Friday, March 27, 2015

QUENTIN TARANTINO FAQ - The Reviews are Rolling In! (and one related blog)

In honor of Quentin Tarantino's birthday, I've written a short article on the Applause Books blog page about being of QT's generation.  You can read it here:

A Generation on the QT

The reviews are starting to roll in on my book about Quentin Tarantino and so far they've all be very favorable!  If you want to check them out, here's some of the links:

Cinema Sentries


Louder Than War


Simply Me Blog

Sunday, March 1, 2015

Win a Signed copy of the QUENTIN TARANTINO FAQ! Plus, first review for book is up!

The Quentin Tarantino Archives is offering a chance for readers to win a signed copy of my new book, Quentin Tarantino FAQ!  Check at the link below for details, more about the book and where to order:

Quentin Tarantino Archives Contest for the QT FAQ!

Also, the first review of the book is now up at Flick Attack, where it is referred as "an infinitely readable history" of Tarantino's career.  You can read it here:


Wednesday, February 11, 2015

Samuel L. Jackson and his Journey through the Quentin Tarantino Universe


        It is not uncommon for certain directors to gather a group of actors around him or herself to be used again and again in their films.  Some of Hitchcock’s best films star either Jimmy Stewart or Cary Grant, for example.  Martin Scorsese used Robert DeNiro in several films before switching over to Leonardo DiCaprio in more recent years.  An Ingmar Bergman movie is bound to have either Max von Sydow or Liv Ullmann, or both, turn up in it.  It’s certainly no different with Quentin Tarantino, who has kept a number of people working with him over the years both in front of and behind the camera.
            It’s understandable, especially in cases where directors such as Quentin Tarantino guide the entire production and steer the scripting themselves.  They have a vision of how the film should look, and with that comes how they want the actors to perform and sound.  Anyone that can’t do that certainly would have little chance of returning, while those that do will have already established a working relationship with the director.  As for Tarantino, he and others have made clear over the years that he likes an actor who understand the rhythm of his writing, and who can propel that dialogue to another level with their performance.  Some can at least fake it well enough to pass his judgment, while a small handful seem to be in sync with what Tarantino has in his head.
          There have been performers that have been used here and there – in fact, the cast for The Hateful Eight has enough returning actors to Tarantino’s movie universe (Michael Madsen, Tim Roth, Bruce Dern, Kurt Russell, Zoe Bell, James Parks, a handful of actors that appeared in his previous movie, Django Unchained) that it’s almost a class reunion.  Yet one of the most prolific of these actors has been Samuel L. Jackson, with seven appearances in Tarantino-related movies.  Nearly eight, in fact.  And even a couple of times where the parts originally written for Jackson ended up not being the parts he ultimately played.      
          The Quentin Tarantino FAQ book goes into more details about the various movies the writer / director has been involved over the years, as well as other aspects of Tarantino’s career.  Such as exactly how Samuel Jackson has continued to thread his acting career through Tarantino’s films over the years.

Reservoir Dogs (1992) 
            Reservoir Dogs does not feature Jackson, although he did try out for the film.  The assumption for years by way too many people was that he must have tried out for the part of Holdaway, Mr. Orange’s police contact and played by Randy Brooks in the film.  Rumors also flew around that Jackson had tried out for the part of Mr. White – a part pretty much a done-deal for Harvey Keitel long before auditions began, as explained in the book.
          However, in 2013, Jackson stated at a special screening of Pulp Fiction that he had actually auditioned for the role of Mr. Orange (played by Tim Roth in the film), only to leave the audition not sure if he even wanted to be in the resulting film if he had won the part.  As he told Deadline: Hollywood after auditioning with Tarantino himself (“Samuel L. Jackson Lets Loose on Django, Tarantino, Slavery, Oscars and Gold Globes,” by Pete Hammon),  “I thought he was just a really bad actor. I was like ‘Damn, these dudes are horrible.’ I look like I was overacting or they have no judgment of what’s good and what’s not.” 
          After the film was released, Jackson congratulated Tarantino on the film’s success, which began the ball rolling for Tarantino to write a part in his next film specifically for the actor.  But one film connected to Tarantino would introduce Jackson to Tarantino’s realm before that could happen.

True Romance (1993) 
            To make a long story short (but covered in more details in the Quentin Tarantino FAQ book), in the very early 1990s Tarantino had two scripts floating around Hollywood that he spent quite some time to sell – one was Natural Born Killers (1994) and the other was True Romance.  It would be the money Tarantino made on the sale of the True Romance script that would help lead to the making of Reservoir Dogs, and the success of that film led straight to Pulp Fiction (1994).  In the meantime, however, Tony Scott took over the reins on True Romance and hired Samuel Jackson for the short, but memorable, role of Big Don.  Big Don is one of the criminals seen near the beginning of the film with Drexl (played by Gary Oldman) who argues in favor of a certain sex act before Drexl decides to end the party early by blowing Big Don and his associate away with a gun. 
            Jackson was already making a name for himself in Hollywood, thanks to roles in films by Spike Lee (a main reason why Jackson almost always gets interviewed by reporters when the feud between Lee and Tarantino is discussed), as well as co-star and smaller roles in movies like Jurassic Park and Patriot Games, so it’s no surprised he would turn up in a film like True Romance.  Ironically, his first Tarantino-related film is the one not directed by the man, but that would soon change.
Pulp Fiction (1994) 
            Tarantino has built himself a reputation for keeping promises to actors that he says he wants to work.  This was the case with the casting of Pam Grief and Robert Forster in Jackie Brown (1997), after promising both that he had them in mind for roles in a movie.  It was also true of Jackson for Pulp Fiction.
          Or, at least that’s how the story goes.  According to Laurence Fishburne (“Fishburne Glad He Turned Down Pulp Fiction,” Contactmusic, November 11, 2009), he was given the script by Tarantino and told that the role had been written with him in mind.  After reading the script, he declined the part stating, “I decided not to do it, because I couldn’t respond to the part. …It didn’t feel like something I needed to do.”  Thus, Jackson was asked if he wanted to play the part and he readily accepted. 
            But there was a catch that Jackson was unaware - he was expected to audition for the role.  Thinking the part was his, he found out right before production was to start that actor Paul Calderon had the role because Jackson had never auditioned.  Tired and angry, Jackson traveled to Los Angeles in order to do a last-minute audition for Tarantino, Lawrence Binder and Miramax’s head of production, Richard Gladstein.  To put him into an even worse mood, he came into the audition with someone telling him, “I love your work, Mr. Fishburne.”
            Arriving with some carryout from a fast-food joint, Jackson seeped with anger that played perfectly into his audition for the trio.  As Lawrence Binder said to Vanity Fair, “He was the guy you see in the movie.  He said, ‘Do you think you’re going to give this part to somebody else? I’m going to blow you away.’”
            Convinced Jackson should play the role, Paul Calderon was given the smaller role of English Dave, the bartender at Marsellus’ strip bar.  Calderon would go on to play Norman, the guy about to lose a finger at the party in Tarantino’s segment of Four Rooms, as well as a variety of parts, big and small in movies and television. 
            Flash-forward:  In February 2014, Los Angeles KTLA reporter Sam Rubin interviewed Jackson about his role in the remake of RoboCop.  During the interview, Rubin asked Jackson about his recent Super Bowl ad.  Problem was, the Super Bowl ad featured not Jackson, but Laurence Fishburne.  It was obvious that the reporter had made an innocent mistake during a live interview, and for the most part Jackson took it with good humor, but no doubt he probably felt it was simply par for the course.

Jackie Brown (1997) 
            Tarantino’s venture into adapting a novel for the big screen came after the success of Pulp Fiction and with through a desire to make a movie based on a novel by one of his favorite author, Elmore Leonard.  The novel was Rum Punch, which was stated to go into production with Tarantino as the producer and a female director never named making the film.  Instead, Tarantino wrote the script and decided to direct it himself, leading to him hiring Jackson to play the world of Ordell, a ruthless arms-trader who thought himself smarter than he actually was. 

Kill Bill, Vol. 2 (2004)
            When Tarantino began writing the Kill Bill script, he had one actor in mind, as he told Brian Helgeland in 2003 (“Screenwriters are (Obsessive, Creative, Neurotic) People, Too,” moderated by Lynn Hirschberg, The New York Times, November 9, 2003):  “I definitely often write for Sam Jackson. I know his rhythms. I feel like he can turn my lines into poetry.  In fact, the character of Bill in Kill Bill, when I first put pen to paper, was Sam Jackson.  And finally I had to stop it. I knew I didn’t want to cast Sam Jackson as Bill.” 
            Instead, Jackson would make a brief appearance near the beginning of the second Kill Bill movie as Rufus, the piano player at the Two Pines Wedding Chapel.  It was almost a family affair on the Kill Bill set, as Jackson’s wife, LaTanya Richardson, was originally hired to play the character L. F. O’Boyle in the second film.  You don’t remember a character called that in the second Kill Bill movie?  That’s because the scene to feature the character – which would have introduced the audience to Bill by showing him taunting Richardson’s character into trying to attack him so he could kill her.  When Tarantino saw how well the opening dialogue between Bill and Kiddo went before the wedding massacre scene, he decided that there was no need for the O’Boyle segment and cut it from the film.

Inglourious Basterds (2009)
            Although uncredited, Jackson is the narrator briefly heard in Tarantino’s World War II epic.        
Django Unchained (2012) 
            As with Kill Bill, Tarantino wrote the title character with Samuel Jackson in mind for Django Unchained.  The problem was that Tarantino kept running up against the obstacle of everyone being older then when he first began working on the script.  To fit the part the way he wanted, he needed a younger man, and felt that Jackson was perfect in nearly every way except the difference in age between the actor and the part.  Tarantino attempted to fix that by re-writing the script in a manner that would have shown Django as a young man and then “fifteen years on” with Jackson playing him at his current age, but Tarantino never felt it worked as effectively as making Django a younger man throughout the film. 
          Thus, he needed to find another actor for the main role and instead offered Jackson the role of Stephen (who Tarantino refers to as a “Basil Rathbone” villain in his script).  Tarantino was wondering how Jackson would feel about the change from the lead to a secondary character, but Jackson took it well – after all it was a chance to play, as Tarantino remembered Jackson saying at the time, “the most despicable black motherfucker in the history of the world.”  Meanwhile, Tarantino had to find his Django, and after negotiations with Will Smith fell through, Tarantino went after Jamie Foxx.
Foxx was anxious for the role, but his rep was unsure and called Jackson for his thoughts on the project.  As Jackson remembered when talking to Jason Guerrasio at Vanity Fair (“Samuel L. Jackson on Find the Right Skin Tone for Django Unchained …” December 20, 2012): “So at the end of the day all I could tell them was it’s Quentin Tarantino, first of all, and second of all, if it was ten or fifteen years ago, we wouldn’t be having this conversation because I’d be doing that role, and if you need to know anything more then you’re calling the wrong person.”  With that, Foxx signed on.

The Hateful Eight (2015) 
            Jackson had taken part in a public read-through of the script when Tarantino was considering not actually making the film after the script was leaked.  Eventually, the director changed his mind, announcing the script was to be filmed with a number of the actors that took part in the read-through, including Jackson.  Thus, Samuel L. Jackson continue his partnership with Tarantino in a new film; one that will be released by the end of 2015.
            Will the trend continue?  Tarantino himself has said that he only plans to make a few more movies before he retires.  Yet, even if that is so, one can bet that he’ll probably be working on his subsequent scripts wondering how to get Jackson once again into his film.

QUENTIN TARANTINO FAQ - out March 11, 2015!


Thursday, January 22, 2015

From the pages of ARMAGEDDON FILMS FAQ: Childhood’s End – the Greatest Apocalyptic Movie Never Made

The first chapter in my book about end-of-the-world movies, Armageddon Films FAQ, deals with ten classic apocalyptic novels that had never been turned into movies. To show why such books have remained landmarks in science fiction and horror, as well as why they keep getting passed over by Hollywood, the chapter takes on the voices of those arguing such points at a studio – with a reader giving details about the book, an agent pushing the project, and a studio bean-counter attempting to find all the reasons to avoid it. As mentioned in the chapter, although passed over, many of the novels had been cannibalized left and right over the years for various other apocalyptic movies, with Arthur C. Clarke’s Childhood’s End being a prime example for such usage.

In September 2014, the cable network SyFy Channel announced that they planned to finally take Clarke’s novel out of that list, with a miniseries adaptation to be filmed in 2015. Having Matthew Graham, co-creator of Life on Mars and Ashes to Ashes, on board sounds intriguing (he also wrote the Doctor Who episode “Fear Her” but … well, he created Life on Mars, so let’s not hold it against him). However, the plot-points given by the cable channel seem to play the miniseries up as rather like a variation of V (what appear to be friendly aliens are anything but, and now humanity must fight the same alien race they once welcomed), but let’s hope that this is just shorthand for more than chase-scenes with aliens for six hours.

No doubt, when reviewing the book, the studio – in this case Universal – brought up several of the same issues as seen in this excerpt from Armageddon Films FAQ. As readers will see, my own conclusions are not quite what has come about, but time will tell if I’m closer to be right than they are.

Script Reader’s Analysis: For many years Arthur C. Clarke was considered one of the “Big Three” in Science Fiction, along with Robert Heinlein (Starship Troopers) and Isaac Asimov (pretty much everything else … okay, that’s a rare joke from this reader, but Asimov was prolific as a science author and Science Fiction writer, including I, Robot, which was adapted as a hit movie for Will Smith). Clarke (1917 – 2008) may not have been quite as busy as Asimov, but certainly contributed in abundance to the printed page, with written pieces on scientific advances as well as his short stories, novellas and novels over the years. Best known is his collaboration with Stanley Kubrick on the movie and novel 2001: A Space Odyssey, which was originally pitched between the two as an adaptation of his short story, “The Sentinel,” although there are certainly aspects of Childhood’s End in the finish work as well. Besides 2001, Childhood’s End and “The Sentinel,” Clark created some of the better known short stories and novels in the genre, from Rendezvous with Rama to “The Nine Billion Names of God” (an apocalyptic short story) to The Sands of Mars. Childhood’s End has been seen as written by Clarke when he still had some aspects of wonder pertaining to the paranormal (beliefs he discarded later in life, although they led to his use of telekinesis as a plot-device in the novel), but namely his early conviction in the wonders of science and how advancements in the field can deem mostly positive instead of negative results. Although aspects of Childhood’s End could be seen as being gloomy, Clarke champions that such treks into the future could be of amazement and for the positive.

The Plot: It is the time of the Cold War’s Space Race between the U.S. and Russia when aliens arrive, offering advancement and peace for all of Humanity. After some hesitation, the people of Earth begin to cooperate with the aliens and peace does come quickly to the world, but at the cost of creative interest in the arts and sciences. Many years later, children are born who exhibit telekinetic abilities that separate them from their parents mentally and, soon after, physically as they relocate to a continent of their own. Before this occurs, however, the aliens – now known as the Overlords and who are satanic in appearance – find that a human named Jan Rodricks had stowed away on one of their supply ships. He arrives on the Overlords’ home-word and discovers that the aliens are merely servants of a greater power called the Overmind – made up of various alien races that have moved beyond the physical level and joined together as one entity. The Overlords’ task is to find worlds where the inhabitants are close to achieving a new stage of evolution, much as which occurs with the children on Earth, and prepare them to join with the Overmind. By the time Jan returns to Earth many decades after his departure, the children are namely the only ones left, as most of those that came before them have died or are in the process of dying. The Overlords and Jan observes the final stages of preparation for the children to become part of the Overmind, with Jan staying to report to the Overlords first-hand what occurs as the aliens back off to a safe distance in space. With the startlingly rapture-like departure of the children, Jan feels a wave of fulfillment for the Human Race as they move up on the evolutionary scale, even as he dies and the earth crumbles around him and disappears. With the disappearance of Earth, the Overlords move on to their next assignment.

As noted above, Clarke’s suggestion of aliens coming one day to help propel Mankind into a greater era can readily be found in 2001 with the usage of the Monolith (elements of such alien involvement stopping dead a Cold War can also be seen as a major plot-point in the sequel film and novel, 2010; not to mention used as well in the James Cameron’s The Abyss). However, Kubrick hid that revelation behind a lot of special effects and metaphorical images, intentionally obscuring the meaning in the process. The television series Babylon 5 also used many elements about the Overlords as part of the alien species in the series called the Vorlons; down to the revelation that they are helping Mankind move to a higher evolutionary plane, as well as their physical appearance being biblical in nature (albeit as angels instead of demons). Still, the plot of the film hasn’t really been pushed much in film over the years and once the late topical element of the Cold War is excised the story could stand as-is for a movie. The element of children gaining telekinetic powers soon after the arrival of aliens may be seen as a bit reminiscent of The Midwich Cuckoos (1957 and adapted into film as Village of the Damned in 1957 and 1995), but that book saw such children as pretty much alien invaders, while Clarke’s earlier work saw it as an evolutionary step-up for Mankind. The main thing would be to avoid comparisons, even if our argument would readily be, “Clarke was there first.” In reality, he was there second in many ways, as it is easy to see elements of Stapledon’s Last and First Man in the novel – a work that Clarke readily admits was very influential on him in his early career.

Agent’s Pitch: Once again, another known author’s name is involved with the project we are reviewing, which is always a plus. People know 2001 and the sequel film is a bit of a cult-favorite amongst Sci-Fi fans, so there a safety net right there as to building a picture around one of Clarke’s novels. There is also a lead character, Jan, who is intertwined into the story, so we don’t have the loss of audience identification that comes with some of the other novels – like Last and First Man and A Canticle for Leibowitz where actions take place over centuries and has no consistent character to root for. Okay, admittedly he disappears for the good chunk of the story on Earth as he sails off to the Overlords planet, but at least he comes back and has explained to him what has occurred. Even better, we could build the story around Jan’s adventure solely and we avoid some of the depressing material about parents losing their kids to the “next evolutionary step” and killing themselves in despair (which appears in the novel). Make him the one that discovers what they look like and conflate the time-period things occur so that it can be within Jan’s lifetime and you’ve still got Childhood’s End with a meaty part for a major actor like Will Smith.

Bean-Counter’s Response: I was going to suggest that, much like Stapledon’s book earlier discussed, this may be more to bite off than we can chew. However, the Agent does have a good point that we may be able to move a few things around, make this more about the one character, and still have it drive home the same message as the book. However, let me point out that earlier attempts have been made to get a script into shape for Childhood’s End, with Universal looking into making it into a film in the early 2000s, but nothing came of it. This may be enough of a history to show that, while the intentions may be good, the project just won’t gel. Might be best to avoid.

Studio’s Decision: Have to agree with the Bean-Counter here. There are certainly enough projects out there to complete rather than one that seems to have been batted around for decades with no resolution. A movie about how we’re all insects and the kiddies are going to destroy Earth just because they want to leave home probably would be a hard-sell to the American public. Maybe if the agent can solicit someone to throw together a script that can impress, or actually can get Will Smith to express interest, we’ll take another look at it.

For more insight into nine other famous novels that have never been made into major studio films, as well as reviews of films covering everything from zombies, to contagions, to alien invasions, pick up a copy of Armageddon Films FAQ - available in bookstores and through Amazon, B&N, and other online outlets!

And keep an eye out for Dale's next book, Quentin Tarantino FAQ, available March 11, 2015 from Applause Books!

Friday, January 16, 2015

While KISS was Their Instrument: American Television the Week KISS Meets the Phantom of the Park Premiered

With the release of my new book, Quentin Tarantino FAQ, due out on March 11, 2015, I thought I would go back to my previous FAQ books for a blog or two. This time around: KISS FAQ and a particular television movie that every KISS fans remembers ....

In KISS FAQ I cover the making and ramifications of the notorious television movie, KISS Meets the Phantom of the Park. The chapter of the book certainly held no surprises to readers in the acknowledgement that the movie contains wooden acting, a bizarre musical soundtrack (namely in the televised version; not as much in the later theatrical one), bad special effects, and a clunky script, but one myth that was put to rest was of KISS Meets the Phantom being one of the highest rated television programs of 1978. NBC certainly wished that had been the case, as they pre-empted a showing of their popular cop series, CHiPs for the movie in hopes of gaining a good chunk of young viewers.

It was a gamble that NBC needed, as they was floundering; the network had only two programs with ratings high enough to place in the top twenty-five programs of the 1978-1979 television season: the family-oriented drama about frontier life, Little House on the Prairie, and the police series CHiPs. Even so, a gamble on using the CHiPs timeslot earlier that October for a two-part showing of Rescue from Gilligan’s Island had earned a 40 share for NBC, making KISS Meets the Phantom of the Park in the same time the last Saturday of October a seemingly good risk.

However, when the ratings came out, KISS Meets the Phantom of the Park was nowhere near the Number One slot. It wasn’t even in the top 25 for the week. It finished at #45, leading to Variety to proclaim “NBC had its worst Saturday of the year,” with the KISS movie being the reason. Its failure in drawing interest as a television movie was only the starting point of concern for those connected to the film, as it was about to be released as this type of filmic albatross in theaters overseas. But that story and other details about the movie can be found in the pages of KISS FAQ.

While the book does discuss some aspects of American network television, there was not much time to focus on what else was happening in television in 1978. After all, obviously another network or two beat NBC soundly that night, but what drove people away from the KISS film? More so, what was the mood of the television landscape at the time the film premiered on NBC? With the aid of that week’s TV Guide, featuring Robin Williams and Pam Dawber from the then-new hot series, Mork and Mindy, I thought readers would like to know – or remember - what else was going on during the week of October 28 (the Saturday night KISS Meets the Phantom of the Park aired) and November 3, 1978.

To put things in better context, one has to remember that it was pretty much an open game for free television in American in 1978. Cable television existed by 1978, but it was still in its infancy and heavily distrusted. The thought of paying for television when you could turn on the television and watch local channels for free sounded like something only an idiot would do, especially when earlier cable would feature sometimes even less channels than available with a good antenna. The only upside was a pay-movie channel, that – unless you had HBO, which wasn’t even available in parts of the country – featured one or two movies a week at the most.

Instead, most cities had an assortment of stations airing free programming and running commercials to pay the bill, as well as at least one public television station that depended on donations and ran programming from the Public Broadcasting System (PBS). Of the commercial stations, there were typically at least one station for each of the “Big 3” networks (ABC, NBC, & CBS), along with one or two “independent stations.” Signals were usually strong enough for people to pick up at least three or four stations near them, with the network-connected ones typically having the strongest signals. Thus, if you wanted to watch television, you usually ended up stuck with one of the networks, especially as the PBS stations ran namely documentaries and British dramas, while independent stations ran reruns, talk shows, bad movies, and even worse game shows and dramas. You didn’t have much of a choice.

Yet changes were starting to emerge in the late 1970s, as this particular issue of TV Guide shows. A major article in the issue investigated the growing interest in video-cassette recorders, with the author, David Lachenbruch, stating that there were VCRs in over half a million homes by the middle of 1978. This was namely thanks to the price of recently introduced VHS recorders, which could record up to two hours of programming and retaining at $1,000, while Betamax were still selling for $4,000 (in 2015 dollars that would be $3,640 and $14,550). As can be seen, the cost was still tremendous, and blank tapes were so expensive that people tended to reuse them when they were done watching whatever they recorded, leading to not much from the 1970s recorded by such players to remain today. Even so, there were a few KISS fans who did have access to such players by 1978, which explains why more than one copy of the original NBC broadcast of KISS Meets the Phantom of the Park has survived intact (or mostly so).

Digging into the week’s programming to see what American audiences had to choose from, each issue of TV Guide featured a weekly article written by famed film critic Judith Crist reviewing the movies being shown on the networks entitled (dully enough), “This Week’s Movies.” Not that you could tell much as to how she became so well-known for her reviews with what little space she had to work with in each one-page article. Furthermore, in this particular week, she was only given one new movie to see for review, and as you may have already guessed, it wasn’t the KISS one. It was instead for a television movie called How to Pick up Girls, which Crist considered a “charming romantic comedy” despite a title “that will turn you off.” As for the KISS film, she simply states, “KISS Meets the Phantom offers Anthony Zerbe as a mad scientist out to destroy Kiss, a rock group.”

Also on that week:

Gator, the 1976 Burt Reynolds movie that was the only movie airing which had seen theatrical release before appearing on television, and it was a repeat from an earlier broadcast. Crist’s review is, “Its only point of interest is Reynolds’ debut as a director – and an uninteresting one it is.”

Devi Dog: The Hound of Hell (“Richard Crenna’s family in the power of their puppy.”) Directed by Curtis Harrington, who also directed Games (1967) and Queen of Blood (1966).

Crash (“Recreates the 1972 crash of an Eastern Airlines jet in the Florida Everglades, with Eddie Albert as pilot.”) Crist failed to mention that the main star was none other than William Shatner. The director was Barry Shear, who also directed Wild in the Streets (1968) and Across 110th Street (1972).

Stranger in Our House (“Linda Blair involved again with witchcraft.”) This film was directed by Wes Craven right after The Hills Have Eyes. Just like the KISS film, it would later be edited and released in theaters overseas with a new title; for this film it became Summer of Fear. It aired opposite Devil Dog, losing to it in the ratings. (Well, who wouldn’t want to watch a movie called Devil Dog, after all?)

Thou Shalt Not Commit Adultery (“Louis Fletcher considering it when her husband is permanently crippled.”) It also featured a surly Robert Reed as the husband, with Bert Convy and Wayne Rogers as the guys seeing if they can help Fletcher break a commandment. It was supposed to be the first in a ten-part series of movies dealing with the commandments, but only one more film was made in the series (about killing, as you would expect), so we never got a major television film about keeping the Sabbath day holy.

Outside Chance (“A sequel to Jackson County Jail has Yvette Mimieux and John Lawlor involved with law and disorder.”) The film was directed by Michael Miller, who also directed Jackson County Jail. Yvette Mimieux appeared in Devil Dog that week as well.

Project: Kill (“The CBS Friday late movie, whose theatrical release is unrecorded. Leslie Nielsen plays an escapee from a ‘top-priority murder-for-hire unit’ of our Government, and he’s on the run from the police, a Hong Kong crime syndicate and former colleague Gary Lockwood.”) Directed by William Girdler between Grizzly (1976) and Day of the Animals (1977, and covered in my Armageddon Films FAQ book), this film also costarred Nancy Kwan. It aired several months after Girdler’s death in a helicopter accident. As with any Gridler film, the plot sounds crazed enough to be worth seeing.

Another weekly article covering programming for the week was “The Screening Room,” which did not list a byline. This usually listed specials that interrupted regular programming, such as an episode of PBS’ Great Performances, showcasing a 1977 BBC production of Dracula starring Louis Jordan as the Count that was finally released on DVD in 2007. There was also the first appearance of the cartoon special, Puff the Magic Dragon, based on the song everyone remembers (premiering after CBS’ annual showing of It’s the Great Pumpkin, Charlie Brown), and a well-remembered film starring Kristy McNichol and Bruce Davison, Summer of My German Soldier.

On the musical front, most show airing music, such as talk shows and quirky variety programs, were in syndication and therefore aired at random times of the day and night on the independent stations (one of the few first-run programming they could get, as such programs were fairly cheap to produce). The only exceptions at the time were that of American Bandstand – airing Saturday afternoons after cartoons on ABC – and Midnight Special – appearing after The Tonight Show on Fridays. There was also Soundstage, which aired on PBS and was a grab-bag of various musical styles. For this particular week, viewers had the following options:

American Bandstand, featuring David Gates (“Took the Last Train”) and Tavares (“Whodunit”).

• Brenda Lee appearing on Sha Na Na.

The Lawrence Welk Show, with a Halloween theme.

• The Osmonds performing “Stayin’ Alive” on Donna Fargo.

Twiggy’s Jukebox, with the Real Thing and the New Seekers.

Soundstage airing a well-remembered hour-long performance by Journey, followed later in the week with a concert by Jackson Browne.

Soul Train, with Freda Payne (“Happy Days are Here Again”) and Atlantic Starr (“Stand Up”).

Midnight Special was a repeat from 1973, featuring Jerry Lee Lewis as the host and a number of other performers from the 1950s.

Don Kirshner’s Rock Concert was a “best of” collection, featuring clips of Peter Allen, Chuck Berry, the Brothers Johnson, Kansas, and Bob Marley.

• On a country front, Larry Gatlin was on Hee Haw, Barbara Mandrell was on both Hee Haw Honeys and That Nashville Music, while Kenny Rogers sang with Dolly Parton on her syndicated variety show, Dolly. Mell Tillis was on Marty Robbin’s Spotlight. Tom T. Hall sang “May the Force Be with You Always” on Pop Goes the Country.

The big rating grabbers for the 1978-1979 seasons were typically comedies, with All in the Family and MASH (both on CBS) in the top ten, while ABC was crushing competition on Tuesdays with their two hours of comedies (Happy Days, Laverne & Shirley, Three’s Company, and Taxi), and doing similar work on Thursdays with Mork & Mindy and Angie. The Love Boat, Fantasy Island, and VEGA$ were doing well for dramatic series on ABC, while CBS kept up with more traditional dramas like Lou Grant and Barnaby Jones, plus turning on the heat with a little show called Dallas that was beginning its long run in 1978. Fantasy was not ignored either, with Wonder Woman and The Incredible Hulk on CBS, while ABC began airing Battlestar Galactica along with Fantasy Island. You also had programs like The Dukes of Hazzard, Alice, Charlie’s Angels and Barney Miller all in their prime and doing well in the ratings.

And none of them on NBC. They didn’t even have CHiPs to rely on; only Little House on the Prairie that Monday. NBC did premiere two new series that week of the KISS movie, however: David Cassidy – Man Undercover and Diff’rent Strokes. You can guess which of the two became the bigger hit. Yet Gary Coleman’s show wasn’t about to change ratings for the network overnight, and NBC faltered with a big scope of dismal programming that conveniently featured KISS Meets the Phantom of the Park as the cherry on top.

What were the shows KISS Meets the Phantom of the Park competed against that Saturday in October 1978? On CBS, there were new episodes of Rhoda and Good Times (nearly the end of their runs and tanking in the ratings against … CHiPs, actually) and the first hour of the movie Outside Chance, mentioned above. This doesn’t sound like it would give KISS that much trouble, yet on ABC, there were new episodes of Welcome Back, Kotter, Carter Country, and The Love Boat (featuring Vincent Price as a magician) – mostly rating winners at the time. Further, both The Love Boat and the show after it, Fantasy Island, were already traditional viewing for years on ABC, so it is little wonder that an hour of iffy rock and roll shenanigans on NBC during that first hour would have led to many viewers changing the channel to more traditional fare on ABC. Besides, with limited entertainment on television for young people to watch, the weekends usually meant something other than watching a box – it meant going out to the movie, clubs, or just hanging out with friends. Rescue from Gilligan’s Island did better the previous two weeks because NBC only aired it for the first hour on Saturdays and could grab a kiddie audience - just as CHiPs did - that would be heading to bed afterwards, so the rest of the family could switch over to ABC for the rest of the night. The KISS film needed an audience that was not really there, and the scattered few that were couldn’t make it enough to help with the ratings.

Not that it really made much of a dent into the fandom surrounding KISS. After all, the KISS Army quickly came to the conclusion that the movie had to have been the number one movie of the week and nothing was going to change their view on that topic. Yet, even if some fans now correct themselves at to the ratings, it won’t change their minds as to the film itself – you either love it or hate it, but you can always proudly say that KISS had a movie on national television where they played super-heroes. Maybe super-heroes with bad special effects and crummy acting, but super-heroes nonetheless. Just one more reason why the history of the “hottest band of the land” remains interesting after all these years.