TV Movie | Not Rated | | Horror, Sci-Fi, Thriller
A preliminary production asset of "story-boarding" a script by a visual lay-out graphic illustrator is rare - in a television movie or for a series program property; a luxury few producers budget nor schedule. Because of ABC's focus developing this MOW property for Susan Lucci, the producers (Robert Sertner and Frank von Zerneck) immediately hired the Russian film script illustrator Petko Kadiev; illustrating the script gave the producer's a visual presentation story-book to dazzle the network suits; an analysis of camera shots providing a visual tangible bible for both the director and the cinema-photographer. These film shot lay-outs provided the optical effects a complete analysis of their work to be performed. The Hollywood Effects house previously had provided the film-optical effects for all of the British produced James Bond films in their London based unit. The American owned effects company had established their Hollywood based facility in the heart of Hollywood, located in a huge warehouse-stage facility (near the Samuel Goldwyn Studio, located off Santa Monica Boulevard). The Petko Kadiev storyboard script sequence was handed over to the optical-effects team which determined the shot-sequence required by the script's dictated shot set-ups. Bob Urick performed all of his work, dressed in the NASA astronaut space suit during filming. He was not doubled by another actor nor by a stunt double. Staff-plastic-skin hard-wall flats, built on the Culver City production stage, were transferred to the Hollywood Effects stage for additional filming requirements, utilizing both first and second effect team photography units. This "Jessica Jones' hell inferno" two day optical effects filming sequence was the final filming of the MOW project.
Tom Winslow removes his helmet, messing up his hair. A second later, his hair is neat again.