And now... a little Alt pop culture entry, with butterflies flapping their wings for a better future (I told you I disliked dystopia !)
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In 1973 Michael Crichton debut film, called
Westworld, was a major critical and financial success. Westworld story is that of an android amusement park going awol –with the robots killing the visitors.
According to Crichton himself what inspired him to write it were two different experiences, as it turns out.
"I’d visited Kennedy Space Center and seen how astronauts were being trained – and I realized that they were really machines. Those guys were working very hard to make their responses, and even their heartbeats, as machine-like and predictable as possible. At the other extreme, one can go to Disneyland and see Abraham Lincoln standing up every 15 minutes to deliver the Gettysburg Address. That’s the case of a machine that has been made to look, talk and act like a person. I think it was that sort of a notion that got the picture started."
Westworld rapidly earned a cult classic as a film and later as a serie. Then although Crichton himself disagreed a sequel was planned for realese in 1976 or 1977.
Tentatively called
Futureworld the movie was to felt as if it were shot on location at an industrial theme park - thanks to extensive shooting at NASA's Johnson Space Center in Houston, Texas.
Paul Lazarus “We needed NASA because in the Futureworld scenario when at the resort, guests choose from a range of theme parks: Medievalworld, Romanworld, and Futureworld. The latter actually simulates an orbiting space station, and that explains why we needed NASA so badly.
Prominent as "sets" were to be such distinctive sights as the giant circular latch of the Space Environment Simulator Laboratory, and one of the Mission Operations Control Rooms, with its familiar rows of computer monitors facing a large bank of tracking screens.
The Space Environment Simulation Laboratory (SESL) in Building 32 at the Lyndon B. Johnson Space Center was built in 1965. It initially was used to test Apollo Program spacecraft and equipment in a space environment. It can simulate the vacuum and thermal environments that would be encountered. It consists of two human-rated chambers: A (larger) and B. It is an immense room, large enough to swallow entire moonships .
So Futureworld scenario was written in a way that made it highly dependant from NASA infrastructures.
And there according to Lazarus –
“we hit a brickwall. That NASA huge facility we were to film in was overcrowded. As of 1975 NASA was very busy testing Big Geminis and Agenas and space station modules. The SESL churned manned spaceships one after another at an accelerated pace. There was a lot of testing going on that used the SESL... so NASA was unwilling to have a movie filmed there.
"They just didn't have any spare time left. Together with Crichton disaproval that completely sunk
Futureworld even before production started. AFAIK the scenario still languish in development hell, and considering Crichton hatred for it, I can't see it being done anytime soon.
"Our failure to obtain NASA cooperation was to be felt again a year later.
Another movie project was to fall by the wayside.
It all started with that poor Peter Hyams, which had just get carbonised by its box-office bomb
Peepers. What a disaster that movie had been. Yet Hyams still had plenty of projects, and they somewhat involved NASA. It makes for an interesting, if not sad, story.
The story developed years before, in 1972, when Peter Hyams, then working at CBS's Boston office, was helping to cover the Apollo moon shots. While working there, Hyams witnessed the NASA-constructed simulations to be aired on network news, showing the world what was happening with the craft in space as it flew to its destination. As Hyams watched, he began to notice just how real the simulations looked.
'I grew up with parents who believed if it was in newspapers, it was true,' says Hyams.
'I was part of the generation that believed if it was on television, it was true.
"I remember while working at CBS one day, looking at the monitor and thinking, 'Wait a minute! Everybody is looking at the simulation. Suppose you did a really good simulation?' The NASA moon program was a story with only one camera. Normally, all big stories have tons and tons of cameras for thorough coverage. Not so with the moon shots. It all had to be done from the studio. That raised questions in my mind about how the story could be presented. The whole Watergate backlash kicked in. I once said that I owe my career to H.R. Haldemann.'
Due to the nature of his work at CBS, Hyams had accessibility to vast amounts of NASA research, such as mission books and command module schematics from which to draw inspiration. He began writing the script around 1974-1975, with plans of developing a feature film that he would direct himself.
By that time, Hyams was established in television and feature films as a writer, director and producer. But in the mid-1970s, he directed
Fat Chance with Natalie Wood and Michael Caine, a movie considered so bad that it was barely released under the title
Peepers, and nearly put Hyams out of business as a filmmaker of any kind.
So Hyams come in my room, and tell me "Gosh, I have a couple of scripts, but nobody will read them. I read them, they were called
Capricorn One and
Hanover Street. The Capricorn script was kind of space Watergate, with NASA in the ingrate role of Nixon, faking a Mars shot, lying to the public, and ultimately killing reluctant astronauts !
We decided to try and produce the
Capricorn One scenario and soon realized that, once again, we would need NASA cooperation. Yet for obvious reasons this was a highly unlikely film to get NASA cooperation, because they were the bad guys in the movie.
It happened that I had a excellent connection in Houston, a nice guy that had helped us for the aborted
Futureworld project. The guy had been very sorry when the movie had been canned per lack of time. He had nonetheless told me to stay in touch, that maybe NASA schedule might slow in the years to come, allowing movie maker to use their infrastructures as movie sets.
So I red Hymas Capricorn scenario and called that Houston relation, and he said he would have to see a script. I said to Peter, 'We're dead.'
I sent the script and to my great surprise my contact said, "Oh, it's a good story! We'll be happy to give you our prototype landing module." I was stunned. "Wait, how will you have that script approved by your superiors ?' He said, "If it has to go to NASA Headquarters Washington, you will be finished. Yet even if didn't do Futureworld I really appreciated you, so I'll do it on my own initiative.”
Alas, some weeks later did the shit hit the fan. My Houston connection called back and told me that, although he had loved Hyams scenario, once again NASA busy schedule meant that the scenario would have to go through their Washington headquarters.
Needless to say, when they heard of Hyams scenario NASA top brass hit the roof and my connection in Houston had its head cut short – he was sacked. I had to tell Peter Hyams that
Capricorn was dead - and we made Hanover street instead. Even with a post Star Wars Harrison Ford that movie bombed at the box office and definitively buried Peter Hymas career as a film maker.
It happened that O.J Simpson had had a minor role in the Cassandra crossings, and Grade liked his performance.
Even before his retirement from football and in the NFL, O. J Simpson embarked on a successful film career with parts in films such as the television mini-series
Roots (1977), and the dramatic motion pictures
The Klansman (1974),
The Towering Inferno (1974),
The Cassandra Crossing (1976). The same year Paul Lazarus started pre-production of Peter Hyams Capricorn One.
O.J. Simpson was one of the first cast, not particularly because of his acting abilities, but because he was represented by the agent who had introduced Lazarus to Grade in the first place, and the agent wanted his client, a recognizable personality who had appeared in Grade's
The Cassandra Crossing, to be in the picture. Thus cancellation of Capricorn One was a blown for O.J Simpson, who had been casted as one of the three NASA astronauts faking the Mars landing.
On June 24, 1967, Simpson had married Marguerite L. Whitley at age nineteen. Together they had three children: Arnelle, Jason and Aaren.
Simpson met Nicole Brown in 1977 while she was working as a waitress at the nightclub "The Daisy". Although still married to his first wife, Simpson began dating Brown. Simpson and Marguerite divorced in March 1979.
In August 1979, five months after the couple divorced, Aaren nearly drowned in the family's swimming pool a month before her second birthday. O.J barely come in time to save her. This story somewhat leaked in the press and made Simpson a hero.
Simpson told his friend (and advocate) Robert Kardashian the event forever changed his life. Before the incident he planned to create his own film production company, Orenthal Productions, which dealt mostly in made-for-TV fares. Instead after ending his football career in the early 80's Simpson went into a quiet retirement.