Ball boy a day in space series#
THE ANIMATED SERIES SPOOFED THE PREQUEL TRILOGY. It remains the only exclusion to Lucasfilm’s “no tie-in” mandate. Stine wrote Spaceballs: The Book, a young adult version of the story that substituted some of the stronger language and bits for child-friendly content. To accompany the release of the film, a pre- Goosebumps R.L. STINE WROTE A NOVELIZATION.įilm comedies-particularly those relying on broad, visual gags-are rarely fodder for tie-in novelizations, but perhaps that was the joke. “I called Lucas and I said, ‘I want you guys up in San Francisco-at the ranch or whatever-to do all the post-production of the movie.’ And he said, ‘Oh, great, great.’” Lucas later wrote Brooks a note saying how much he loved the movie. “You know what I did not to have any real trouble?” Brooks said. One of Brooks’s strategies to ensure continued cooperation from Lucasfilm was to book their services for post-production work worth nearly $5 million. LUCAS LOVED IT, PERHAPS BECAUSE BROOKS PAID HIM OFF. (Candy, incidentally, performed with a 40-pound battery backpack strapped to him to control the animatronics.) 11. At one point, Lazzarini was told by Brooks that he didn’t “have to move the ears so much!” They were too active in scenes focused on other characters.
John Candy, who played half-dog/half-man Barf, was usually trailed on-set by Lazzarini and the effects crew, who had to control both his tail and his ears. THE GUY PLAYING PIZZA THE HUTT REFUSED TO COME BACK. (In real life, Shields and Yarnell were married for a time their ceremony was performed in pantomime.) 9. The two had a variety show in the 1970s that featured a recurring skit called the Clinkers, a robot couple that allowed the performers to show off some impressively stilted moves. Voiced by Joan Rivers, the service robot Dot Matrix was actually inhabited by Lorene Yarnell, one part of the largely-forgotten mime duo of Shields and Yarnell. Brooks also only gave the team one hour to apply his make-up if it took any longer, he insisted he'd get out of the chair and leave. Club that he had an allergic reaction to the latex, which created a rash that spread to his eyes. In addition to directing and co-writing, Brooks had two roles in the film: one as President Skroob and another as Yogurt, a diminutive Yoda equivalent. Spaceballs also used the same sound stage as 1939’s The Wizard of Oz the crew would occasionally see stray pieces of the Yellow Brick Road when milling around. In the heyday of movies focused on swimmers like Esther Williams, the studio had constructed a giant pool that could be covered with retractable flooring. Michael Winslow, best known as the “sound effects guy” from the Police Academy series, said in 2012 that Spaceballs was shot on the MGM lot in Culver City, California. “They didn’t think it was fair for us to do a take-off and then merchandise the characters.” 4. “The Lucas people were just upset about one aspect of Spaceballs,” Brooks told Starlog in 1987. Working on a “funny” film of his own with Howard the Duck, Lucas agreed-but only on the condition that no Spaceballs merchandising be made available. Satire is generally exempt from litigation, but Brooks was an admirer of Lucas’s work and wanted to get his permission before starting on the movie. GEORGE LUCAS GAVE HIS (CONDITIONAL) BLESSING. Planet Moron was abandoned when a film titled Morons from Outer Space was released Spaceballs, despite the assumed innuendo, was a result of needing “space” in the title and Brooks considering it one of his trademark “screwball” comedies. The title spurred Brooks and his collaborators to develop what would become Spaceballs. “ Planet Moron!” Brooks yelled back, possibly referring to his unsolicited interrogator. In the commissary at the 20 th Century Fox lot in 1984, Brooks was sitting down to eat when a studio executive abruptly asked what his next project was going to be. MEL BROOKS WANTED TO CALL IT PLANET MORON. Fosselius had offers to extend it to feature length, but passed he would later seem slightly perturbed by Spaceballs, saying it "quoted" his efforts. Charmingly hokey, Hardware Wars became immensely profitable, earning roughly $500,000 in 1978, and was even declared a “cute little film” by George Lucas.
The film embraced its piddling budget by featuring toasters, flashlights, and bits of tin foil to substitute for space debris. Amateur filmmaker Ernie Fosselius was so enamored with Star Wars in 1977 that he cobbled together a 12-minute short, Hardware Wars, which he shot for just $8000 in an abandoned laundromat.
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