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The Ray Bradbury Theater: Tyrannosaurus Rex
An egotistical film producer hires a stop-motion animator to make him the most frightening Tyrannosaurus Rex model of all, and the animator seeks out an unlikely inspiration.
| 8/10 (1 Vote cast) |
Episode Info
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Episode number: 3x10 Airdate: Saturday May 14th, 1988 |
Co-Guest Stars
Recap
Modeler and special effects man Terwilliger arrives for the screening of his stop motion dinosaur animation audition for a tyrannical film producer, the wheelchair-bound Joe Clarence. Clarence's lawyer Glass is impressed and even Clarence briefly admits that Terwilliger is competent. The producer warns that they only have $2,000 for the budget and demands an immediate answer. Terwilliger agrees and Glass takes him out, and warns that Clarence is big in the business. The model worker insists he's an artist, not a slave, but tells Glass he'll sign the contract the next day...Read the full recap
Episode Notes
Based on the short story "Tyrannosaurus Rex" by Ray Bradbury. It was first published as "The Prehistoric Producer" in Saturday Evening Post (June 23, 1962).
Episode Quotes
Terwilliger: My beauties. Not alive but alive. Dead but not dead. Clay under liquid rubber. Yes, oh yes. I moved you and then frame by frame photographed you. And god, even now, I can't believe I made you walk and fly and live.
Terwilliger: Okay, now, plant the King of Lizard in ancient summer wilds, to wade in swamps of teeming material life.
Joe Clarence: How'd you like to be fired?
Glass: I quit years ago.
Glass: I quit years ago.
Analysis
Changes from the short story:
* In the short story, Clarence is a dwarf. Here he is a wheelchair-bound ogre with a large lump on his forehead.
* Glass' daughter asks for Clarence's autograph at the end in the story. In the episode, it is his niece.
* In the short story, Clarence is a dwarf. Here he is a wheelchair-bound ogre with a large lump on his forehead.
* Glass' daughter asks for Clarence's autograph at the end in the story. In the episode, it is his niece.
Other Episode Crew
| • Creator | Ray Bradbury |
| • Executive Producer | Ray Bradbury | Larry Wilcox | Peter Sussman |
| • Co-Executive Producer | Bill Allan | Pierre Bertrand-Jaume | Stephane Sperry |
| • Supervising Producer | Seaton McLean |
| • Producer | Hubert Niogret |
| • Editor | Genevieve Vaury |
| • First Assistant Director | François Crozade |
| • Second Assistant Director | Stephane Gluck |
| • Music | Jean-Paul Drand |
| • Make-up | Emma D'Auria |
| • Grip | Jean-Luc Benoudnine |
| • Key Grip | Emile Laisne |
| • Camera Operator | Roland Bernard |
| • Location Manager | Veronique Forgeau |
| • Property Master | Clorinde Mery |
| • Production Assistant | Patricia Voisin |
| • Assistant Editor | Bruno Boissel |
| • Gaffer | Christophe Offensteine |
| • Director of Photography | Andre Neau |
| • Art Director | Etienne Mery |
| • Production Management | Raphael Caussimon |
| • Sound Mixer | François Waledisch |
| • Accountant | Isabelle Duley |
| • Boom Operator | Philippe Donnefort |
| • Wardrobe | Dominique Combelles |
| • Second Camera | Denis Rouden |
| • Dialoge Coach | Tim Holm |
| • Continuity | Kathleen Fonmarty |
| • Still Photographer | Jacques Prayer |
| • Assistant Location Manager | Gael Collon | Philippe Rouquier |
| • 1st Camera Assistant | Jean-Pierre Aliphat |
| • Assistant Set Decorator | Pascale Thirode |
| • Recording Mixer | Jack Jullian-Gaufres |
| • Model Maker | Jean-Manuel Costa |
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