I
would like to make it clear as one who has been a consultant for about 20
years, to several companies what you are about to read is unusual and not
common. WATCHER has been a unique and unfulfilling experience do in large to the
company who produced it. My main goal in
presenting and preserving this film was always for the memory of Tom Leetch, the initiator of this film whose vision should have
gone unhampered, and courageous – like the company’s foundered vision always
did. If I failed, it wasn’t without a
fight, but due to the lack of respect by those to now reside to make decisions
after Tom left this world.
THE WATCHER IN THE
WOODS
has been apart of my life in one form or another since its infamous initial
release in 1981 till today. But beyond
its narrative mystery of a girl’s disappearance is a far greater enigma which
continues to baffle.
For those who don’t
know, WATCHER was born in the Disney studio’s desperate need to develop beyond
its usual fair of films of the day. By the
late 70’s family films were not the rage. The studio’s glory days had passed and it was
time to forge ahead. So, a slate of PG,
more “mature”, projects were planned. The first, THE
BLACK HOLE. The second
slated for theatrical release would be THE WATCHER IN THE WOODS. After reading the novel by Florence Engel
Randall, Producer Tom Leetch (who worked with the
studio going back to MARY POPPINS, and Walt himself)
suggested to then head of the studio, Ron Miller, “This could be our
Exorcist.” Powerful words indeed, but
then the studio needed something stronger to prove their point and new
direction. In 1980, I was lucky to have
known a high ranking exec. in NY’s publicity
department who sent me preview tickets for WATCHER. The audience, mostly made
up of critics, were held throughout.
They jumped, they gasped and applauded.
No one had expected this kind of film.
Finally the film had built up to the point of exposing the “Watcher”,
there was silence in the theater and everyone leaned forward with expectation. In a shot where the creature spins toward the
camera and growls in a close-up (an alternate version of the scene is shown on
the dvd minus the growl) the
audience of “mature”, “sophisticated” adults suddenly lurched back into their
seats, with a gasp. Upon the exit of the
“Watcher” a stunned silence filled the theater… then applause. I had not
experienced a preview response like that since ALIEN, when that creature
broke out from John Hurt’s chest. It
wasn’t until WATCHER IN THE WOODS ended that things went sour. It seems no one understood exactly what had
transpired. An explanation offered by
Lynn-Holly Johnson’s character seemed too vague. The confusion led to audience insult since
this was only a “Disney” film and whatever had transpired in the story was
understood by a teen-ager and an 8 year-old kid!
After the film actress
Lynn-Holly Johnson was there to answer questions from the press. A young women stood,
and simply asked what was it they had just seen? “What was the Watcher? Where did it go? Did I miss something? The kids in the film seemed to understand,
yet I’m in the dark?”, she stated. To which Lynn-Holly responded with an
overview of a sequence that was referred to as “The Other World” Sequence.
A press agent quickly
covered the mic, pulled Lynn-Holly away, and
whispered something to her. Returning to
the mic, Lynn-Holly responded with a slight giggle,
“But you didn’t see that.” A murmur of
disbelief expelled from the audience. In
the eyes of the critic’s THE WATCHER IN THE WOODS was
dead. Everything that
had been built during the past hour and forty mins.
had been lost.
Through the years, and
after becoming a friend of the Co-producer Tom Leetch,
I learned the film was rushed out to be coordinated with Bette Davis’ 50th
anniversary in the entertainment field.
Because of this, crucial effects shots were not completed for the “Other
World” sequence. In deed, what is now
seen on the DVD is only a basic first run of combined effects not fully
rendered. Instead of holding back the
release until the sequence was completed the studio chickened out and pulled
the film. It seems the head of the
studio, Ron Miller, who had the right idea of producing PG films didn’t really
have the guts or vision to see it through.
Upon conducting interviews for the booklet of the DVD release I learned
from cast members of the tenuous atmosphere which existed during the
production. Of course none of this is
referred to by the film’s director in the commentary, he is being cordial, I
don’t have be.
I’ve never been on their payroll.
Besides, even if he were his words would have been edited, as way my
writing.
I was told how Mr.
Miller constantly interfered with the filming of scenes, afraid of their
intensity. One scene where Carroll Baker
slaps a hysterical Lynn-Holly was re-filmed to a “shaking of the
shoulders”. Co-producer Leetch would come head to head with Miller fighting for his
vision while director John Hough would step aside. Strangely when I had told actress Kyle
Richards about this her response was simply ignorance since she was merely a
kid at the time – but while looking through a collection of photographs from
the filming she found a b&w photograph which
someone had shot of her running around during on the outside shoots. Strangely, in the background were producers
Tom Leetch and Ron Miller having it out while
director John Hough backed away.
Since Miller was the
head of the studio, he won his way. A
false reason for the film’s failure was propagated. The blame came down on the special effects
firm hired (this was the first time the studio had gone to an outside effects
house) blaming them for delivering poor effects, and not within the time frame
the studio requested - thus scraping the “Other World” sequence, making the
ending unintelligible. They became the
sacrificial lamb and WATCHER was recalled, cut 20 minutes
and about million dollars later furnished with a new, simplified ending.
Through the years I
attempted to strike interest in a home video version that consisted of a
“finished” version of the film. I
believed, as did Tom Leetch, this was possible and it
would result in an acceptable motion picture.
Tom and I spent multiple conversations on this and he even approached
the studio – but in vain. His last
interview appears in the DVD is severely edited. At the time he was filled with remorse and
utter failure. He was utterly depressed
and down trodden. I choose to edit that one interview as I transcribed it from
the audio tape. I couldn’t let his last
words be so dire – it would not sell a product.
It was after his passing I reaffirmed his cause and never gave up to see
his dream realized.
The film was later
optioned to Image Ent. for
laser release to which I was a consultant for SPACE: 1999. I informed them of the original ending and
version to which they inquired Disney.
The reply was simple – the elements were destroyed. It was a lie.
It was also my first dealings with a Mr. Macqueen,
Disney archivist. Image Ent. was
supplied with a horrible master filled with color and contrast problems. It was grainy and scratched. IMAGE complained, but Disney insisted it was
the best they could provide. This was
also untrue going by Anchor Bay’s previous VHS release
and current DVD.
Jumping ahead, years later Anchor Bay was given the rights
to sub-license DISNEY product. Among the titles, THE BLACK HOLE, and of course WATHCHER
IN THE WOODS. I worked on
a special VHS edition of BLACK HOLE (Anchor Bay’s first tin box
release) , but unfortunately Disney wouldn’t allow Anchor Bay to do the same for
DVD. In fact Anchor Bay’s superior handling of
DISNEY’S product resulted in a strange back lash that infuriation the mouse
minds into a childish rage. At this time
Diseny wasn’t very DVD savvy. (Remember they were banking on Divix). Their
releases were poor to say the least lacking in extras, and presentation, - they
didn’t even have animated menus at the time.
Feeling insulted they threw a clog into the wheel and halted all of
Anchor Bay/Disney releases – primarily, WATCHER.
It seems at the time
Michael Eisner didn’t even know of Anchor Bay, or the contract
allowing them to release Disney product.
He had only learned of this when one day he picked up the L.A. Times and
read a interview with an Anchor Bay executive in which the writer of the piece
applauded Anchor Bay on the excellent handling of the mouse’s product, case in
point a musical, THE HAPPIEST MILLIONAIRE (which Anchor Bay had the courage to
release in two version, the longer roadshow edition,
and shorter wide-release version.) Now
for Disney, or rather Mr. Eisner, this was the ultimate insult making the
studio look inadequate, especially in the handling of a film Walt himself had
produced! The obvious had been
addressed, why wasn’t “Disney” doing what Anchor Bay was!
You see, you have to
understand that the original version of WATHCER
is basically unknown and unseen. No one
in the home video department at Disney heard of the film, let alone seen the
original version. Truthfully the same
held true for Anchor Bay. After I informed Anchor Bay of what they had they
immediately saw the potential and we went into full swing to re-edited
the film back to its original length, with the director’s approval. Like salmon swimming up stream Anchor Bay, and myself, found
Disney both challenging and annoying.
They insisted the elements were destroyed upon our inquiry. It was a person in the film
archive/restoration department, yep, Mr. Macqueen who
had also stated the same to Image Ent. years previous.
Why? I don’t really know - which
is why I had to resort to extreme measures.
I knew someone at the company who had access to the vault archives. On their own free time (lunch) they simply
went into the vault and found what we needed.
In fact they delivered to me a sheet consisting of a complete inventory
run down of ass the elements for WATCHER.
From TV spots, to various languages, to film prints, negatives and sound
elements – a whole inventory. There were
even separate C,Y, M elements which is why the dvd quality is so good!
Ultimately Disney had final say in what was pulled and currently appears
on the DVD – that is, except one item.
The film originally opened with a prolog and different Main Title
sequence. A small girl is seen in the woods playing with a doll. The WATCHER’S
presence (a roving camera POV) sneaks up to the girl from behind. She suddenly turns to the camera and screams,
dropping her doll and running off. The
camera changes it view from the running girl to the doll. There is a growl, the doll floats upward,
becoming air borne, and is swiftly launched against a tree where it is struck
by a blue beam of light igniting it. The
Main Titles are played over the burning doll face which melts as the credits
continue accompanied by striking “psycho-like” musical strings. This important beginning set up a tone for
what would follow casting a much darker atmosphere on every scene to come. Also upon the film’s final revelation it
procures a simple and basic “Disney” moral – things are not what they always
appear to be. Or, “Don’t judge a book by
it cover.” This concept of having a
horrible looking alien which turns out to be non-hostile, but merely frustrated
obviously went went over Disney heads then, and
now. Similarly UNIVERSAL, though the
writing of Ray Bradbary did the same with IT CAME
FROM OUTER SPACE.
Copies of the footage
were sent to me (NY) on tape from California. I contacted the director (in England) and we talked about
how to re-edit the footage together. Even with what was found there was still roughly 2 -3 mins. of footage missing
that was cut from the body of the film.
Disney wouldn’t allow us to look further. They also were paranoid about the tapes they
sent me demanding them back within 24 hours.
I then spent the night – till 4 am, making notations from
the time encoded tapes writing an edit-script with instructions as to how to
piece the new footage together with the existing film. This edit combined footage from both
alternate endings now seen on the dvd. Which is why the audio commentary has the
director referring to now being able to see the film as it was, and the true
ending being a compilation of what is on the disc. A more exacting edit would have been better
but Disney wouldn’t allow it. I was restricted to only a few cuts. In fact we (Anchor Bay and myself)
were always walking on egg shells in dealing with Disney in fear of
repercussions – which will be stated later.)
The project was halted
and scrubbed due to worry that Anchor Bay was making Disney look
bad by release superior product of a film which the company had failed with
years previous. Disney then tried to argue the point that Anchor Bay didn’t own the rights
to this extended/alternate version. The
issue went back to THE HAPPIEST MILLIONARE embarrassment. The contract, though open to interpretation,
according to Disney said Anchor Bay had the right to the
film, not “two” of them. But they had already allowed Anchor Bay to release two
versions of THE HAPPIEST MILLIONARE - So the same had to hold true for WATCHER. Disney next turned to the defense that the
longer version of WATCHER was not a true theatrical edition, thus not available
to Anchor Bay. Unlike THE HAPPIEST MILLIONARE which had a
legitimate roadshow release. But you see, no one
currently at Disney knew what they were talking about since they weren’t there
at the time of the WATCHER’S release.
Luckily I had the New York Times Ad from 1981 with show times proving
the version we sought had a “theatrical” run.
Next Disney offered to hand over WATCHER if Anchor Bay would hand back THE
HAPPIEST MILLIONARE.
Anchor Bay stuck to their guns,
said no, being happy to continue their positive consumer response from that
title and requested that Disney honor the contract they signed. Disney’s response was a typical PLO-like
maneuver of holding the remaining titles in the contract hostage. WATCHER was canceled.
Between this and that,
and the years of seemingly endless negotiations between Anchor Bay and Disney there were
times when the mouse loosened it grip and, like the Israelis and the
Palestinians, peace would be achieved.
That is when Anchor Bay announced the release
on their website exciting fans. But at
the turn of a screw Disney would rescind their stance and break the truce,
always referring to the remaining titles in waiting as a ploy and threat. But at this point WATCHER was almost fully
realized. So much money was already
spent it was either let Anchor Bay have it, or Disney
would have to pay for it themselves. Disney toyed with Anchor Bay clamping down on how WATCHER
would be released. This ranged between
only the shorter version and no extras, or no commentary, or no extras
(trailers, TV spots, or no alternate endings.
Hell they even complained about Anchor Bay using animated menus!
It reached a point
where Anchor Bay felt all was lost, not
only WATCHER
but the remaining Disney titles promised.
That’s when I came up with a suggestion.
I had obtained Roy
Disney’s email and fax number so I suggested that I, independently, reach out
to him for aid. This would be on a
personal level, separate from Anchor Bay, pleading my
case. Anchor Bay agreed feeling, “At
this point, why not?!” (Link to read the Fax at the end of the editorial)
Well, after sending it,
heads rolled. It seems Roy didn’t know anything
about Anchor Bay, the agreement with
them, the whole deal. Like Eisner he was
in the dark, and I don’t think took it too well. I never heard from him personally only dark
rumblings from a Disney exec who warned me I would be “getting a call from
someone high up”. If that was meant to
scare me, it didn’t, and the call never came anyway.
So Anchor Bay won, however –the film
would NOT be re-edited as planned. (Originally it was planned to be a double
disc version consisting of both versions of the film along with extras.) This went on for almost 4 years. Back and forth, always
getting more convoluted due to firings and hiring’s at the unstable mouse
Corporation. (More heads rolled
at the company then than during the French Revolution.) Finally, after picking and nit-picking, WATCHER
was okayed. Minus one thing – the original Main Titles. It seems a group of execs. felt
it didn’t represent the Diseny Corporation in the
proper way. In fact,
one exec. who was assigned as a kind of go
between Anchor Bay and Disney voted
against this prolog/main title sequence.
When she admitted this to me I told her she had neither the right nor
artistic judgment to have done so. In
fact she didn’t even confer with the film’s director. To take it further she hadn’t even heard of WATCHER
until I educated her on its history.
Even more amusing – when the initial batch of Anchor’s, THE
BLACK HOLE was released it had audio problems. (which I brought to
their attention to be fixed) Upon
addressing this issue to Disney the technical department they told her the
sound was “degaussed” and intended to be that way. For those of you who don’t know what that
means – degaussed is when you erase something.
Which would means there wouldn’t be any sound. (The problem with the initial release of THE
BLACK HOLE was switched speaker locations.) Basically, the Disney tech’s
didn’t want to take the blame for the defect so they in turn took advantage of
this exec’s ignorance of the format. I
informed her she was being made a fool, educated her on the technical issue
enabling her to confront the techs and have the issue resolved. Yet Keef Ferrandini has somehow earned a spot in the booklet I wrote
accompanied with the DVD, under “Thanks to the following” along those I
interviewed!
Instead of acting as a impartial aid she intervened with others and completely
changed the original release concept of what this DVD could have been. Believe me I was shocked to see this addition
since she had nothing to do with the production of this release other than
being Disney’s lackey to expedite decisions from above. To make matters worse her name has been
highlighted in box in the dvd
insert. This decision, I believe, was
done by Anchor Bay to help placate her
and Disney in hopes of receiving the remaining titles in the agreement. Disney kept those titles hanging on string
like a carrot keeping Anchor Bay their puppet, while
holding WATCHER by the throat with a knife. To sum things up titles promised (JOURNEY OF
NATTY GANN, NEWSIES, the ERNEST series and THE PUPPET MASTERS – the latter of
which I was suppose to work on) were never delivered, and have since been
announced as being released by Disney.
Now, remember films are not mastered and prepared over night, these were being done while discussions and negotiations
were being conducted for WATCHER. In the interim another Disney acquired title,
SPACECAMP was released only with a
text interview I conducted with the film’s director – the original plan was to
do a commentary but again Disney intervened and wouldn’t allow us to do
so. At the time they weren’t even doing
16x9 transfers which is why that release was only
given to Anchor Bay in letterbox.
The bottom line is WATCHER seems to have enemies, not to
mention the worst of luck - much of which is the studio’s own stupidity. It would seem Disney would rather have newly
animated characters talk with the lingo of crack dealers than showing a doll
burning. I suppose it was better to hear
an African helicopter pilot say “I’d whip the bitch!”, as in the film BABY: SECRET OF THE LOST LEGEND, or for that matter have winged harpies,
boldly nude, exposing their pink nipples in close-up as in FANTASIA.
Even now, after over 20
years the WATCHER IN THE WOODS is still a mystery. It is NOT what the director intended, nor
that of the initiator, Tom Leetch. In fact Disney never even bothered to consult
director John Hough. I offered to
connect the two, hell, John even offered to fly in from England to L.A. and sit at an editing
table and re-do the film, AT NO CHARGE!
But the studio SAID NO – yes another bad decision by the person whose
wrongful credit appears in the booklet.
But then again lack of logic has been a staple of Disney who originally
edited all trailers given to Anchor Bay (on BLACK HOLE and SOMETHING
WICKED THIS WAY COMES) deleting the WALT DISNEY STUDIO name – notice it
doesn’t appear on the packaging as well, even on WATCHER.
It boggles the mind to
conceive such a badly run organization – one that showed such promise, and held
such standards give way to incoherent decisions.
But against all odds,
good and bad, less than more, THE WATCHER is out. It has survived
all the poor stupid bastards that have since stood in its way and or, faded
away. Oh a few still remain, but,
against all odds the film has survived.
It’s far from what I and Anchor Bay wanted it to be, but
it’s out. Sorry Tom (Leetch),
where ever you are, I tried. Perhaps it
will yet return complete. Why? Because I know it’s ALL THERE. Tom had told me it was. Besides, I’ve seen the inventory sheet of
that vault – the entire un-cut version, it’s there.
Like the WATCHER
itself… waiting.
See the following for more on THE WATCHER IN THE WOODS
CLICK here to read the FAX sent to Mr. Roy Disney
Read the DVD reviews for both the ANCHOR BAY & DISNEY releases
RETURN to the DIGITAL CINEMA Main Page