running time of just two seconds it's MUCH shorter.
---------------
"Poltergeist is a Toby Hooper film... I don't think Steven Spielberg would sabotage a director from his duties. ... What I liked about Poltergeist was how much Toby Hooper dedicated Spielberg's style with his strength as a storyteller. That's good directing." (SamKarns)
That's pure rubbish.
---------------
"Believe me, I know very well Hooper´s style. I´ve seen all his films, even the bad ones, and (Poltergeist) is a Hooper film. (Grady)
BELIEVE ME... you haven't a clue.
----------------
"There was contradiction and conflict between Hooper and Spielberg even in pre-production though, with Hooper approving one thing and Spielberg coming in and scraping it, telling the department head to rework things in his vision, etc. These things have even been talked about publicly, most famous by effects artist Craig Reardon, who (in addition to, then, working with Spielberg on Poltergeist) was working with Spielberg concurrently on "E.T." (Steven Awalt)
Thanks Steven.
O.K. kids... focus on the word "concurrently" as used above. Combine that clue with the first one ("DGA") and see what you come up with. Come on now... don't be shy... squeak up! Show me something and I'll provide another clue. Show me nothing... I'll be gone. At that point, you will have refused to open the door when opportunity knocked
EXACTAMUNDO, Jimmy. Spielberg "produced" about 50 films that also credit someone else as their "director." Why, then, do you figure, that, of all those films, Poltergeist is the only one to have resulted in a controversy over who REALLY directed it?
--------------
"... Turner Classic Movies (cable channel) runs a short documentary from the 80's about Poltergeist (that) shows Steven Spielberg on set with Tobe Hooper... and without Hooper directing the actors and crew." (tashtego)
I've seen another documentary showing just the opposite. Of course, at a running time of just two seconds it's MUCH shorter.
---------------
"Poltergeist is a Toby Hooper film... I don't think Steven Spielberg would sabotage a director from his duties. ... What I liked about Poltergeist was how much Toby Hooper dedicated Spielberg's style with his strength as a storyteller. That's good directing." (SamKarns)
That's pure rubbish.
---------------
"Believe me, I know very well Hooper´s style. I´ve seen all his films, even the bad ones, and (Poltergeist) is a Hooper film. (Grady)
BELIEVE ME... you haven't a clue.
----------------
"There was contradiction and conflict between Hooper and Spielberg even in pre-production though, with Hooper approving one thing and Spielberg coming in and scraping it, telling the department head to rework things in his vision, etc. These things have even been talked about publicly, most famous by effects artist Craig Reardon, who (in addition to, then, working with Spielberg on Poltergeist) was working with Spielberg concurrently on "E.T." (Steven Awalt)
Thanks Steven.
O.K. kids... focus on the word "concurrently" as used above. Combine that clue with the first one ("DGA") and see what you come up with. Come on now... don't be shy... squeak up! Show me something and I'll provide another clue. Show me nothing... I'll be gone. At that point, you will have refused to open the door when opportunity knocked
"Do you have any further information on the situation?" (E-Buzz)
Enough to speak expertly, yes.
For many years, now, the question "Who directed Poltergeist?" has been put to a slew of eyewitnesses ranging from producer, Frank Marshall, to leading actors, Jo Beth Williams and Craig T. Nelson, to a number of various crew personnel. Even Tobe Hooper and Steven Spielberg, themselves, have been asked this question. So, how, or why is it, then, they should all answer in a consistent and uniform manner as to never really identify - beyond any and all doubt - who, exactly, directed the film? They'd all have us believe that Poltergeist is one of those very rare instances where, rather innocently, a producer became somewhat "involved" with directorial chores to a degree that some might simply "conclude" it was directed by the producer... hence their collective ambiguity on the matter.
Filmmaking is, by far, the most collaborative "art." The reason so many names are listed in the screen credits is simple: Their individual contributions were absolutely necessary. Was there "collaboration" between Tobe and Steven? Of course there was... how could there not be? Still, just like upwards of 99.9% of all studio made films, Poltergeist had only one, true, "director."
Singularly, that director decided every question and/or suggestion from all principal cast and all key crew personnel. That director, singularly, called
"Action" and "Cut."
Had the various media asked those folks who it was that answered all the questions, and who it was that called "Action and Cut" - instead of asking
"Who directed it?" - there'd be a lot more clarity and a lot less ambiguity on the issue.
If you have any questions about your namesake I'll attempt only straight answers. BTW, E-Buzz followed his trainer's commands unlike any other dog I've ever seen.
Enough to speak expertly, yes.
For many years, now, the question "Who directed Poltergeist?" has been put to a slew of eyewitnesses ranging from producer, Frank Marshall, to leading actors, Jo Beth Williams and Craig T. Nelson, to a number of various crew personnel. Even Tobe Hooper and Steven Spielberg, themselves, have been asked this question. So, how, or why is it, then, they should all answer in a consistent and uniform manner as to never really identify - beyond any and all doubt - who, exactly, directed the film? They'd all have us believe that Poltergeist is one of those very rare instances where, rather innocently, a producer became somewhat "involved" with directorial chores to a degree that some might simply "conclude" it was directed by the producer... hence their collective ambiguity on the matter.
Filmmaking is, by far, the most collaborative "art." The reason so many names are listed in the screen credits is simple: Their individual contributions were absolutely necessary. Was there "collaboration" between Tobe and Steven? Of course there was... how could there not be? Still, just like upwards of 99.9% of all studio made films, Poltergeist had only one, true, "director."
Singularly, that director decided every question and/or suggestion from all principal cast and all key crew personnel. That director, singularly, called
"Action" and "Cut."
Had the various media asked those folks who it was that answered all the questions, and who it was that called "Action and Cut" - instead of asking
"Who directed it?" - there'd be a lot more clarity and a lot less ambiguity on the issue.
If you have any questions about your namesake I'll attempt only straight answers. BTW, E-Buzz followed his trainer's commands unlike any other dog I've ever seen.
This is a great thread... The points about movie
ownership/vision, producer vs. director (and writer) made me think
beyond the Lucas example..." (TechInept)
The reasons a movie is referred to as "A (producer's name here) Production" and then qualified as "A (director's name here) Film" are right and proper.
A Producer acquires rights to a story; commissions or purchases a screenplay for that story; arranges its financial backing and; hires its Director. After that, the role of a Producer could be likened to that of a CEO. Just how much of a "chief" that Producer wishes to act is completely dependent on the individual Producer. Thus, "A Jerry Bruckheimer Production."
A Director oversees all other aspects of the filmmaking process. In collaboration, firstly, with the Writer, Casting Director, Production Designer, Cinematographer, Costumer Designer and, eventually, with all other "keys" the Director decides all questions that will ultimately and permanently affect the final product. Thus, "A Michael Bay Film."
It's a very rocky road for all concerned when Producer and Director are at odds with each other.
-----------------
"The riddles/clues dropped have me totally intrigued--concurrent productions, 2nd Unit directors . . ." (TechInept)
If memory serves, it was Tobe who, again, with tongue-in-ambiguous-cheek, said something about how fortunate he was to have worked on Poltergeist with the best 2nd Unit Director in the business. (For all that is known he might even have been referring to himself.)
The reasons a movie is referred to as "A (producer's name here) Production" and then qualified as "A (director's name here) Film" are right and proper.
A Producer acquires rights to a story; commissions or purchases a screenplay for that story; arranges its financial backing and; hires its Director. After that, the role of a Producer could be likened to that of a CEO. Just how much of a "chief" that Producer wishes to act is completely dependent on the individual Producer. Thus, "A Jerry Bruckheimer Production."
A Director oversees all other aspects of the filmmaking process. In collaboration, firstly, with the Writer, Casting Director, Production Designer, Cinematographer, Costumer Designer and, eventually, with all other "keys" the Director decides all questions that will ultimately and permanently affect the final product. Thus, "A Michael Bay Film."
It's a very rocky road for all concerned when Producer and Director are at odds with each other.
-----------------
"The riddles/clues dropped have me totally intrigued--concurrent productions, 2nd Unit directors . . ." (TechInept)
If memory serves, it was Tobe who, again, with tongue-in-ambiguous-cheek, said something about how fortunate he was to have worked on Poltergeist with the best 2nd Unit Director in the business. (For all that is known he might even have been referring to himself.)
Yow! That's cold!" (Steven Awalt)
Some do find me that way, yes. I believe, rather, that I am "direct" and, at times, too brutally honest. Should I offer a truly "cold" comment... I'm sure you'll see the difference.
Round up Tobe's exact quote, put it in proper context, and explain how my comment could possibly be anything less than truthful.
BTW Steven, I'm having a reasonably fun time here... thanks.
2nd BTW: If Tobe's a great director... I'm an astronaut.
Some do find me that way, yes. I believe, rather, that I am "direct" and, at times, too brutally honest. Should I offer a truly "cold" comment... I'm sure you'll see the difference.
Round up Tobe's exact quote, put it in proper context, and explain how my comment could possibly be anything less than truthful.
BTW Steven, I'm having a reasonably fun time here... thanks.
2nd BTW: If Tobe's a great director... I'm an astronaut.
"... it's difficult for
some people to accept (that Tobe Hooper) was effectively sidelined on
Poltergeist, as seems to have been the case. Did this make it a somewhat
difficult/uncomfortable set to be on?" (E-Buzz)
Uncomfortable - not really. Difficult - very, but there were many reasons for that experience to have been so. Poltergeists sets were scattered about on 3 different sound stages at MGM. Actually that is not unusual for any feature film, but what was unusual was how often we'd have to move from one stage to another. In addition to frequently moving a large amount of heavy film equipment was the overall pace of production. It was unusually fast, often frantic, and sometimes furious.
Richard Edlund (then with ILM) worked concurrently on many sets. His camera was an especially large monstrosity and accomodating that camera's special needs was never easy. Also, many sets were built in multiples of two or three. The kids bedroom, for instance, existed simultaneously in three forms: firstly, on the flat surface of the stage floor; secondly, 3' over the stage floor and then; thirdly, on a gimbal (a ferris-wheel like device) built over an open pit dug into the stage floor.
All to accommodate the extensive amount of visual and physical special effects that were a necessary part of the film. Had our pace been any slower we could have easily been a month or more over schedule. As it was, I think we finished shooting just a few days over schedule.
--------------
"Are there any parts/moments that could be indisputably said to be Hooper's contribution?" (E-Buzz)
Certainly, there were, yes.
--------------
"BTW: I was glad to hear that my namesake was so-well trained. Having recently seen Poltergeist in the cinema I was impressed by 'my' performance and obvious screen presence." (E-Buzz)
It wasn't that E was so well-trained as much as it was the unique manner in which E was trained. Every dog handler uses hand and sound signals in combination with speech to cue the animals reaction. These three methods are used, most often, in equal combination.
Dog wrangler, Richard Caulkins, had only two or three trained "movie dogs" to show. None of them passed the audition, but, instead, it was his personal dog (E) who won the job. E, however, was Richard's pet. He had never trained E for film work because he wanted a pet... a companion.
Just before each shot Richard simply articulated his instructions to E (like he was talking to a human being) and then he'd verbally coach E while each scene was being shot. I've seen many a child actor disregard or fail screen direction more often than E did. E-Buzz was a most amazing dog.
Uncomfortable - not really. Difficult - very, but there were many reasons for that experience to have been so. Poltergeists sets were scattered about on 3 different sound stages at MGM. Actually that is not unusual for any feature film, but what was unusual was how often we'd have to move from one stage to another. In addition to frequently moving a large amount of heavy film equipment was the overall pace of production. It was unusually fast, often frantic, and sometimes furious.
Richard Edlund (then with ILM) worked concurrently on many sets. His camera was an especially large monstrosity and accomodating that camera's special needs was never easy. Also, many sets were built in multiples of two or three. The kids bedroom, for instance, existed simultaneously in three forms: firstly, on the flat surface of the stage floor; secondly, 3' over the stage floor and then; thirdly, on a gimbal (a ferris-wheel like device) built over an open pit dug into the stage floor.
All to accommodate the extensive amount of visual and physical special effects that were a necessary part of the film. Had our pace been any slower we could have easily been a month or more over schedule. As it was, I think we finished shooting just a few days over schedule.
--------------
"Are there any parts/moments that could be indisputably said to be Hooper's contribution?" (E-Buzz)
Certainly, there were, yes.
--------------
"BTW: I was glad to hear that my namesake was so-well trained. Having recently seen Poltergeist in the cinema I was impressed by 'my' performance and obvious screen presence." (E-Buzz)
It wasn't that E was so well-trained as much as it was the unique manner in which E was trained. Every dog handler uses hand and sound signals in combination with speech to cue the animals reaction. These three methods are used, most often, in equal combination.
Dog wrangler, Richard Caulkins, had only two or three trained "movie dogs" to show. None of them passed the audition, but, instead, it was his personal dog (E) who won the job. E, however, was Richard's pet. He had never trained E for film work because he wanted a pet... a companion.
Just before each shot Richard simply articulated his instructions to E (like he was talking to a human being) and then he'd verbally coach E while each scene was being shot. I've seen many a child actor disregard or fail screen direction more often than E did. E-Buzz was a most amazing dog.
What was the reason for the furious pace of
production? Was it spurred on by a filmmaker who had just discovered how
effectively he could work at speed on a film like, say, Raiders of the
Lost Ark?" (E-Buzz)
Well, E-Buzz, the particular filmmaker you refer here is, obviously, Spielberg. I cannot speak with any inside knowledge on the Raider pace. Just the other day, however, I did mention a thing or two about the Jurassic pace. To wit:
-------
J.P. used life-sized animatronic dinosaurs. In essence, they were "machines" and considering their complicated engineering, construction, de-construction, packing, shipping and eventual reassemblage made them all quite vulnerable to certain malfunction and breakage. Consider, too, they had to repeatedly function in high winds, heavy rains and oppressive humidity. Repairing them was expected to be common, difficult, and slow.
J.P. lost nearly a week of shoot-time after suffering a Category-5 hurricane while filming in Hawaii.
J.P. shot, approximately, one extra day to film some "tests" for Schindler's List.
In light of the above, remember that a good percentage of feature films require more shooting days than are originally scheduled. Only half are likely to finish "on schedule."
So, here's the most incredible thing about Jurassic Park: It was completed some three weeks prior to its scheduled finish date.
--------
Jurassic Park felt as much a track meet as a film shoot!
Well, E-Buzz, the particular filmmaker you refer here is, obviously, Spielberg. I cannot speak with any inside knowledge on the Raider pace. Just the other day, however, I did mention a thing or two about the Jurassic pace. To wit:
-------
J.P. used life-sized animatronic dinosaurs. In essence, they were "machines" and considering their complicated engineering, construction, de-construction, packing, shipping and eventual reassemblage made them all quite vulnerable to certain malfunction and breakage. Consider, too, they had to repeatedly function in high winds, heavy rains and oppressive humidity. Repairing them was expected to be common, difficult, and slow.
J.P. lost nearly a week of shoot-time after suffering a Category-5 hurricane while filming in Hawaii.
J.P. shot, approximately, one extra day to film some "tests" for Schindler's List.
In light of the above, remember that a good percentage of feature films require more shooting days than are originally scheduled. Only half are likely to finish "on schedule."
So, here's the most incredible thing about Jurassic Park: It was completed some three weeks prior to its scheduled finish date.
--------
Jurassic Park felt as much a track meet as a film shoot!
"If anyone here has any
real grounds to feel one way or the other about Mr. Hooper, you would...
Gotta respect "Texas Chainsaw Massacre," though, right? (Steven Awalt)
I do. Given Texas' limited time and budget, I think Tobe did a fine job, but a "great directorial effort" does not a "great director" make. Tobe is not without certain filmmaking skills - I'll give him that much. Still, he's as far from being a great director as this astronaut is from space travel.
-------------------
"Have you read the "Poltergeist" chapter in the book "Directed by Steven Spielberg"?
No, but I'm certain it does not parallel the Poltergeist chapter in my own memory. Who wrote that fairly tale?
I do. Given Texas' limited time and budget, I think Tobe did a fine job, but a "great directorial effort" does not a "great director" make. Tobe is not without certain filmmaking skills - I'll give him that much. Still, he's as far from being a great director as this astronaut is from space travel.
-------------------
"Have you read the "Poltergeist" chapter in the book "Directed by Steven Spielberg"?
No, but I'm certain it does not parallel the Poltergeist chapter in my own memory. Who wrote that fairly tale?
Thanks Steven. As I
figured even before your Cliff's Notes version, Buckland's book is based
on just enough fact to qualify as "fairly tale." Indeed, some things
must be believed to be seen. His concoction is nothing more than snake
oil.
With regard to the relationship of director-to-editor in the filmmaking process: Any yo-yo can read the script and, then, armed with the film product "cut it" somewhat cohesively. The best editors, however, trim the fat faster than a butcher; creatively explore certain "options" that can dramatically affect a film's pace; and even tweak scene placement to better effect than the script.
One such editor was Verna Fields, from whom Steven learned all he needed to know. She opened his eyes to much he'd never even considered.
As I said here in a different thread: Film directors ply their trade with an array of tools. Some directors may use a couple of those tools to even better effect than Steven Spielberg, but there's no question that Steven has MORE tools and a BETTER COMMAND of those tools than any other film director in history. (At least from my point of view.) He doesn't really need great talent to make a great film. His greatest strength, if not his least known, is an unfailing ability to coax extraordinary things from quite ordinary people. That ability is but one of his tools and he wields it in varying manner to achieve his purpose.
As he does with Michael Kahn.
With regard to the relationship of director-to-editor in the filmmaking process: Any yo-yo can read the script and, then, armed with the film product "cut it" somewhat cohesively. The best editors, however, trim the fat faster than a butcher; creatively explore certain "options" that can dramatically affect a film's pace; and even tweak scene placement to better effect than the script.
One such editor was Verna Fields, from whom Steven learned all he needed to know. She opened his eyes to much he'd never even considered.
As I said here in a different thread: Film directors ply their trade with an array of tools. Some directors may use a couple of those tools to even better effect than Steven Spielberg, but there's no question that Steven has MORE tools and a BETTER COMMAND of those tools than any other film director in history. (At least from my point of view.) He doesn't really need great talent to make a great film. His greatest strength, if not his least known, is an unfailing ability to coax extraordinary things from quite ordinary people. That ability is but one of his tools and he wields it in varying manner to achieve his purpose.
As he does with Michael Kahn.
"There was in fact one
very notable shot in the film that Hooper and the production heads tried
to get away from the storyboards on due to some technical issues, and
Spielberg insisted that they work it out and get the shot..." (Steven
Awalt)
"What was the shot in question?" (kevin)
If my guess is correct, the shot would be in the Freeling living room that featured an inattentive Richard Lawson who is pencil sketching his still doubtful depiction of what a ghost might look like if it were to manifest on the stairway. Self-absorbed and lost in the music on his headphones, he is oblivious that some of the high-tech parapsychological equipment has just whirred into action as mysterious balls of light decend that stairway.
Do I hear any opening bids for that original Lawson pencil sketch?
-------------
"I don't know why anyone questions SS's major involvement with the film. It was clearly a joint effort on both Hooper and Spielberg's part. The movie just screams Spielberg, with a nice touch of Hooper might I add." (tashtego)
-------------
"Was there 'collaboration' between Tobe and Steven? Of course there was... how could there not be?" (Ben There)
-------------
"Are there any parts/moments that could be indisputably said to be Hooper's contribution?" (E-Buzz)
"Certainly, there were, yes." (Ben There)
-------------
So, tashtego: Poltergeist SCREAMS SPIELBERG - with just a nice touch of Hooper, eh? I'd say yours is a most omniscient comment for not having witnessed the films making.
"What was the shot in question?" (kevin)
If my guess is correct, the shot would be in the Freeling living room that featured an inattentive Richard Lawson who is pencil sketching his still doubtful depiction of what a ghost might look like if it were to manifest on the stairway. Self-absorbed and lost in the music on his headphones, he is oblivious that some of the high-tech parapsychological equipment has just whirred into action as mysterious balls of light decend that stairway.
Do I hear any opening bids for that original Lawson pencil sketch?
-------------
"I don't know why anyone questions SS's major involvement with the film. It was clearly a joint effort on both Hooper and Spielberg's part. The movie just screams Spielberg, with a nice touch of Hooper might I add." (tashtego)
-------------
"Was there 'collaboration' between Tobe and Steven? Of course there was... how could there not be?" (Ben There)
-------------
"Are there any parts/moments that could be indisputably said to be Hooper's contribution?" (E-Buzz)
"Certainly, there were, yes." (Ben There)
-------------
So, tashtego: Poltergeist SCREAMS SPIELBERG - with just a nice touch of Hooper, eh? I'd say yours is a most omniscient comment for not having witnessed the films making.
"... it's interesting
hearing your points about the creation of the film... I'd love to hear
more, as I'm sure would everyone." (tj)
If you've read all my posts, tj, you know I've already said so much more than a mouthful. If you have any questions, please, ask away. What I'll not reveal is the name of Poltergeist's director nor my own. Still, those answers should be readily apparent in my past comments. I have, indeed, "Ben There" many, many, times over three and a half decades in "the biz" and I know of which I speak. So, again... just ask away.
If you've read all my posts, tj, you know I've already said so much more than a mouthful. If you have any questions, please, ask away. What I'll not reveal is the name of Poltergeist's director nor my own. Still, those answers should be readily apparent in my past comments. I have, indeed, "Ben There" many, many, times over three and a half decades in "the biz" and I know of which I speak. So, again... just ask away.
In (Poltergeist), several Kenner Star Wars toys
are visible. So are some Star Wars posters. Given Spielberg's motto in
other films to incorporate Star Wars nods, did Spielberg actually pay to
purchase these toys and posters or were they furnished by Lucasfilm?"
(tj)
Firstly, I've never been aware any such Spielberg "motto" (per se), but it is always good business sense to include a visual nod to any close friend, or to the work of a close friend, as long as that visual nod is a natural fit within the framework of the film.
My short answer to your question is this: Directors and Producers will, invariably, affect certain choices made in the acquisition of any and all properties, but only a Set Decorator and a Property Master can make those acquisitions - by manner of renting, purchasing, manufacturing, or borrowing. So, no, Spielberg didn't pay for those toys and posters (himself) and I cannot recall their ever being furnished by LucasFilm.
In this case, the Set Decorator and Propery Master purchased those toys and posters directly and/or borrowed them through a signed agreement with either, the manufacturers of those items or with a Product Placement company. More to your point, however; yes, there were at least a couple meetings and memos with regard to which particular toys (and posters) should be used as props and set dressing in the kid's bedroom.
--------------
"Also, there is an Alien movie poster in Carol Anne's bedroom. Were these placed specifically on the set by Spielberg or was it left up to a designer? I've always just wondered how they were actually picked for the placement among the set." (tj)
"Ben There may have different info when he responds, but I would be shocked if Spielberg didn't have a hand in the "Alien" poster's placement. He's a massive fan of the movie." (Steven Awalt)
Bear in mind, firstly, the importance of certain "legalities" involved whenever a copyrighted prop is to be photographed. The two people charged with affecting permission to photograph such things are, again, the Set Decorator and Property Master. Let there be no mistake: Production Designers, Art Directors, and Set Designers have no such concerns. The specific (original) placement of furnishings within the set is, most often, a matter of choice for the Set Decorator - with the occasional or, even, frequent input of a Production Designer.
As to who, in fact, picked the particular place to affix that "Alien" poster... I've no recollection. Of course, the sets are "dressed" and approved prior to being filmed, but often while, either, rehearsing or blocking, a change in the actual placement of the furniture or furnishings must be made before the scene can be filmed. As to who determined the absolute necessity of that poster, well, of course, that was... the Director.
----------------
"Also, the Queste Verde Estates. What was the scenario that led to picking the suburban location in California that would represent the QV Estates on film?" (tj)
I've no knowledge that any "scenario" caused a certain area to be chosen except as Cuesta Verde was described in the script and, thereby, perceived by the Director and/or Producer. Ultimately, however, all possibile choices are strictly within the purview of the Location Manager.
Firstly, I've never been aware any such Spielberg "motto" (per se), but it is always good business sense to include a visual nod to any close friend, or to the work of a close friend, as long as that visual nod is a natural fit within the framework of the film.
My short answer to your question is this: Directors and Producers will, invariably, affect certain choices made in the acquisition of any and all properties, but only a Set Decorator and a Property Master can make those acquisitions - by manner of renting, purchasing, manufacturing, or borrowing. So, no, Spielberg didn't pay for those toys and posters (himself) and I cannot recall their ever being furnished by LucasFilm.
In this case, the Set Decorator and Propery Master purchased those toys and posters directly and/or borrowed them through a signed agreement with either, the manufacturers of those items or with a Product Placement company. More to your point, however; yes, there were at least a couple meetings and memos with regard to which particular toys (and posters) should be used as props and set dressing in the kid's bedroom.
--------------
"Also, there is an Alien movie poster in Carol Anne's bedroom. Were these placed specifically on the set by Spielberg or was it left up to a designer? I've always just wondered how they were actually picked for the placement among the set." (tj)
"Ben There may have different info when he responds, but I would be shocked if Spielberg didn't have a hand in the "Alien" poster's placement. He's a massive fan of the movie." (Steven Awalt)
Bear in mind, firstly, the importance of certain "legalities" involved whenever a copyrighted prop is to be photographed. The two people charged with affecting permission to photograph such things are, again, the Set Decorator and Property Master. Let there be no mistake: Production Designers, Art Directors, and Set Designers have no such concerns. The specific (original) placement of furnishings within the set is, most often, a matter of choice for the Set Decorator - with the occasional or, even, frequent input of a Production Designer.
As to who, in fact, picked the particular place to affix that "Alien" poster... I've no recollection. Of course, the sets are "dressed" and approved prior to being filmed, but often while, either, rehearsing or blocking, a change in the actual placement of the furniture or furnishings must be made before the scene can be filmed. As to who determined the absolute necessity of that poster, well, of course, that was... the Director.
----------------
"Also, the Queste Verde Estates. What was the scenario that led to picking the suburban location in California that would represent the QV Estates on film?" (tj)
I've no knowledge that any "scenario" caused a certain area to be chosen except as Cuesta Verde was described in the script and, thereby, perceived by the Director and/or Producer. Ultimately, however, all possibile choices are strictly within the purview of the Location Manager.
Another source who worked on the film told me:
"In the beginning, Steven did occasionally yell action and say cut. Sometimes the actors got two different sets of directions from two directors. Sometimes they would be the opposite directions. After about three days of that, Beatrice Straight put her foot down and said she would only listen to one director. That was Tobe. After that, Steven was often on the set, but since he was prepping ET he wasn't there all the time. The only time I ever saw him really fight with Tobe was after an entire day of shooting a scene with Beatrice Straight and the other two scientists involving a great deal of gobblety-gook dialogue, Tobe just couldn't get the shot. Steven came onto the set and was very upset - there was a lot of ugly yelling - and Tobe just stood there taking it. Beatrice Straight, again the hero of the day, finally stood up to Steven, said that the dialogue (which I believe Steven himself had written for the scene) was unplayable and that Sir Laurence Olivier himself couldn't act such badly-written dreck. She made it very clear that Tobe was not to be blamed. Steven was very quiet and about five minutes later the cast and crew were all dismissed for the day. The next day the actors came back to the set and were handed new dialogue, which again I believe Steven had rewritten. It was 100% better and Tobe shot the scene in about an hour with no problem. But before shooting commenced, Steven got up in front of the entire cast and crew and apologized for the outburst and said Tobe was not to blame for the previous day's delays. It was one of the most generous, selfless and courageous things I had ever seen on a movie set. "
"BenThere" then disputed the particulars of the above recollection:
"I vehemently disagree with almost every detail recounted in that quote. I do not doubt your word that this person worked on the film - so, on that point, I stand corrected, but I believe I'm wrong ONLY on that point. As I said before: 'I'm just plain tired of hearing so much pure conjecture from the public - and so much pure BS from its principal players.' Certainly, my witness IS in the minority, as, to the best of my knowledge, no 'Poltergeist' cast or crew member has EVER publicly stated 'the whole truth and nothing but the truth' on the subject of its director. It may be said, that, in my many years of silence, I DID suppress the truth... but I most certainly DID NOT EVER perpetuate the falsities and outright lies as have so often been professed by many of our cast and crew.
By phone, I've already contacted two other 'Poltergeist' crew members who, like myself, were present 'on set' each and every day of shooting. As well, like myself, neither recall any such exchange among Steven, Tobe, and Beatrice - and, believe me - it's almost impossible that all three of us would EVER forget (or never even hear mentioned) such a 'generous, selfless, and courageous' apology as is claimed to have been given 'the entire cast and crew"... by Mr. Spielberg, no less!!
Semi-Interesting Side Note: Based on my intimate familiarity with the making of "Poltergeist," I believe the claimed exchange of dialogue and subsequent apology could only have taken place in the Interior Freeling House Set (ie. - kitchen, dining room, living room, downstairs bathroom, and staircase with upstairs landing, hall and bedroom doors). Most likely it would have occurred sometime around our shooting the Dr. Lesh / Diane discussion as a tea pot slides across the dining table on its own power... or the scene where Ryan (Richard Lawson) is listening to music via headphones while, simultaneously, sketching his version of a ghostly apparition - even as he fails to notice that his scientific 'ghost image capturing' equipment is, also, stirring to action. What's 'interesting' here is twofold: Firstly, we shot both of those scenes on the same day. Secondly, it was the ONLY day that Mr. Spielberg was, IN FACT, 'very upset - (and indeed) there was a lot of ugly yelling.' Your source got that much right and I would never again see him SO vocally express his displeasure to anyone else. By the way... (geez, I almost forgot)... most interesting of all is this: He was not 'upset' with, nor did he 'yell' at Tobe Hooper. He was upset with... and he yelled at... ME!"
Certainly, it IS possible that Beatrice's objections, Steven's outburst to Tobe, and Steven's apology were known only to a select group of individuals and not to so large a group as was inferred by your source. What DID happen in witness of a large number of cast and crew was Steven's outburst to me. Let me be very clear on this point: Some directors, (too many actually) are, in fact, "reamer/screamers" and they can be easily agitated and/or moved to anger by even the smallest of problems or setbacks. Mr. Spielberg, however, is NOT among them. He is a most cordial person, but he is human, after all, and his emotional facilities are definitely intact.
For very practical reasons, the entire film, or quite nearly the entire film was storyboarded. In purely artistic terms, the action as depicted in "Poltergeist's" storyboards was quite simple in nature... almost cartoonish. (This is not to slight our, then, storyboard artist, Ed Verreaux, who is now a production designer. His sketches were drawn in the style and manner of Steven's request.) In the earlier stages of preparing "Poltergeist" we were told the storyboards should not be taken too literally - they were not "the bible," then again, neither was the script, but I digress. The storyboards were most useful in keeping the entire crew 'all on the same page' and they provided a good deal of information as to how Steven wanted the film to be shot, especially in terms of his preferred camera angles, lens sizes, and camera movements.
Twenty five years later, I have yet to work another film that was so completely storyboarded as was "Poltergeist." The combined bulk of the storyboards made them almost twice as thick as the script itself and a steady stream of changes to both required our constant and diligent upkeep. As our remaining number of prep days decreased, emphasis on our knowledge of (and, therefore, the importance of) those storyboards increased. In short, it turned out that, sometimes, those storyboards WERE considered "the bible."
No more than a couple or three weeks before we began shooting, I was forced to inform Tobe the limitations on some of the technical equipment to be used in the film. I also confessed a lack of certain expertise on my part as well. Tobe was actually quite gracious and accomodating. He asked if his cutting the scene - in a place where neither the script nor the storyboards called for a cut - would solve my problem. Indeed, it would, and by his agreeance to do just that, I was greatly relieved.
Only days into our shoot, however, as we began to rehearse that scene it suddenly dawned on me that neither Tobe nor myself had ever made Steven aware of my problem and our agreed upon cut. My greatest fear was realized then as Steven's blocking of the scene did not allow the cut that I'd been assured of. I looked over at Tobe and he just raised his hands and rolled his eyes as if to say, "Hey... tell Steven your problem... I ain't directing this thing!" At that point, it became my distinct and very unfortunate task to tell Steven that I could not accomodate the shot he wanted to do. Quite frankly, I fully expected a swift and harsh reaction to that news... and, geez-louise... did I ever get it! I won't detail his exact words or the heated manner in which he communicated his thoughts, but, in essence, he wanted to know why I had failed to accomplish something that had been in the script AND in the storyboards for some three months.
In the moment, I did not take his wrath well... but I took it. Later that day, I had occasion to return that disfavor to him in nearly the same tone and in, exactly, the same words. Like I said before, you CAN argue with Steven... but you damn well better have good reason. If you don't have good reason, however, well you damn well better be nothing short of RIGHT!"
[I asked: And I'm assuming the shot in question involved Ryan making the pencil sketch while the camera tilts up toward the stairs...?]
"That is correct."
Here's another interesting rumor that someone posted on the IMDB:
http://www.imdb.com/name/nm0001361/board/thread/30986916?p=8:
A famous rumor has it that the final shot (which was also the final shot of the entire production) was actually photographed by Spielberg himself, with Hooper off with several crew members getting drunk...he'd had enough and had left Spielberg to do whatever he wanted to do on the last night of shooting (something that King Vidor did to David O. Selznick on the last day of filming "Duel in the Sun"). I highly suspect this is a true story...that and another aside that said once the interior house sets had been shot out, Hooper punched holes in all the walls...Remember JoBeth Williams' words, "If I'd been Tobe I might have been resentful."
Some interesting message board posts from industry insiders follow.
From:
http://monsterkidclassichorrorforum.yuku.com/reply/90411#reply-90411
The basic thing was that the aliens in NIGHT SKIES were impish, even dangerous, and Spielberg thought that didn't match with the benign aliens of CE3K. The impish/dangerous part went on over to POLTERGEIST.
http://monsterkidclassichorrorforum.yuku.com/reply/90411#reply-90411
As for POLTERGEIST--what happened was that suddenly the producers realized they were about to release a family-oriented movie directed by none other than the director of THE TEXAS CHAIN SAW MASSACRE. The idea that Spielberg really directed the film, not Hooper, was actually created in house and leaked carefully to the press. Spielberg did direct a couple of scenes, but no more than that (though those are his hands in the fantasy scene of the guy pulling his face to pieces).
The making-of film created for the movie was part of this rejiggering everything to make POLTERGEIST a Spielberg movie rather than a Hooper movie. In it, there are several shots of Spielberg on the set; there's a single shot of Hooper, deep in the background, saying nothing, labeled "Tobe Hooper-Director." The official still set included a couple of shots of Spielberg; the only one featuring Hooper also included Spielberg, pointing something out to Tobe.
Hooper was TRYING to make the movie in the Spielberg style; that was the point of the script.
Another odd story that I think is true. Some people have noticed that the plot of POLTERGEIST is similar to that of Richard Matheson's story "Little Girl Lost," dramatized on TWILIGHT ZONE. Supposedly, Matheson was one of those who noticed this. Supposedly, TWILIGHT ZONE THE MOVIE was made largely to pay Matheson a big chunk of change to keep him from filing a plagiarism lawsuit over POLTERGEIST. But as I say, this is all "supposedly"--I have no way of knowing if this is true, just that I have heard this from some fairly reliable sources. But I know nothing of the reliability of THEIR sources.
*******************
Fanboys did not start the rumors. The impression was deliberately perpetrated by the film's promotional campaign. Tobe Hooper was a cult figure because of CHAINSAW MASSACRE, but his name didn't mean anything on a marquee; if anything it might scare away the intended audience of a PG film. Spielberg, on the other hand, had already directed some BIG movies, and audiences knew his name.
Before the film was released, I attended some kind of promo event at the Norris Theatre on the U.S.C. campus. The P.R. guy for the film came down and every other word out of his mouth was "Spielberg." Finally, someone asked him who directed the film, and his two-word answer was "Tobe Hooper." That was the first and last time Hooper's name was mentioned out loud that day. The p.r. guy went right back into his "Spielberg-Spielberg-Spielberg" routine.
There was also a short behind-the-scenes documentary, which consisted amost entirely of footage of Speilberg. There was one brief shot of Hooper somewhere on the sidelines, with his can of coke in his hand, standing silently. A subtitle identified him as the director, and that was it.
The whole question of who directed the movie comes up because of auteurist assumptions that the final film must represent the director's vision. Ergo, iit feels like a Spielberg film, Spielberg must have directed. POLTERGEIST is, I think, simply a Steven Spielberg production, directed by Tobe Hooper - kind of like THE THING FROM ANOTHER WORLD is a Howard Hawks production directed by Christian Nybe.
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http://monsterkidclassichorrorforum.yuku.com/topic/16541?page=3
A friend of mine who worked on the set of POLTERGEIST told me that most of the film was directed by Spielberg though I don't recall if he ever said what the percentage was. There is a line in an above post "...Hooper somewhere on the sidelines, with his can of coke in his hand, standing silently" that is just about how my friend described the situation on the set. The one night I was there during production it's my recollection that Spielberg was literally calling the shots. I realize this is all second hand and anecdotal so it doesn't really prove anything.
Since my first post on this topic I had a chance to check with my friend who worked on the set during the production of POLTERGEIST. Your description "of Spielberg directing the cast while Hooper is in a chair just watching them" is exactly what he told me it was like there. Hooper did not seem happy with the arraignment, according to my friend, but there wasn't much he could do about it.
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I did some articles on POLTERGEIST, though I forget who for. While the film was in production, rumors leaked out that Hooper had largely been supplanted as director by Spielberg. When I interviewed Frank Marshall, I asked him who'd directed the movie. His face froze, he paused, then asked why I wanted to know the answer to a question that didn't really seem to need to be asked. He said that Hooper directed it, but that Spielberg was also on the set a lot, and of course offered his input. I suspect this relates to the "director can't take over officially from producer" rule mentioned above--but it may have had another origin.
Spielberg liked TEXAS CHAIN SAW MASSACRE; it was his idea to hire Hooper. But then partway through the making, they realized that promoting the family-friendly movie--it was always intended to be that--as being by the director of that gross-out gore-fest might present certain problems. The rumors about Spielberg taking over were, according to this scenario, actually leaked by the producers themselves. That's why you get just a brief, silent shot of Hooper in the "making of." In the still set, there are several shots of Spielberg. The one shot of Hooper is >with< Spielberg, who is pointing down the hill at the suburbia set, clearly instructing Hooper on what to do.
A friend of mine worked makeup on the film, including that shot of the face being torn away by Spielberg's hands. He said that Tobe Hooper directed the movie. Craig T. Nelson has also made that assertion.
So who directed it? Beats me.
Another good question that I will not go into: what's the source of POLTERGEIST's plot?
Bill Warren
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"There was one brief shot of Hooper somewhere on the sidelines, with his can of coke in his hand, standing silently.
Oh, and for my next feat of pedantry, Hooper's drink of choice is Dr. Pepper."
I think you got it right the first time. Apparently Mr. Hooper drank a lot of coke. On Funhouse, immediately afterward, word on the street is, he spent a lot of time locked in his trailer drinking coke. All that caffeine makes you a little jittery and, oh, perhaps a bit unreliable. Your judgment may be impaired; decisions may not be completely thought out. You find it far more important to drink more coke than to get on with business. And sometimes those around a big coke-drinker pick up the slack for him, since it's their jobs on the line.
Interesting that Hooper's best to films (IMHO) are 'Salem's Lot and Poltergeist, which both had very strong producers (and, I expect, finished scripts long before they hired a director).. Then when you get into something like Spontaneous Combustion... where he's all by his lonesome... oy. Oy!!! What went right???
(I was at the Academy screening of that, invited by the PR guy who wanted me to interview Hooper. After I saw the film, I cancelled. I told him I couldn't do an interview without talking about that film, and it stunk on ice; I didn't want to be a downer on it, so I just called off the interview. The audience-- invited, with a lot of heavyweights, plus cast and crew-- were in hysterics for an hour and a half.)
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This info is from a Special Effects artist who visited the set for one night. His friend was a crewmember on the film. Keep in mind this visit came during about the first full week of filming, which means that Spielberg was in control from a very early period. This night of shooting was done on location at the house in Simi Valley:
I'm getting in touch with my friend who worked on the film. I think I'll be able to get you an outline from him of what it was like on the production. I was just there for one night when they filmed the family driving away from the house at the end of show and the street was lined with coffins. I haven't watched the movie in years but I remember a girl running up to a car and then the car with the family driving down the street. There was also an ILM matte unit filming some BG plates for effects that night. They photographed all this on a real street, not in a studio, which is why I could stand around and watch. I know that Spielberg directed everything that night anyway because I was standing rather close to him much of the time. I'll get back in touch when I have more detailed info from my friend.
Update: 9/20/10-This site did an article on the "who really directed it" controversy: http://www.top10films.co.uk/archives/3283
In the comments section below was this post:
Horror Writer said: At Necon, a horror writing conference, in the mid eighties, I was present when “The Fury” author John Farris spoke at length about being on set [of "Poltergeist"], and said, point blank, that “Tobe Hooper was coked to the gills” during the shoot, which is why Speilberg took over — although contractually it had to be Hooper listed as director. Prior to this the rumor mill was rife with reason after another, and cocaine was chief among them. Farris confirmed it.
Update: 10-9-10
I asked source "Ben There" the following on the Spielberg fan site PlayMountain.net (Ben now goes by the name of "Teen Herb"):
http://www.playmountain.net/forum/index.php?PHPSESSID=c3843088727c0fb8c88e7410d8d75740&topic=94.60
I asked: Since you were on set, can you speak at all to the rumors (from multiple sources) that Tobe had a, shall we say, "issue" with cocaine use? And did that problem contribute to Spielberg's "taking over" the film?
"Ben": Hi David, it's been a while. I hope all is well with you and yours. Thank you for adding so much to the whole Poltergeist discussion through your own dedicated research.
Actually, I did, already, speak to those rumors, but that was years ago back at SF. com. Just recently, by private email, I told one fellow Playmountaineer that, IMO, Tobe exhibited a sober demeanor and that I'd not seen him have so much as a beer to drink - but I was talking about the, approximate, ten week "prep" period before we started principal photography. Bear in mind, that, up until the first day of shooting, everyone believed Tobe was, in fact, our director. During the shoot, however, Tobe, myself, and C.T. Nelson did quaff quite a few beers on just one particular night...after wrapping, of course. As well, in celebration of our last night of shooting, Tobe, myself, and a few others did imbibe a bit o' the bubbly. Still, even on those two occasions I would not say that Tobe was overtly inebriated.
I don't know that Tobe had any "issue" with cocaine, but from the late 70's to about the late 80's, cocaine use was quite common to most (Hollywood) cast and crew members. Having 'Ben There,' I can honestly tell you that I never saw Tobe exhibit any tell-tale sign of cocaine use. IMO, Steven took the reigns for the simple reason that Tobe made poor decisions and was much too slow to make any decision at all.
Another poster said:
No, not in the least. Poltergeist was a most spontaneous film production and, in fact, it was often quite maddening in that regard. On day-1 of shooting, the key crew personnel were ready to shoot the film they had prepared with Tobe Hooper. By lunch-time of day-1, that whole concept was completely out the window.
No problem, Shimrod - as the messenger you're fine. You have to remember, however, these "statements" are older than the movie itself, and I, for one, believe it's high time to stop this ridiculous travesty. In pre-production, Poltergiest had one director; in principal photography and post production, Poltergeist had a different director. That's just the way it was, and it's just the way it will always be.
Of course, Tobe's version would have been quite different, but it's hard to know how different. I'm just spitballing here, but I figure his would have been darker in tone, and lighter in suspense. For an example, I imagine his version of the clown doll would have been stubbier and a little less friendly in appearance - still smiling, mind you, but in a way that tipped off the audience right from the get-go. I also think Tobe's version of the Freelings would have tended more toward the Adams Family than to the Brady Bunch. Such, however, would not necessarily render an inferior film... just a different film.
Certainly, that was my immediate fear, and on that first day I half jokingly asked Steven if I'd prepared the film with the wrong person. He said that he would work with whatever Tobe had already decided. (I'm sure that was not an intentional fib, but it certainly did not work out that way.)
From the beginning, I criticized the media for intentionally perpetuating this lie. Not once did I ever read an article where they flat-out asked Tobe or Steven who, exactly, it was that called "action" and "cut;" who, exactly, answered all pertinent questions from the cast and crew. In the end, Spielberg's somewhat effusive but evasive responses were just as misleading as Tobe's own claim to be Poltergeist's one, true, director.
And that's what makes Reardon's recent comment in that magazine so curious and disappointing. To wit: "I never saw him (Spielberg) say 'action' or 'cut' – Tobe did that." To be sure, Reardon also allowed: "The nature of my job had me in a workshop for a lot of the shoot." In fact, Reardon was rarely on-set. As well, in fact, on rare occasions, Tobe did call "action/cut." With tongue firmly in cheek, then, Reardon could claim that his rare on-set visits actually coincided with Tobe's rare calls of "action/cut." Still, his comments are quite misleading.
After all that has been said and done on this issue, there are still legitimate reasons for the controversy to remain, forever, open. Do not expect any definitive closure from either Hooper or Spielberg.
"In the beginning, Steven did occasionally yell action and say cut. Sometimes the actors got two different sets of directions from two directors. Sometimes they would be the opposite directions. After about three days of that, Beatrice Straight put her foot down and said she would only listen to one director. That was Tobe. After that, Steven was often on the set, but since he was prepping ET he wasn't there all the time. The only time I ever saw him really fight with Tobe was after an entire day of shooting a scene with Beatrice Straight and the other two scientists involving a great deal of gobblety-gook dialogue, Tobe just couldn't get the shot. Steven came onto the set and was very upset - there was a lot of ugly yelling - and Tobe just stood there taking it. Beatrice Straight, again the hero of the day, finally stood up to Steven, said that the dialogue (which I believe Steven himself had written for the scene) was unplayable and that Sir Laurence Olivier himself couldn't act such badly-written dreck. She made it very clear that Tobe was not to be blamed. Steven was very quiet and about five minutes later the cast and crew were all dismissed for the day. The next day the actors came back to the set and were handed new dialogue, which again I believe Steven had rewritten. It was 100% better and Tobe shot the scene in about an hour with no problem. But before shooting commenced, Steven got up in front of the entire cast and crew and apologized for the outburst and said Tobe was not to blame for the previous day's delays. It was one of the most generous, selfless and courageous things I had ever seen on a movie set. "
"BenThere" then disputed the particulars of the above recollection:
"I vehemently disagree with almost every detail recounted in that quote. I do not doubt your word that this person worked on the film - so, on that point, I stand corrected, but I believe I'm wrong ONLY on that point. As I said before: 'I'm just plain tired of hearing so much pure conjecture from the public - and so much pure BS from its principal players.' Certainly, my witness IS in the minority, as, to the best of my knowledge, no 'Poltergeist' cast or crew member has EVER publicly stated 'the whole truth and nothing but the truth' on the subject of its director. It may be said, that, in my many years of silence, I DID suppress the truth... but I most certainly DID NOT EVER perpetuate the falsities and outright lies as have so often been professed by many of our cast and crew.
By phone, I've already contacted two other 'Poltergeist' crew members who, like myself, were present 'on set' each and every day of shooting. As well, like myself, neither recall any such exchange among Steven, Tobe, and Beatrice - and, believe me - it's almost impossible that all three of us would EVER forget (or never even hear mentioned) such a 'generous, selfless, and courageous' apology as is claimed to have been given 'the entire cast and crew"... by Mr. Spielberg, no less!!
Semi-Interesting Side Note: Based on my intimate familiarity with the making of "Poltergeist," I believe the claimed exchange of dialogue and subsequent apology could only have taken place in the Interior Freeling House Set (ie. - kitchen, dining room, living room, downstairs bathroom, and staircase with upstairs landing, hall and bedroom doors). Most likely it would have occurred sometime around our shooting the Dr. Lesh / Diane discussion as a tea pot slides across the dining table on its own power... or the scene where Ryan (Richard Lawson) is listening to music via headphones while, simultaneously, sketching his version of a ghostly apparition - even as he fails to notice that his scientific 'ghost image capturing' equipment is, also, stirring to action. What's 'interesting' here is twofold: Firstly, we shot both of those scenes on the same day. Secondly, it was the ONLY day that Mr. Spielberg was, IN FACT, 'very upset - (and indeed) there was a lot of ugly yelling.' Your source got that much right and I would never again see him SO vocally express his displeasure to anyone else. By the way... (geez, I almost forgot)... most interesting of all is this: He was not 'upset' with, nor did he 'yell' at Tobe Hooper. He was upset with... and he yelled at... ME!"
Certainly, it IS possible that Beatrice's objections, Steven's outburst to Tobe, and Steven's apology were known only to a select group of individuals and not to so large a group as was inferred by your source. What DID happen in witness of a large number of cast and crew was Steven's outburst to me. Let me be very clear on this point: Some directors, (too many actually) are, in fact, "reamer/screamers" and they can be easily agitated and/or moved to anger by even the smallest of problems or setbacks. Mr. Spielberg, however, is NOT among them. He is a most cordial person, but he is human, after all, and his emotional facilities are definitely intact.
For very practical reasons, the entire film, or quite nearly the entire film was storyboarded. In purely artistic terms, the action as depicted in "Poltergeist's" storyboards was quite simple in nature... almost cartoonish. (This is not to slight our, then, storyboard artist, Ed Verreaux, who is now a production designer. His sketches were drawn in the style and manner of Steven's request.) In the earlier stages of preparing "Poltergeist" we were told the storyboards should not be taken too literally - they were not "the bible," then again, neither was the script, but I digress. The storyboards were most useful in keeping the entire crew 'all on the same page' and they provided a good deal of information as to how Steven wanted the film to be shot, especially in terms of his preferred camera angles, lens sizes, and camera movements.
Twenty five years later, I have yet to work another film that was so completely storyboarded as was "Poltergeist." The combined bulk of the storyboards made them almost twice as thick as the script itself and a steady stream of changes to both required our constant and diligent upkeep. As our remaining number of prep days decreased, emphasis on our knowledge of (and, therefore, the importance of) those storyboards increased. In short, it turned out that, sometimes, those storyboards WERE considered "the bible."
No more than a couple or three weeks before we began shooting, I was forced to inform Tobe the limitations on some of the technical equipment to be used in the film. I also confessed a lack of certain expertise on my part as well. Tobe was actually quite gracious and accomodating. He asked if his cutting the scene - in a place where neither the script nor the storyboards called for a cut - would solve my problem. Indeed, it would, and by his agreeance to do just that, I was greatly relieved.
Only days into our shoot, however, as we began to rehearse that scene it suddenly dawned on me that neither Tobe nor myself had ever made Steven aware of my problem and our agreed upon cut. My greatest fear was realized then as Steven's blocking of the scene did not allow the cut that I'd been assured of. I looked over at Tobe and he just raised his hands and rolled his eyes as if to say, "Hey... tell Steven your problem... I ain't directing this thing!" At that point, it became my distinct and very unfortunate task to tell Steven that I could not accomodate the shot he wanted to do. Quite frankly, I fully expected a swift and harsh reaction to that news... and, geez-louise... did I ever get it! I won't detail his exact words or the heated manner in which he communicated his thoughts, but, in essence, he wanted to know why I had failed to accomplish something that had been in the script AND in the storyboards for some three months.
In the moment, I did not take his wrath well... but I took it. Later that day, I had occasion to return that disfavor to him in nearly the same tone and in, exactly, the same words. Like I said before, you CAN argue with Steven... but you damn well better have good reason. If you don't have good reason, however, well you damn well better be nothing short of RIGHT!"
[I asked: And I'm assuming the shot in question involved Ryan making the pencil sketch while the camera tilts up toward the stairs...?]
"That is correct."
Here's another interesting rumor that someone posted on the IMDB:
http://www.imdb.com/name/nm0001361/board/thread/30986916?p=8:
A famous rumor has it that the final shot (which was also the final shot of the entire production) was actually photographed by Spielberg himself, with Hooper off with several crew members getting drunk...he'd had enough and had left Spielberg to do whatever he wanted to do on the last night of shooting (something that King Vidor did to David O. Selznick on the last day of filming "Duel in the Sun"). I highly suspect this is a true story...that and another aside that said once the interior house sets had been shot out, Hooper punched holes in all the walls...Remember JoBeth Williams' words, "If I'd been Tobe I might have been resentful."
Some interesting message board posts from industry insiders follow.
From:
http://monsterkidclassichorrorforum.yuku.com/reply/90411#reply-90411
The basic thing was that the aliens in NIGHT SKIES were impish, even dangerous, and Spielberg thought that didn't match with the benign aliens of CE3K. The impish/dangerous part went on over to POLTERGEIST.
http://monsterkidclassichorrorforum.yuku.com/reply/90411#reply-90411
As for POLTERGEIST--what happened was that suddenly the producers realized they were about to release a family-oriented movie directed by none other than the director of THE TEXAS CHAIN SAW MASSACRE. The idea that Spielberg really directed the film, not Hooper, was actually created in house and leaked carefully to the press. Spielberg did direct a couple of scenes, but no more than that (though those are his hands in the fantasy scene of the guy pulling his face to pieces).
The making-of film created for the movie was part of this rejiggering everything to make POLTERGEIST a Spielberg movie rather than a Hooper movie. In it, there are several shots of Spielberg on the set; there's a single shot of Hooper, deep in the background, saying nothing, labeled "Tobe Hooper-Director." The official still set included a couple of shots of Spielberg; the only one featuring Hooper also included Spielberg, pointing something out to Tobe.
Hooper was TRYING to make the movie in the Spielberg style; that was the point of the script.
Another odd story that I think is true. Some people have noticed that the plot of POLTERGEIST is similar to that of Richard Matheson's story "Little Girl Lost," dramatized on TWILIGHT ZONE. Supposedly, Matheson was one of those who noticed this. Supposedly, TWILIGHT ZONE THE MOVIE was made largely to pay Matheson a big chunk of change to keep him from filing a plagiarism lawsuit over POLTERGEIST. But as I say, this is all "supposedly"--I have no way of knowing if this is true, just that I have heard this from some fairly reliable sources. But I know nothing of the reliability of THEIR sources.
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Fanboys did not start the rumors. The impression was deliberately perpetrated by the film's promotional campaign. Tobe Hooper was a cult figure because of CHAINSAW MASSACRE, but his name didn't mean anything on a marquee; if anything it might scare away the intended audience of a PG film. Spielberg, on the other hand, had already directed some BIG movies, and audiences knew his name.
Before the film was released, I attended some kind of promo event at the Norris Theatre on the U.S.C. campus. The P.R. guy for the film came down and every other word out of his mouth was "Spielberg." Finally, someone asked him who directed the film, and his two-word answer was "Tobe Hooper." That was the first and last time Hooper's name was mentioned out loud that day. The p.r. guy went right back into his "Spielberg-Spielberg-Spielberg" routine.
There was also a short behind-the-scenes documentary, which consisted amost entirely of footage of Speilberg. There was one brief shot of Hooper somewhere on the sidelines, with his can of coke in his hand, standing silently. A subtitle identified him as the director, and that was it.
The whole question of who directed the movie comes up because of auteurist assumptions that the final film must represent the director's vision. Ergo, iit feels like a Spielberg film, Spielberg must have directed. POLTERGEIST is, I think, simply a Steven Spielberg production, directed by Tobe Hooper - kind of like THE THING FROM ANOTHER WORLD is a Howard Hawks production directed by Christian Nybe.
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http://monsterkidclassichorrorforum.yuku.com/topic/16541?page=3
A friend of mine who worked on the set of POLTERGEIST told me that most of the film was directed by Spielberg though I don't recall if he ever said what the percentage was. There is a line in an above post "...Hooper somewhere on the sidelines, with his can of coke in his hand, standing silently" that is just about how my friend described the situation on the set. The one night I was there during production it's my recollection that Spielberg was literally calling the shots. I realize this is all second hand and anecdotal so it doesn't really prove anything.
Since my first post on this topic I had a chance to check with my friend who worked on the set during the production of POLTERGEIST. Your description "of Spielberg directing the cast while Hooper is in a chair just watching them" is exactly what he told me it was like there. Hooper did not seem happy with the arraignment, according to my friend, but there wasn't much he could do about it.
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I did some articles on POLTERGEIST, though I forget who for. While the film was in production, rumors leaked out that Hooper had largely been supplanted as director by Spielberg. When I interviewed Frank Marshall, I asked him who'd directed the movie. His face froze, he paused, then asked why I wanted to know the answer to a question that didn't really seem to need to be asked. He said that Hooper directed it, but that Spielberg was also on the set a lot, and of course offered his input. I suspect this relates to the "director can't take over officially from producer" rule mentioned above--but it may have had another origin.
Spielberg liked TEXAS CHAIN SAW MASSACRE; it was his idea to hire Hooper. But then partway through the making, they realized that promoting the family-friendly movie--it was always intended to be that--as being by the director of that gross-out gore-fest might present certain problems. The rumors about Spielberg taking over were, according to this scenario, actually leaked by the producers themselves. That's why you get just a brief, silent shot of Hooper in the "making of." In the still set, there are several shots of Spielberg. The one shot of Hooper is >with< Spielberg, who is pointing down the hill at the suburbia set, clearly instructing Hooper on what to do.
A friend of mine worked makeup on the film, including that shot of the face being torn away by Spielberg's hands. He said that Tobe Hooper directed the movie. Craig T. Nelson has also made that assertion.
So who directed it? Beats me.
Another good question that I will not go into: what's the source of POLTERGEIST's plot?
Bill Warren
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"There was one brief shot of Hooper somewhere on the sidelines, with his can of coke in his hand, standing silently.
Oh, and for my next feat of pedantry, Hooper's drink of choice is Dr. Pepper."
I think you got it right the first time. Apparently Mr. Hooper drank a lot of coke. On Funhouse, immediately afterward, word on the street is, he spent a lot of time locked in his trailer drinking coke. All that caffeine makes you a little jittery and, oh, perhaps a bit unreliable. Your judgment may be impaired; decisions may not be completely thought out. You find it far more important to drink more coke than to get on with business. And sometimes those around a big coke-drinker pick up the slack for him, since it's their jobs on the line.
Interesting that Hooper's best to films (IMHO) are 'Salem's Lot and Poltergeist, which both had very strong producers (and, I expect, finished scripts long before they hired a director).. Then when you get into something like Spontaneous Combustion... where he's all by his lonesome... oy. Oy!!! What went right???
(I was at the Academy screening of that, invited by the PR guy who wanted me to interview Hooper. After I saw the film, I cancelled. I told him I couldn't do an interview without talking about that film, and it stunk on ice; I didn't want to be a downer on it, so I just called off the interview. The audience-- invited, with a lot of heavyweights, plus cast and crew-- were in hysterics for an hour and a half.)
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This info is from a Special Effects artist who visited the set for one night. His friend was a crewmember on the film. Keep in mind this visit came during about the first full week of filming, which means that Spielberg was in control from a very early period. This night of shooting was done on location at the house in Simi Valley:
I'm getting in touch with my friend who worked on the film. I think I'll be able to get you an outline from him of what it was like on the production. I was just there for one night when they filmed the family driving away from the house at the end of show and the street was lined with coffins. I haven't watched the movie in years but I remember a girl running up to a car and then the car with the family driving down the street. There was also an ILM matte unit filming some BG plates for effects that night. They photographed all this on a real street, not in a studio, which is why I could stand around and watch. I know that Spielberg directed everything that night anyway because I was standing rather close to him much of the time. I'll get back in touch when I have more detailed info from my friend.
Update: 9/20/10-This site did an article on the "who really directed it" controversy: http://www.top10films.co.uk/archives/3283
In the comments section below was this post:
Horror Writer said: At Necon, a horror writing conference, in the mid eighties, I was present when “The Fury” author John Farris spoke at length about being on set [of "Poltergeist"], and said, point blank, that “Tobe Hooper was coked to the gills” during the shoot, which is why Speilberg took over — although contractually it had to be Hooper listed as director. Prior to this the rumor mill was rife with reason after another, and cocaine was chief among them. Farris confirmed it.
Update: 10-9-10
I asked source "Ben There" the following on the Spielberg fan site PlayMountain.net (Ben now goes by the name of "Teen Herb"):
http://www.playmountain.net/forum/index.php?PHPSESSID=c3843088727c0fb8c88e7410d8d75740&topic=94.60
I asked: Since you were on set, can you speak at all to the rumors (from multiple sources) that Tobe had a, shall we say, "issue" with cocaine use? And did that problem contribute to Spielberg's "taking over" the film?
"Ben": Hi David, it's been a while. I hope all is well with you and yours. Thank you for adding so much to the whole Poltergeist discussion through your own dedicated research.
Actually, I did, already, speak to those rumors, but that was years ago back at SF. com. Just recently, by private email, I told one fellow Playmountaineer that, IMO, Tobe exhibited a sober demeanor and that I'd not seen him have so much as a beer to drink - but I was talking about the, approximate, ten week "prep" period before we started principal photography. Bear in mind, that, up until the first day of shooting, everyone believed Tobe was, in fact, our director. During the shoot, however, Tobe, myself, and C.T. Nelson did quaff quite a few beers on just one particular night...after wrapping, of course. As well, in celebration of our last night of shooting, Tobe, myself, and a few others did imbibe a bit o' the bubbly. Still, even on those two occasions I would not say that Tobe was overtly inebriated.
I don't know that Tobe had any "issue" with cocaine, but from the late 70's to about the late 80's, cocaine use was quite common to most (Hollywood) cast and crew members. Having 'Ben There,' I can honestly tell you that I never saw Tobe exhibit any tell-tale sign of cocaine use. IMO, Steven took the reigns for the simple reason that Tobe made poor decisions and was much too slow to make any decision at all.
Another poster said:
Hooper made a statement regarding his directing the movie, just some weeks ago:
http://www.bleedingcool.com/2010/08/27/tobe-hooper-busts-spielberg-poltergeist-myth/
http://www.bleedingcool.com/2010/08/27/tobe-hooper-busts-spielberg-poltergeist-myth/
In response, Ben noted:
Apparently, Tobe's memory from the time of Poltergeist's
filming has been completely erased. It's either that or he's just
turned into the proverbial "liar, liar, pants on fire," but it is,
literally, one or the other.
As "Ben There," I previously relayed accurate portrayals of what took place from the beginning to the end on Poltergeist. Again, just to keep the record straight, I will lend truth and insight to these (and any other) false claims as made by Hooper, Spielberg, or any other source.
(So, according to that article:) 'Legendary film director Tobe Hooper graced the FrightFest stage a few minutes ago. During his chat with Total Film, he spoke about the myth surrounding Spielberg’s on-set contributions to Poltergeist. A writer from the L.A. Times visited the set while they were filming some backyard scenes and Spielberg was shooting 2nd unit footage in an over-the-shoulder angle of remote control cars. The Times didn’t consider that this might only be 2nd unit, which is how the Big Story got started in the first place.'
Okay, yet again, here's the real Big Story: Our very first shot, on the very first day of principal photography took place on a hilltop overlooking the area that was Cuesta Verde. It was the scene where James Karen offers an already frazzled C.T. Nelson a higher position within the real estate firm. Tobe's decisions were tentative beyond belief, and it took him a ridiculously long time just to decide the blocking of that scene... so Spielberg jumped in and did it for him. Having taken that initial step, Spielberg - not Hooper - immediately and forever found himself answering all pertinent questions from both cast and crew.
Upon completing that scene, our company moved down to the Freeling house. I do not recall the specific scene or shots in the backyard, but it was simple work in that it did not involve mechanical/visual effects or any stunt work. ("Tweety's" burial scene in a cigar box comes to mind as that was one of the very few scenes I recall Tobe calling "Action!") Now, the scene with Dirk Blocker peddling 6-packs o' beer on a bmx bicycle was NOT a "2nd Unit" shot. In shooting those backyard and frontyard scenes simultaneoulsy, we were simply trying to pick up the time as was squandered by Hooper back on the hilltop.
Worth noting, is that the kids who cause Blocker to crash the bike via their remote controlled cars are NOT in the final draft of the script. Spielberg suggested those kids and their cars as merely an afterthought... and very much a last minute afterthought, at that.
(Furthermore, according to that article:) 'In fact, Spielberg was prepping ET, and wasn’t really on the Poltergeist set that much. (Hooper) also asserted that Poltergeist was definitely his baby: he designed it, he directed it, and it had his “feel.”'
The only part of the above that is true is that, yes, Spielberg was prepping E.T. during Poltergeist's period of principal photography. Hooper is absolutely delusional to claim that Speilberg "wasn't really on the Poltergeist set that much." Poltergeist was "Hooper's baby," but only during pre-production. From it's first shot to its last shot, it was no more Hooper's baby than mine.
As "Ben There," I previously relayed accurate portrayals of what took place from the beginning to the end on Poltergeist. Again, just to keep the record straight, I will lend truth and insight to these (and any other) false claims as made by Hooper, Spielberg, or any other source.
(So, according to that article:) 'Legendary film director Tobe Hooper graced the FrightFest stage a few minutes ago. During his chat with Total Film, he spoke about the myth surrounding Spielberg’s on-set contributions to Poltergeist. A writer from the L.A. Times visited the set while they were filming some backyard scenes and Spielberg was shooting 2nd unit footage in an over-the-shoulder angle of remote control cars. The Times didn’t consider that this might only be 2nd unit, which is how the Big Story got started in the first place.'
Okay, yet again, here's the real Big Story: Our very first shot, on the very first day of principal photography took place on a hilltop overlooking the area that was Cuesta Verde. It was the scene where James Karen offers an already frazzled C.T. Nelson a higher position within the real estate firm. Tobe's decisions were tentative beyond belief, and it took him a ridiculously long time just to decide the blocking of that scene... so Spielberg jumped in and did it for him. Having taken that initial step, Spielberg - not Hooper - immediately and forever found himself answering all pertinent questions from both cast and crew.
Upon completing that scene, our company moved down to the Freeling house. I do not recall the specific scene or shots in the backyard, but it was simple work in that it did not involve mechanical/visual effects or any stunt work. ("Tweety's" burial scene in a cigar box comes to mind as that was one of the very few scenes I recall Tobe calling "Action!") Now, the scene with Dirk Blocker peddling 6-packs o' beer on a bmx bicycle was NOT a "2nd Unit" shot. In shooting those backyard and frontyard scenes simultaneoulsy, we were simply trying to pick up the time as was squandered by Hooper back on the hilltop.
Worth noting, is that the kids who cause Blocker to crash the bike via their remote controlled cars are NOT in the final draft of the script. Spielberg suggested those kids and their cars as merely an afterthought... and very much a last minute afterthought, at that.
(Furthermore, according to that article:) 'In fact, Spielberg was prepping ET, and wasn’t really on the Poltergeist set that much. (Hooper) also asserted that Poltergeist was definitely his baby: he designed it, he directed it, and it had his “feel.”'
The only part of the above that is true is that, yes, Spielberg was prepping E.T. during Poltergeist's period of principal photography. Hooper is absolutely delusional to claim that Speilberg "wasn't really on the Poltergeist set that much." Poltergeist was "Hooper's baby," but only during pre-production. From it's first shot to its last shot, it was no more Hooper's baby than mine.
Josh Asked:
Considering there was a lot of stuff that was different in the final draft, it would seem that the film was a bit of a monotonous production. From your true experience, would you say that?
No, not in the least. Poltergeist was a most spontaneous film production and, in fact, it was often quite maddening in that regard. On day-1 of shooting, the key crew personnel were ready to shoot the film they had prepared with Tobe Hooper. By lunch-time of day-1, that whole concept was completely out the window.
Should have mentioned that I don't believe Hooper on this one. Just wanted to point out that he made that statement again.
No problem, Shimrod - as the messenger you're fine. You have to remember, however, these "statements" are older than the movie itself, and I, for one, believe it's high time to stop this ridiculous travesty. In pre-production, Poltergiest had one director; in principal photography and post production, Poltergeist had a different director. That's just the way it was, and it's just the way it will always be.
Josh asked:
I was wondering... the vision that Hooper was planning for Poltergeist... was it incredibly different from what Spielberg did when he took over, or did it just vary in tone?
Of course, Tobe's version would have been quite different, but it's hard to know how different. I'm just spitballing here, but I figure his would have been darker in tone, and lighter in suspense. For an example, I imagine his version of the clown doll would have been stubbier and a little less friendly in appearance - still smiling, mind you, but in a way that tipped off the audience right from the get-go. I also think Tobe's version of the Freelings would have tended more toward the Adams Family than to the Brady Bunch. Such, however, would not necessarily render an inferior film... just a different film.
Were the tasks planned for your department to do completely changed that first day?
Certainly, that was my immediate fear, and on that first day I half jokingly asked Steven if I'd prepared the film with the wrong person. He said that he would work with whatever Tobe had already decided. (I'm sure that was not an intentional fib, but it certainly did not work out that way.)
It's somewhat sad that most of the information you can find on Poltergeist... is (only) in newspaper and magazine articles from 1982. Occasionally, an interview pops up. But really, there isn't enough and a lot of this really should be on the DVD.
From the beginning, I criticized the media for intentionally perpetuating this lie. Not once did I ever read an article where they flat-out asked Tobe or Steven who, exactly, it was that called "action" and "cut;" who, exactly, answered all pertinent questions from the cast and crew. In the end, Spielberg's somewhat effusive but evasive responses were just as misleading as Tobe's own claim to be Poltergeist's one, true, director.
And that's what makes Reardon's recent comment in that magazine so curious and disappointing. To wit: "I never saw him (Spielberg) say 'action' or 'cut' – Tobe did that." To be sure, Reardon also allowed: "The nature of my job had me in a workshop for a lot of the shoot." In fact, Reardon was rarely on-set. As well, in fact, on rare occasions, Tobe did call "action/cut." With tongue firmly in cheek, then, Reardon could claim that his rare on-set visits actually coincided with Tobe's rare calls of "action/cut." Still, his comments are quite misleading.
After all that has been said and done on this issue, there are still legitimate reasons for the controversy to remain, forever, open. Do not expect any definitive closure from either Hooper or Spielberg.
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