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DC Fontana & Logan's Run

I firmly believe that the casting director had never seen the film, and either had no character description notes, or didn't read them, and cast them both to look like who the casting director thought they should be.

This follows with the idea that Heather Menzies was cast for her resemblance to Farrah Fawcett, when Farrah didn't play Jessica. The casting director didn't know which actor had originally played which role, and just cast who they thought fit the series bible's descriptions, rather than who looked like the characters the original actors actually played.

No, Maurice is right. They're casting actors, not models, so they go for talent (supposedly) and personality more than superficial resemblance. The show was in a different reality from the movie anyway, so it didn't matter what the alternate versions of the characters looked like. (Or sounded like, since both actors had American accents instead of the English accents York and Agutter had. Which really makes more sense if they grew up in a domed city near Washington, DC.)

They cast a Farrah type as Jessica because Farrah Fawcett had become hugely famous and they wanted to capitalize on that. Even the movie's own publicity deceptively played up Fawcett as a major part of the film. It wasn't ignorance, it was a deliberate choice to ride on Fawcett's coattails (although that's a poor metaphor for someone whose fame came from a swimsuit poster).

After all, casting directors don't work in isolation. They work along with the producers (or the director of a feature film) to sort through the possibilities and pick the best actor for a role, with the producers making the final call. And the producers were obviously familiar with the film, as they incorporated its stock footage and reused its costume and prop designs. Indeed, the first version of the TV pilot was co-written by the film's producer Saul David and the novel's co-author William F. Nolan. So yes, of course the makers of the TV series knew damn well what the cast of the movie looked like.

But what does it matter if an actor looks like the movie character if they aren't good enough or reliable enough to make it as a TV series lead on a weekly basis, possibly for years? Or if they don't have the right chemistry with the other actors? There are more important considerations than appearance, and any competent casting director or producer knows that. Sometimes you get lucky with an actor who's right for the role and strongly resembles the original (e.g. Michael Shanks as James Spader's character in Stargate SG-1), but sometimes you choose someone who has the right personality but doesn't look a thing like the original (e.g. Gary Graham as James Caan's character in Alien Nation, or Don Cheadle replacing Terence Howard in the Iron Man films). The look is the least important part.
 
Did the famous poster come out before or after the Logan's Run film was released (June 23)? That and Charlies Angels that fall put Farrah Fawcet on the map.
 
Did the famous poster come out before or after the Logan's Run film was released (June 23)? That and Charlies Angels that fall put Farrah Fawcet on the map.

The red swimsuit photo was taken around the time Logan's Run was opening in theaters, June 1976. So the movie was in theaters before the poster hit the stores. And then Charlie's Angels arrived in September. It was a big year for her. That poster sold in the millions.
 
Did the famous poster come out before or after the Logan's Run film was released (June 23)? That and Charlies Angels that fall put Farrah Fawcet on the map.

Wikipedia says she was first brought to the poster-maker's attention in April 1976. I don't know how much time it takes to produce and release a pinup poster, but I'd guess it was after the movie's release. She was already getting buzz for her shampoo commercials, though, which is how she got the poster gig.

But of course, films back then stayed in theaters for months, so it would still have been running when she started to skyrocket, and they could've exploited that in later publicity for the film even if they didn't initially.
 
Another big deal about her at the time was her then marriage to Six Million Dollar Man star Lee Majors (she was then known as Farrah Fawcett Majors).

Judging by the poster art and credits the studio obviously was playing her appearance up (her face is bigger than Michael York or Jenny Agutter), even if her biggest successes were yet to come.

images-w1400.jpg
 
Judging by the poster art and credits the studio obviously was playing her appearance up (her face is bigger than Michael York or Jenny Agutter), even if her biggest successes were yet to come.

To an extent, yeah, but as part of a montage of the major sequences and characters from the first half of the film, including a number of images of beautiful women or sexual themes (kissing ice sculpture, nude woman frozen in ice over Box's shoulder, Jessica and Logan holding hands in loose outfits, Sandman flanked by two beauties, nude bodypainted pleasure house girl, Holly). So I don't think it was as much about "hey, it's Farrah Fawcett-Majors!" as about "Look at all the sexy women in our movie!" After all, there are two images of Jessica and only one of Holly. Being the second most prominent woman in the film doesn't count for much when there are only two prominent women in the film.

Any more than being fifth-billed (sixth-billed, really, since Ustinov's "&" credit at the end counts as high billing) means much in a film with only four major characters. Fawcett's billing is consistent with the relative size of her part and thus doesn't seem like evidence of any special attention being paid to the actress.
 
But Michael Anderson Jr. (Doc) was not credited on the poster, and he was in the film almost as long as Fawcett (and was the director's son, I think).
 
But Michael Anderson Jr. (Doc) was not credited on the poster, and he was in the film almost as long as Fawcett (and was the director's son, I think).

Almost as long, yes, and therefore billed just below her. As I said, her placement in the credits is perfectly consistent with the actual size of her role relative to the other cast members, which argues against her being given any special treatment for other reasons.

Anderson is not credited on the poster because he was effectively seventh-billed and they only had room for the top six. Nothing remotely unusual about that. And being related to the director should ideally have no bearing on anything, since nepotism is unethical. You won't find Ted Raimi's name on the Spider-Man poster or Clint Howard's on the Solo poster.
 
I was being a bit facetious about the nepotism thing, and I should have indicated that. I do wonder if it had anything to do with his casting though.
 
Lots of stories that could have been told.

Maybe one about an individual that did “renew” at Carousel…but came back looking like something from Campbell’s Moon Lens…

The movie was—outside of Goldfinger, perhaps —the first time we could see the horror potential of lasers..a year or so before A New Hope.
 
Maybe one about an individual that did “renew” at Carousel…but came back looking like something from Campbell’s Moon Lens…

Huh? Carousel just kills people. Renewal is the lie people are told so they'll go to the slaughter willingly, believing they'll be reincarnated. The whole point of the story is that nobody actually comes back.


The movie was—outside of Goldfinger, perhaps —the first time we could see the horror potential of lasers..a year or so before A New Hope.

You need to see more old movies. Lasers were used plenty in fiction after their invention in 1960, and there were various heat rays and death rays in fiction for decades before that, including and predating H.G. Wells's The War of the Worlds. Despite the use of the name, the so-called "lasers" in Star Wars owe more to those vintage death rays than to the genuine technology.
 
Indeed, the first version of the TV pilot was co-written by the film's producer Saul David and the novel's co-author William F. Nolan.

I always wondered about this. Did they actually write a version of the pilot or did they get screen credit because so much of that episode was based on the film? It was very much a TV version of the film. Much like the episode of Voyage to the Bottom of the Sea "The Sky's On Fire" reworked the central jeopardy of the 1961 feature (with some dialog used verbatim along with footage), so Charles Bennett and Irwin Allen got screen credit even though neither of them wrote the teleplay (that was William Welch).
 
I always wondered about this. Did they actually write a version of the pilot or did they get screen credit because so much of that episode was based on the film?

If that had been the case, the screen credit would have gone to David Zelag Goodman, the sole credited screenwriter of the film. Saul David was the film's producer, not its writer, and Nolan co-authored the novel with George Clayton Johnson. So the writing credits don't line up at all.

As I understand it, Nolan and David did indeed write the first version of the pilot, and David produced it. Then David was dismissed and Ivan Goff & Ben Roberts took over as executive producers with Leonard Katzman as line producer, and Katzman rewrote and expanded the pilot at network request to add Rem, the Solarcraft, and the council of elders.

https://logans-run.fandom.com/wiki/The_TV_Series

It was very much a TV version of the film.

Hardly. The first ten minutes rush through a condensed version of the film's first half, and then they briefly use the Washington, DC matte painting a bit later on, but it's mostly a completely different story in the vein of the typical "weird enclave of the week" format intended for the series. It's really quite clumsy -- they rush through the part about Logan and Jessica rebelling against their own oppressive regime and plunge them right into a story about rebelling against a different oppressive regime (and then a third one in the added part with Rem and the android city). It would've been a better, more cohesive pilot if more of it had drawn on elements from the movie, if it had devoted more time to Logan meeting Jessica and deciding to rebel instead of cramming it all into the first act. But it didn't.
 
Yeah, now that I think of it, I was focused more on the first portion with the carousel scene, the "birth for a death, one for one" and then the footage. It's been a bit since I've seen it, so thanks. And thanks for the link.

I do remember that Logan switches sides ridiculously quickly. We're meant to buy that his doubts have been growing for some time, and they probably used audience familiarity with the film as a kind of shorthand, but this version of Logan was too damned good hearted to have been a Sandman, if Francis and the other guys were any indication.

The film had the lifeclocks and the Computer giving Logan the assignment to create an element of doubt as toLogan's motivations. He had doubts and questions, then the Computer took his years away - with no answer as to whether he was going to get them back or not. And, later, as he went along the journey, he found his doubts justified. But he was still a killer. He gleefully hunted down that first runner in the film with Francis. He was as hedonistic as anyone else.

The TV version was too good to be true. This version doesn't come across as the same heartless killer, try as they might in the later episode when he loses his memory.

Yeah, I agree if they dropped the weird "Knights on horseback" society with slow moving lasers (good sound design though) and used that time to develop the leads, as the "TV movie pilots" were expected to do, it would have played better. Once you know the pilot was expanded, the joins are obvious. Once Francis gets the computer summons, he turns and talks to his guys who aren't in shot, so that was filmed later. Cut out the elders and the middle act and you have a short first episode and may not make any more sense, but at least moves more quickly.
 
I do remember that Logan switches sides ridiculously quickly. We're meant to buy that his doubts have been growing for some time, and they probably used audience familiarity with the film as a kind of shorthand, but this version of Logan was too damned good hearted to have been a Sandman, if Francis and the other guys were any indication.

All three versions of Logan are quite different. In the novel, Logan is a day from his scheduled death date and decides on his own that he'll go out with a bang by infiltrating the Runners and assassinating their leader, so he's a loyal Sandman throughout the book and is only won over at the climax, after his travels have made him realize how dysfunctional and broken-down his society has become without experienced, responsible adults to keep things working. In the movie, Logan begins as a loyal Sandman and is assigned by the supercomputer to feign being a Runner, and genuinely switches sides less than midway through, when he fires on the other Sandmen to protect the Runners. (I'm not clear on exactly when he switches sides or why, but I figure it's because he's fallen in love with Jessica.) In the series, he has sincere doubts from the start and chooses on his own to rebel to protect a Runner, and Jessica had already pegged him as a potential rebel.


Yeah, I agree if they dropped the weird "Knights on horseback" society with slow moving lasers (good sound design though) and used that time to develop the leads, as the "TV movie pilots" were expected to do, it would have played better. Once you know the pilot was expanded, the joins are obvious. Once Francis gets the computer summons, he turns and talks to his guys who aren't in shot, so that was filmed later. Cut out the elders and the middle act and you have a short first episode and may not make any more sense, but at least moves more quickly.

As I understand it, it was the last third, with the android society, that was added in reshoots to introduce Rem as a new regular (sort of like how Lost in Space added Dr. Smith and the Robot when they reworked the pilot). I suppose the original pilot focused mainly on the pacifists and their oppressors, although some of the footage there must have been reshot, because the Solarcraft is in it. I'm not sure exactly how much of the final pilot was from the original version.
 
I guess that makes sense as that whole portion, with the android servants and the intro of Rem, was much more interesting than the middle section. And I liked Rem's outfit more than the odd "carnival" outfit he wore for the series. Without the Rem intro, the episode kind of died after the escape and discovery of the "vehicle."
 
Something I've only just recently thought of; what if (at least in the movie) "Sanctuary" was originally meant to be/mean the domed cities, set up as a result of whatever unexplained catastrophe drove the population to take refuge from the outside world. Over the subsequent years, the meaning of "Sanctuary" was lost/corrupted, at least in part by the youth of the population being unable to remember why they were in the domed cities to begin with. Maybe those original "runners" were actually scouts sent out to see if the planet had recovered from whatever catastrophe drove them to seek shelter to begin with. Of course, it wouldn't explain why the master computer thought there was such a place as "Sanctuary", unless the computer was slowly breaking down and forgot some of its original programming.
 
Something I've only just recently thought of; what if (at least in the movie) "Sanctuary" was originally meant to be/mean the domed cities, set up as a result of whatever unexplained catastrophe drove the population to take refuge from the outside world. Over the subsequent years, the meaning of "Sanctuary" was lost/corrupted, at least in part by the youth of the population being unable to remember why they were in the domed cities to begin with.

That's not implied in the movie; to the Runner population, "Sanctuary" had been considered what the Computer referred to as a "Pre-catastrophe code word for a place of immunity" meaning there was an established concept--or location for freedom to avoid the effects of the war which necessitated the creation of the domed city. In other words, Sanctuary had a history pre-dating the domes, which had been passed down from one Runner generation to another.

Maybe those original "runners" were actually scouts sent out to see if the planet had recovered from whatever catastrophe drove them to seek shelter to begin with. Of course, it wouldn't explain why the master computer thought there was such a place as "Sanctuary", unless the computer was slowly breaking down and forgot some of its original programming.

From the on-screen evidence, the Computer had some awareness of it, the Ankh symbol worn as an identifier between Runners and why they wore it. The only mystery was the 1000+ unaccounted Runners, which prompted the Computer to assign Logan the mission to solve that mystery / destroy Sanctuary, if it could be located.
 
I remember watching the series from episode two which was The Collectors for me! The TV Movie was on the evening before but I missed it! I didn't really know the story or the characters as I hadn't seen the original film, although I knew that Logan had to run away because his society killed everyone at thirty years of age but that he was a trained killer and a policeman I only learned in the third episode Capture! The fact that another guy was dressed like Logan was baffling to me until the end of the show mentioned that Logan and Jessica were to be taken back to a City across a desert to pay for their crimes of running away was all I needed! Each week I learned more with Francis and the Sandmen trapping Logan in an underground complex with a girl with superpowers but Francis disappeared for the next six episodes and the show turned into a Sci-Fi show of the week!
But I still enjoy watching it till this day and have the DVD set and the three books but I haven't read Logan's Search yet...:biggrin:
JB
 
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