Alan J Levis interest in film dates
back to his youth in St. Louis. By the time he entered college, he had already made 43
short films. At Northwestern University, he studied electronic engineering and drama.
Best known to Battlestar Galactica fans as the director of Gun
on Ice Planet Zero, his actual BG directing credits must include about half
or slightly more of the premiere. Filming on the three-hour premiere, at the time the most
expensive three hours in television history, was around half completed under the
leadership of director Richard Colla when BG executive producer Glen Larson
called the unsuspecting Levi to his office. Levi recalls Larson said to me he
wasnt happy with the way the movie was going and would I take it over. I was
reticent to do that. He said he was going to replace Richard one way or the other and he
knew my reputation and he and I knew each other, and so
. Asked why Colla was
being replaced, Levi said, From what I understand, Glen wanted things done a certain
way and Richard said, you hired me as director and Im going to do it the way I
think its best. And he did some great stuff, obviously. Richard is a very talented
guy. After his meeting with Larson, Levi considered the offer for a day or two, then
had to tell Larson he couldnt do it. My parents, who lived in St. Louis, had
never been out here since I came out, since I really started directing and being
successful, and we were very close. I had made a date for them to come out and spend a
week with me, which, as it happened, was the week after Levi would have taken over
directing the premiere. I said to Glen, I really cant, my family means more to
me than anything. Larson, however, was not to be dissuaded, and, according to Levi,
He said, I tell you what. I will put my limousine in your hands for the entire
week that theyre here. Well pick them up at the airport, well chauffeur
them around, anyplace you want to go, anyplace they want to go, well pick them up
and bring them to the studio, the whole bit. And I thought, well, this could be kind
of a kick for my folks! So I said OK, youve got a deal.
Levis first day of shooting proved an exciting one, involving
a nighttime reshoot of the escape from the casino sequence. As Levi explains, Glen
didnt like the way the exterior of the casino was shot, just didnt have any
great feeling of murder and escape and such. That was my first night of shooting, and
everybodys looking at me like Im the new kid on the block and theyre
going, you want me to do what? And Im screaming through the
megaphone and people are running back and forth and this and that and the cameras are
racing from here to there
well, I wore everybody out, but it turned out to be a good
sequence. It did kind of put a feeling of respect for me in peoples minds as to what
I was after. There were no problems with the cast and crew because Levi had
previously asked Larson to explain the situation to them.
There also was no problem with Richard Colla. Levi called Colla and
they talked the situation over. It wasnt easy but it was cordial. Levi
assured Colla that he would not cut Collas footage, and when the time came to edit
the episode, Colla edited his footage, Levi his, and then Larson edited a final cut, which
is standard procedure in the entertainment industry.
Credit after the episode was more complicated, and Levi did not
receive any screen credit for his work in spite of the fact that at least half of the
aired footage was his. The credit issue went into arbitration before the Directors
Guild and the decision was made as it was because, as Levi explains, the Guild
basically felt that Richard had prepped the whole thing which was probably six or seven
weeks of prep and then shot the first half and I had come in and shot the second half.
They awarded me one third of all residuals but no screen credit adhering to what at that
time they were being very strict on, which was dual-director credits on anything on
television. Theyve slackened that up since then, he added.
Levi also shot a lot of the scenes on the bridge set, which was one
of the last sets completed. He recalled, It was marvelous to shoot, I mean it was
really accessible. A lot of it was shot on a crane where you can get the arm all the way
over or in from the side. It was great.
Asked if ABC tinkering had affected his work on the pilot at all,
Levi replied, No
it would affect me only in that, if ABC saw the dailies and
they wanted to tinker with it a little bit and we had to go back and reshoot or something
like that I would get the script or pages or whatever and have to go back or alter
we
were always getting new pages and new scenes, by new I mean rewritten ones, as we were
shooting, so I dont think thats unusual.
After finishing the premiere, Levi immediately went to work on Gun
on Ice Planet Zero, the original second episode of the series. The director of
photography for the premiere did not want to continue working on the series, so Levi was
able to recommend to Larson Enzo Martinelli, who, according to Levi, was my director
of photography on probably 30 or 35 episodes of Invisible Man, Gemini Man,
Bionic Woman, he had done all of those with me. That makes it terrific, the
director having his own director of photography, which normally only happens on movies of
the week, not episodic television.
Gun on Ice Planet Zero was based on an early one hour
script by John Ireland titled Crossfire. Asked how it had become the basis for
the two hour Gun, Levi said, The show if I remember right was a little
long. They would have had to cut about 25 pages out of the script. Now once they got into
the budgeting of it with the big ice planet and everything else
it was easier and
more efficient to go to the 2-hour format.
Interestingly, the most difficult part of filming Gun was
dealing with the heat. Levi remembers, The wardrobe was quite heavy. Earl Bellamy,
who was a friend of mine, was also Head of Production at Universal Studios and I said to
Earl, Earl, youve got to do me a favor. You got to let me rent two air
conditioners for that stage. The entire crew are dressed up in these parkas. And if I
cant cool that stage down to say, 50 or 55 degrees, were never going to get
this thing shot because people are going to be sweating themselves to death! And so
he said, Lets see how it goes the first couple of days. Well, the makeup
guy must have gone through 400 boxes of Kleenex the first day! Every time we were ready to
roll we had to quit because everybody wore these plastic masks. Well, people would sweat,
they would frost up, and it was just impossible the first couple of days. I started
shooting on Wednesday, and on Friday afternoon Earl called me and said, the second
air conditioner is on its way, so we hooked it up Friday night and to my
recollection it was right between 50 and 55 degrees by Monday morning. And what we did is
we told the whole crew, wear your parkas, crew, so the entire crew were
wearing parkas and things that at 50 degrees would keep them comfortable and made the
filming immensely easier to commence and to keep going. When youve got a 2-hour
movie and youve got 24 days to do it, youve got to do six or seven pages a
day, six or seven pages a day is almost an episodic schedule and you cant shut down
every two minutes because youve got perspiration running down peoples
noses.
The second problem with Gun was dealing with the artificial
snow. We had probably 15 or 20 what are called sieves on the ceiling that held this
plastic snow which is like a cornflake. And it was constantly showering down on us. We all
had to wear masks with regulators, because you did not want to inhale that plastic. And
some of us wore full masks because it was easier for us to keep the snow out of our eyes
as well. So the entire crew was running around with parkas and masks on, as is the cast,
and Id yell across to Enzo, mumblemumblemumble! and hed go,
Take the mask off and tell me what you want! I would say that those were the
most difficult two items to overcome. Problems aside, filming went smoothly.
Filming, now, that went really marvelous, just great. The cast was terrific and the
sets were great. It was a whole stage, the entire stage, big stage, rigged with mountains
and snow and caves and all kinds of stuff. We did matte jobs where a blue screen was
placed above us at certain times and the snow was coming down and weve have Cylon
ships racing overhead and firing and we blew up things in the snow which was quite fun. Of
course, Levi added, thats where I met Don Bellisario and now Ive
done 66 shows with him.
Asked about his relationship with producer/director Bellisario, Levi
said, Hes probably one of the most creative guys Ive ever known. He is
fair but difficult to work with. By difficult I mean demanding and the best. I have the
utmost respect and love for that man. After BG, Bellisario and Levi worked
on Magnum P.I. I told Don, Ill direct em, but I only want
to direct your scripts! And he said, oh, OK. So I started directing his
scripts, only after about seven shows I had to renege because he wasnt writing
enough! He used to call me up, hed say, Come on down here, I want to read you
the first act. Id sit and read, Id come to the end of the first act and
Id look up and Id go, This is terrific! Where are you going with
it? Hed say, I dont know. Id go, What do you
mean, you dont know?! He said, I dont know. Thanks. Here, give it
back. Ill call you back when Im done with Act Two. About
Bellisarios talent as a screenwriter, Levi said, He definitely wrote the best Magnum
scripts. I want to tell you, he still writes the best scripts. If I know
Dons writing a script I know Im not going to have any problems. Levi
remembers working on Magnum fondly. Magnum was definitely the most
fun of all of them to shoot. The crew on Magnum was terrific, obviously the
location was fantastic. I loved to work with the cast, each and every one of them was
great, the scripts were good. It was just a fun show. There were no inside fights, no ego
problems. Asked if there will be a Magnum reunion show, Levi said,
Theyre talking about it now.
Today Levi is a frequent director on Don Bellisarios long
running hit series JAG, a series that in its early days had its share of
problems. Its one of the few shows thats ever been canceled and picked
up by another network. Asked why JAG has proven so successful, Levi cited,
I think its the writing, and Don is relentless. He demands the best from
everybody. Levi also credited the popularity of lead actors David James Elliot and
Catherine Bell, plus a strong supporting cast. Levi enjoys the diversity of scripts
hes been able to direct on JAG. Ill just go over the last year,
OK? Last year I made a film that allowed me to go onto an active aircraft carrier at sea
(the USS Stennis) and shoot for three days. Ive been a pilot for 36 years
but what I learned, what I experienced on board that ship was incredible. I literally had
to learn the workings of the ship before I even got on it, for what we wanted to film and
how I could film it and under what conditions because we didnt take over the ship to
film, we were there to film what was happening on the ship, we had to abide by their rules
and regulations and schedules. So I did that. Then I did a film that was on the birthing
of a baby. And then I did a film that had to do with satellites. Its
incredible.
The US Navy and US Marine Corps obviously take an interest in JAG.
Asked if the armed services cooperate in the filming, Levi said, They do if they
like the script, and the producers have to submit the script to the Navy all the time
because we do utilize their stock footage of aircraft, go film on their bases, with the
Marines. Ive been down to Camp Pendleton quite a bit. So we submit our scripts to
them and if there isnt anything in there they object to then we get their sanction
and we work with them. If there is a touchy subject and they dont want it we
certainly have the right to continue. Asked if the Navy had objected to scripts,
Levi said, Yes. Asked if this happened often, he hastened to say, No,
no. Theyve been very touchy about the homosexual aspect of some of the
shows
there was one just recently that the producers did not get their sanction
on. The Navy and Marines are aware, however, that JAG helps encourage
enlistment. And the fact that Don Bellisario is a former Marine himself has also helped.
Levi revealed that his friend Ed McMahon is a big fan of JAG.
Ed was a Marine pilot and he watches every show and he calls me and says, Boy,
you were right on the edge with that one, werent you! and we talk
about it a lot.
Responding to a comment that Glen Larson has not been nearly as
successful as Don Bellisario, particularly lately, Levi compared and contrasted several
well-known producers: You know, theres a niche for everybody. He had great
ideas without the ability to carry them through. Hes a great idea man. If you know
the history of him, you know he created a lot of shows and did not stay with the shows.
Don is not only a great idea man, but he can carry them out. If you take a look at all the
people, we were all buddies over there (at Universal), Bellisario, Steven Bochco, Steven
Cannell, all successful. Cannell is just as successful as they are, but he fills a
different niche. He went off and did the lower budget, very commercial shows, and was
terrifically successful. Hes now writing books. The most successful man in this
entire industry never did the type of shows Bellisario did, but Aaron Spelling has done
4039 hours of television! But he fills a different niche. David Wolper did nothing but
quality shows. Don Bellisario does nothing but quality shows. Glen went on to do cartoon
shows.
But before Glen Larson went on to do what Levi aptly described as
cartoon shows, there was Battlestar Galactica, a show of quite
another caliber. Asked if that was because others, Don Bellisario or Leslie Stevens,
possibly, had had more input into it, Levi immediately responded with this revelation:
Well, Leslie Stevens wrote the original script. Leslie was one of my best friends. I
do know that Leslie had told me at one time way before he ever got into the script that he
had this great idea for a script that he was going to take to Glen Larson and talk about.
Now whether in a court of law that would mean that Leslie came up with it and took it to
Glen and Glen said, Fine, were going to co-do it or not, I cant
tell you. I wasnt there.
Levi remembers working with the BG cast fondly. One who he
had the opportunity to work with later at length was Jane Seymour. I did a slew of Dr.
Quinns. We met back then and became friends and when we started doing Dr. Quinn
it was like a reunion. Shes the most terrific and professional lady Ive ever
known.
Lorne Greene became an especial favorite of Levis.
Nobody was as great to work with as Lorne was. Lorne and I became good friends. It
was a pleasure to have known that man. He was very understated and always in command,
always in control.
Of Terry Carter, Levi recalled, Terry was also fun to work
with. I like Terry a lot. Hes a lovely man.
About Richard Hatch, Levi said, I enjoyed working with him a
lot. I know that he would get upset at times with the intent of scenes or what he had to
do more than the other people around him, but he was great to work with. He was
professional, he knew his lines, he was always right there, he came up with some good
ideas.
Dirk Benedict proved Richards temperamental opposite,
according to Levi. Dirk was easy going, easy to work with. Had a very involved
personal life! I do remember that a lot of times he would ask to get off early or come in
late. This was Dirks first thing, so he was basking in it, he was just having a
ball. He was a young star and he was eating it up and using it wherever he went and not
unkindly, I dont mean unkindly, he was just really enjoying his stardom and the
show. He always wanted the show to be better. But he was also fun. Always terrific to get
along with, talk to, have a beer with. Levi felt that the differences between
Richard and Dirk helped the show. What was good is that he and Richard were not the
same peas in the same pod and I think thats what made their relationship work
because they always disagreed, or most of the time. I dont mean personally, I mean
on the show, their characters. They were best buddies but one of them was always trying to
argue the other one out of doing something. My opinion was, in augmenting the character
with the real person, is that it was a real easy thing to do because they were different
characters. I found that from a directors point of view to be a real
advantage.
Remembering the late John Colicos, Levi laughed.
John
John was marvelous. He was pompous and grand and always on stage. That
voice of his alone
but he was fine to work with, but he was larger than life. You
couldnt sit down with him like you could Lorne and just sit and chat
well, you
could, but you felt as if you were talking to an image rather than a real person! He was
very grand. He carried his position from his writing onto his person. He very seldom went
out of character! And I did bump into John at times afterwards and he was just as
senatorial then as he was during the show. He was a very much larger than life
person.
Levi is back at work this season directing new episodes of JAG.
Asked how long he plans to continue working, he replied, As long as I love it. I
still love it.
�2000, Susan J. Paxton