As a film enthusiast with a soft spot for nostalgia and a deep appreciation for the creative process behind iconic movies, I find the story of the unmade Casper sequel utterly captivating. Directing the 1995 classic was no small feat, and the journey taken by Brad Silberling and Steven Spielberg in trying to bring another installment to life is a testament to their passion and dedication.
Brad Silberling recalls the day that significantly altered the course of his career as if it had happened just yesterday. During his tenure on the TV series “Brooklyn Bridge” in the early 90s, he received a call from the show’s creator, Gary David Goldberg, with some intriguing news: Steven Spielberg wanted to meet with him. At first, Silberling assumed this was some elaborate prank. However, his assumptions proved false when he found himself at the Amblin offices on the Universal Pictures lot, being presented an opportunity to direct his debut feature-length film by none other than the renowned Hollywood director, Steven Spielberg.
In their initial encounter, Silberling recounts that Spielberg told him, “I was in your shoes [once]. I was in that predicament and I needed someone to believe in me and trust that I could create movies.” Recalling the television show that he had directed, which was an episode of Brooklyn Bridge, Spielberg added, “I saw what you were doing. You managed to make a movie within just half an hour, but I’d like to assist you in making a longer one.
Spielberg considered recruiting him as the director for an English adaptation of a French comedy at Warner Bros. However, this project did not come to fruition while Spielberg was in Poland, working on the groundbreaking Holocaust film Schindler’s List. Yet, Spielberg never forgot the aspiring filmmaker who demonstrated potential. Just before Thanksgiving of 1993, Silberling was in Hawaii preparing to film a new television series (the short-lived The Byrds of Paradise) when he received another call from the influential figurehead.
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How Brad Silberling became attached as director to 1995’s Casper
“He led with, ‘Okay, this one’s really gonna happen and it’s gonna go pretty fast.’ I said, ‘It’s what?’ And he kind of like muttered, ‘Casper…’ When I finally heard him, I said, ‘Wait, Casper the ghost, Casper?’ He said, ‘Yep. It’s gonna be awesome. It’s live-action. We finally just cracked the code with Jurassic two years ago, so the ghosts will be CG.’ I thought he was out of his mind and I said, ‘You know what I do? I dated an animator at UCLA, but I don’t do animation.’ He was fantastic and said, ‘No, what you do and what’s in your heart is what this movie needs. I didn’t know anything about the CG stuff until we were making Jurassic. You’ll be fine.'”
The situation was both exhilarating and terrifying for Silberling. He confessed that he was worried about things going wrong. What he didn’t want was to join the ranks of those who have directed a project for the first and only time, leaving a string of failures in LA. While Spielberg served as an executive producer, it was ultimately Silberling’s reputation on the line.
J.J. Abrams did uncredited work on the script for Casper
Eventually, it proved irresistible and he jumped right into the task. He hurried to secure the CGI (provided by Industrial Light & Magic), build the sets, and create a screenplay with contributions from Malia Scotch Marmo (known for Hook) and an emerging J.J. Abrams. As Silberling explains about the scriptwriting, “J.J. was practically confined in my trailer during the initial two weeks of shooting.” The process began with a draft from the Animaniacs duo, Sherri Stoner and Deanna Oliver (who were acknowledged in the final credits). “He would just pop in and hand me pages, and we’d go over them together.
Steven finds the chaotic production process analogous to the notorious filming of “Jaws.” Essentially, he created “Jaws” one scene at a time. While there was a script, they often improvised during dinner discussions, and Carl Gottlieb would document these improvisations for use in the movie the next day. In his view, this method is entirely appropriate for filmmaking.
The main filming was postponed slightly due to the Northridge earthquake in 1994. This earthquake, which caused widespread damage across the city, surprisingly benefited the already-built sets at Universal as it enhanced the decaying interior of the manor house where most of the movie Casper was set. As Silberling explained, “It was almost fortunate because the only thing that happened was the sets became more cracked. However, they were structurally sound, so we managed to proceed with production.
Bill Pullman and Christian Ricci starred in the movie as Dr. James Harvey, a man still grieving over the loss of his wife who travels across the nation as a spiritual guide, assisting ghosts with their unresolved issues so they can transition to the afterlife. However, many people consider him eccentric until the father-daughter pair settles into a home inhabited by real spirits: Casper (Malachi Pearson) and his three rowdy uncles – Stinkie (Joe Alaskey), Fatso (Brad Garrett), and Stretch (Joe Nipote).
Why Steven Spielberg’s longtime editor jumped at the chance to edit Casper
Silberling’s early apprehensions proved to be baseless. His immersion in the vast cinematic ocean led to the creation of a new masterpiece – a poignant reflection on grief and embracing life that echoed the innocent charm and familial affection found in classic movies from his mentor’s filmography. Veteran artists such as director of photography Dean Cundey, composer James Horner, and editor Michael Kahn, each with extensive experience in their respective fields, provided valuable assistance on set. Dean Cundey is renowned for his work on visually effects-heavy films like “Who Framed Roger Rabbit?” and “Jurassic Park,” while Michael Kahn has edited every Spielberg film since “Close Encounters of the Third Kind.
Mike’s overall experience proved to be rejuvenating, as Silberling notes. The emotionally draining nature of watching Schindler’s List left them both feeling quite low when the movie ended. However, he consistently expressed feelings of contentment and happiness throughout, stating that the film was delightful and a gratifying process for him.
The spooky digital enhancements were supervised by Scott Farrar (on-set supervisor) and Dennis Muren, who Silberling referred to as the “godfather of the movie from ILM’s perspective.” Additionally, Silberling learned the basics of animation from Phil Nibbelink, a former member of Amblimation and the director of both “An American Tale” and “We’re Back: A Dinosaur’s Story!” in his pursuit for knowledge.
In essence, I, the director, had the unique experience of working on this film twice – first for 96 action-packed days on set and then for an additional year and more to complete the animation. During the pre-production phase, it became apparent that the visual effects budget might exceed expectations. However, Spielberg reassured me, saying, “You don’t tamper with your approach. You possess a knack for staging scenes, you understand how to handle the camera. Stay true to yourself. The challenge lies in effectively communicating the placement of the ghosts to everyone involved.
He openly acknowledged that the learning process was incredibly steep, almost perpendicular, as he put it, “It wasn’t a gradual slope, it was just straight up.” This experience mirrored the trial by fire Steven Spielberg faced on Jurassic Park two years prior. He shared with me, “The kitchen sequence in Jurassic is one of the most extraordinary, suspenseful scenes ever filmed. I wasn’t sure if the dinosaurs would function as intended, but I shot it like a ballet, trusting and hoping that these creatures would move as I envisioned. That’s what he told me: ‘Make them fit into your movie, don’t try to change your movie to fit them.’
65 days into a challenging filming period, Spielberg dropped by the set to encourage Silberling and offer a morale boost. They embarked on a fun drive around Universal Studios guided by an early GPS system. “He was like a pioneer with pre-market GPS. We simply followed the directions, passing the ‘Psycho’ house, circling the lot. He was shrewd, trying to distract me, provide a positive boost. I couldn’t have asked for a better cheerleader to guide me through an uncharted process, but one that turned out to be truly magnificent by the end.
Why didn’t we get a sequel to 1995’s Casper?
Contrary to popular belief, the movie Casper, with its mystical themes, did not hit theaters in October ’95 for Halloween. Instead, it premiered during Memorial Day Weekend of the same year, raking in nearly $300 million globally against a production cost of only $55 million. As a result, the studio earned quite a profit, sparking discussions about a sequel. “It was a significant financial success for the studio,” Silberling admits. “Naturally, there were conversations about a follow-up. [Steven] and I even discussed it. We spent the summer brainstorming ideas for a potential sequel… He began to suggest, ‘Well, we made Little Rascals. What if we could blend Casper with that concept? What would such a story look like?’
Much like Casper the Friendly Ghost himself, the sequel found itself in limbo when Saban unexpectedly obtained the rights to the IP and released “Casper Meets Wendy” three years later. As Silberling puts it, “That effectively ended it.” The concern at the time was that a sequel might be seen as tainted or confusing, potentially causing marketplace confusion. However, when the original film reached its 25th anniversary during the COVID-19 lockdown of 2020, Spielberg sent a message expressing regret over not being able to make a second installment. He seemed almost self-reproachful, saying he felt like he had let himself down.
Casper director sounds off on ghostly Peacock series
Despite being seemingly dormant, the spirit of the Casper property is far from extinct. In the springtime this year, Peacock revealed plans for a live-action series based on the beloved character. Titled “Casper,” the show will be penned by Kai Yu Wu, known for his work on “Hannibal” and “The Flash.” According to Peacock, this horror/adventure series aims to reinterpret Casper’s origins within a coming-of-age narrative that delves into what it means to be alive.
It’s worth noting that both Silberling and Spielberg have closely monitored the project in recent years, with Spielberg even approving Wu’s pitch. Prior to this approval, however, Silberling had an engaging conversation on Zoom with the promising writer, who is a great admirer of the 1995 film.
In a somewhat shy manner, she revealed, “I need to share something with you…”, before unveiling her Casper tattoo. She explained, “That movie was a significant influence in my desire to create stories. It was a big part of my childhood, and I simply wanted to meet you and ask questions.” The director recalls this encounter, stating that Wu’s approach to Peacock maintains the essence and mood of the film. He further expressed, “She is incredible, and as a showrunner, you’ll have someone genuinely passionate about the project. I couldn’t be more thrilled.
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2024-10-28 20:02