As a film enthusiast with over two decades of industry experience under my belt, I must say that the tale of ‘Land of the Lost‘ is one that resonates deeply with me. The mid-credits scene, featuring the hatching Sleestak baby, was indeed a clever move to reward the audience for their patience and to acknowledge the hard work of the unsung heroes behind the scenes.
Have you ever come across a Sleestak, perhaps a Tachyon Amplifier, or maybe Pakuni? Don’t worry if these terms seem unfamiliar; we’re not engaging in nonsense here. We’re actually referring to the 2009 film titled Land of the Lost, and strongly encouraging you to give it a watch as soon as possible!
Good thing it’s streaming on Peacock at the moment…
The movie is inspired by the ’70s TV show of the same name created by the renowned team Sid and Marty Krofft, known for family-friendly shows like “H.R. Pufnstuf“. In this adaptation, Will Ferrell portrays Dr. Rick Marshall, a self-confident yet discredited scientist who ends up in an unusual parallel universe. This world is home to a man-eating T. rex named “Grumpy”, bug-eyed lizard creatures (Sleestaks), a society of shaggy ape-men (the Pakuni), giant, bloodthirsty insects, colossal crustaceans, remnants of different time periods including cars, motels, and decaying bodies.
Marshall clarifies to his companions, Holly Cantrell (Anna Friel) and Will Stanton (Danny McBride), “It’s like a celestial misplaced items center,” he says. “An online universe for the forgotten.
This place is a unique blend of Salvador Dalí and Edward Hopper, creating a setting perfect for an offbeat masterpiece in filmmaking. Unfortunately, it didn’t receive the recognition it deserved when first released. I’ll delve deeper into this topic soon.
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20 years have passed since I first played Anchorman, and it remains a thrilling fantasy adventure shrouded in humor. As a director, I’ve strived to ensure that this Will Ferrell flick isn’t just an R-rated spoof but is also emotionally grounded. It’s like a blend of Game of Thrones and Abba, with Will Ferrell and Rachel McAdams breaking out into Nordic rock!
Changes from original Land of the Lost TV series
In the original series, Holly and Will were portrayed as Rick’s children. However, for the movie adaptation, they were made older and reimagined as strangers to transition the property into a more mature, comedic format. This change was intended to attract a new audience and move away from the PG rating. As Christopher Henchy, one of the writers, explained to SYFY WIRE, “We didn’t want to be confined by the PG world anymore.” The project, which eventually received a PG-13 rating, is aimed at an audience that may not have been familiar with the original series due to its age.
In the same manner, the ideology was extended to Chaka, a Pakuni character who joins the group following his abandonment in the desert. Notably played by Jorma Taccone, co-founder of The Lonely Island, Chaka’s persona was given a more provocative edge compared to his depiction in the original Land of the Lost television series. As Henchy acknowledges, this change led us into a bit of controversy.
Apart from the significant modifications in characters, the overall structure and mood largely remained consistent, though it should be noted that the content wasn’t intended to be overly dramatic. As the director, Brad Silberling (famous for directing classics like ‘Casper’ from 1995 and ‘A Series of Unfortunate Events’ in 2004), explains, “It’s similar to the old ‘Abbott and Costello’ comedies meeting a mysterious entity.” In essence, we have the spirit of classic horror films, but with an unexpected twist – instead of the usual characters, it’s the wrong pair that finds themselves in these situations.
As a gamer, let me tell you that nothing embodies the humor in my adventures like Rick’s Tachyon Amplifier, a whimsical inter-dimensional gadget pieced together with everyday items, including an iPod stuck on repeating “I Hope I Get It” from A Chorus Line. With Rick Marshall’s affinity for musicals, this tune pops up often throughout our journey, culminating in a side-splitting moment when we need to grab the Amplifier (our ticket home) from a volcanic Pterodactyl’s nest.
When asked if other Broadway songs were under consideration, Silberling recalled, “The first idea that came to mind was A Chorus Line, but we experimented with it among ourselves. We listened to various pieces from Oklahoma!, along with numerous show tunes, yet nothing could top it. Each time we played it, it made us chuckle … I kept it on reserve so I could play it aloud backstage, reminding everyone of how absurd the entire situation was.
Most of the filming occurred at Universal’s soundstages, surrounded by colossal, authentic sets designed by renowned production designer Bo Welch (known for his work on Men in Black and Thor). According to Henchy, it was simply fantastic. Being on these enormous soundstages with sets that seemed unbelievable was a treat. Brad had such a strong understanding of the project, and Bo was so enthusiastic about it. The production was immense, and there’s nothing quite like being part of it when you’re in the thick of it. It’s raw and personal.
Practical vs. digital effects
A vintage appeal is woven throughout this production, stemming not just from its budget-friendly approach, but also from the atmosphere of 1968’s Planet of the Apes, Andrei Tarkovsky’s films, and the sci-fi B-movies of the 50s. This is evident in everything from the design of the Sleestaks, who are men in rubber suits with radio-controlled heads, to the score by Michael Giacchino, reminiscent of Jerry Goldsmith’s compositions (Spider-Man: No Way Home, The Batman).
Henchy explains that their goal was to keep things as functional and realistic as possible on set, stating, “I believe it always produces a better outcome.” He goes on to say that he finds the original “Planet of the Apes” to be more chilling than the CGI versions currently available. He describes this original version as having a more tangible, tactile feel.
The production team momentarily pondered adopting a strategy similar to that used in dinosaur depictions with the choppy stop-motion techniques from the original series, but they eventually chose not to do so. As Silberling puts it, “Everyone, including the studio, felt like we’ve moved past Jurassic Park now. We can’t afford to regress.
As the eager gamer immersed in the latest production, I can confirm that the Sleestaks, despite some subtle CGI adjustments to their mouths, seemed incredibly lifelike thanks to a dedicated team of extras. The director shared some behind-the-scenes insights, “We had to sift through a multitude of candidates who needed to meet specific height requirements.” He added with a chuckle, “Naturally, they all claimed previous experience in suit work, but many were greenhorns. We just assembled them on set – the heat was relentless. Full-time production assistants were constantly circulating, offering water to help these newcomers cope with the grueling conditions.
For certain sequences, it was essential to find a genuine desert landscape, leading us to the striking, naturally formed Pinnacles and salt flats of Trona, California – a location Henchy describes as “a bizarre prehistoric-like setting in the desert”. Being out there under the scorching sun, with Jorma donning a full rubber suit and shedding around five pounds daily due to heat and sweat, was grueling yet rewarding. It was an exceptional movie-making journey, filled with talented individuals and visually appealing elements that truly stand out.
Following their successful retrieval of the Tachyon Amplifier from the volcano, the heroes unwind at a secluded motel, relaxing by the swimming pool. Unbeknownst to them, they become intoxicated from consuming the juice of a mind-altering fruit. “We were captivated by the vintage ambiance of the desert motel,” Silberling explains. “The only digital element in the entire motel sequence is an extra moon [in the sky], as the whole set, including the pool and all signage, was constructed on location … it remains one of my favorite sets to this day.
The motel scene ends with Rick, Will, and Chaka snacking on a giant boiled crab with an oversized lemon wedge — a bizarre and hilarious visual that wouldn’t feel out of place in a movie produced by Mel Brooks or the Airplane! trio of Jerry Zucker, David Zucker, and Jim Abrahams. According to Silberling, the larger-than-life shellfish (and accompanying citrus slice) was an homage to “the canon of sci-fi cinema” like 1957’s Attack of the Crab Monsters.
“Instead of stopping at where we are, let’s move forward and consider what might happen if the crab gets boiled. These characters are already acting strangely, so we thought about creating an unusual scene with them eating a large lemon wedge. That entire scene was spontaneously improvised, which is why the camera stays close to them without cutting away. We planned it for the ideal moment during golden hour, and as a result, there was some risk involved. But those actors are hilarious!
Land of the Lost post-credit scene and sequel set-up
A year following the debut of “Iron Man,” and before mid-credit scenes were customary in most Hollywood blockbusters, the movie “Land of the Lost” included a scene after the credits where a baby Sleestak emerged from an egg that Rick had brought back to Earth as evidence for his outlandish theories.
Silberling suggested an alternative approach where they could’ve followed a similar plotline as “The Lost World” in the Jurassic Park series, but instead of introducing problems on Earth. He further explained that the closing scene, or stinger, was primarily intended to keep viewers engaged during the credits, rather than setting up another movie. He expressed his enthusiasm for credit sequences, stating that they can last up to 10 minutes and it’s important to make them entertaining if one wants people to watch them until the end, as there are many dedicated individuals working on these films.
Apart from the director acknowledging they didn’t advance much in discussions about a sequel, it seems it would have been challenging for several reasons. The primary appeal lies in the initial excitement and anxiety of these characters, often referred to as “first date energy”. Continuing the story might have resulted in rehashing old fears, which is likely not as compelling.
According to Henchy, it’s not wise to anticipate a movie sequel by saying something like “This would make a great sequel,” as such thoughts can potentially jinx the film. As soon as the original release date arrived, we realized there wouldn’t be a follow-up. I never even considered a sequel or thought that far ahead.
“There’s a million what-ifs”
In June 2009, the movie titled “Land of the Lost” premiered in cinemas nationwide to both negative reviews from critics and underwhelming ticket sales. The production cost was quite high, around $100 million, primarily because of the expensive dinosaur special effects. However, it only attracted a total worldwide audience of slightly more than $68 million. This poor financial outcome might be explained by the release of Todd Phillips’ blockbuster comedy “The Hangover” just two days prior, which likely overshadowed “Land of the Lost”. The characters played by Rick Marshall and his team didn’t stand much of a chance against such strong competition.
The audience desired something else, and unfortunately, “Land of the Lost” didn’t quite hit the mark, asserts Henchy regarding the bachelor party escapade in Vegas starring Bradley Cooper, Ed Helms, and Zach Galifianakis. Henchy believes that they may have become trapped in the middle, attempting to make it more suitable for families at the last minute when perhaps they should have emphasized the adult aspects more. There are countless scenarios of what could have been different.
With that said, time has been kind to Land of the Lost, which now enjoys a cult status amongst the stoner community. “There are people who like to get high and watch it. There are funny, funny moments in it. I’ll catch it on cable and stop and watch and go, ‘It’s still pretty funny,’” Henchy continues. “It’s something I’m still very proud of … We all are. We worked really hard on it and I think Brad did an amazing job. It looks amazing and there are some really, really funny moments in it. Give it a second shot…or a first shot.”
For Silberling, who revisited the title ahead of our interview, the film is worth another look for “the sheer pleasure of imagination and character humor, side-by-side.” The director concludes: “As a filmmaker, you’re living with these films so intensely and then you go away from them for a long time sometimes. When you come back, you really do get to appreciate elements of what’s been accomplished, and I did. I loved the imagination of it, its sense of play and playfulness. I have friends who [have it on] high rotation [during] certain times of the year and they’ll suddenly call and talk about Will dumping the dinosaur piss on his head again. So there’s sequences that just live for people … It’s a great eyeful in terms of visual artistry and just really playful performances.”
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2024-10-14 18:17