A few months ago, we took a look at the late ‘80s cult film PHANTOM OF THE MALL: ERIC’S REVENGE (1989). My two-plus-decades removed revisit found it still to be an enjoyable B-movie that benefits from a fun premise, a fantastic location and good performances (including an early turn by Pauly Shore that garnered him his first of many Oscar nominations). In my examination, I laid the success of the screenplay at the feet of Robert King, thanks mostly to my familiarity with his exploitation work for Roger Corman.
Much to my surprise, a comment was left on the review by Scott Schneid, one of the film’s writers, which offered quite a different opinion. He asserted that the original script, co-written with his former writing partner Tony Michelman, was a completely different and superior beast that suffered through Hollywood’s age old developmental process. Even better, Schneid offered me a look at their original screenplay to judge with my own eyes. With filmmakers constantly ignoring requests for interviews, it was energizing to have a story fall into my lap, so the challenge was accepted. Soon I had the PDF of the original script of PHANTOM OF THE MALL in my hands and, I’ll be damned, he was right.
|The film that kicked Schneid's|
creative juices into high gear
While at the agency, Schneid was contact point for Harvard students curious about the film industry. He was contacted by student Paul Caimi, who had written a rough screenplay called HE SEES YOU WHEN YOU’RE SLEEPING. Schneid immediately sensed the potential in a Christmas-themed horror script and optioned the work. This idea was nurtured by Schneid and his co-executive producer Dennis Whitehead into what eventually became the controversial SILENT NIGHT, DEADLY NIGHT (1984). The success of that film got Schneid’s creative juices flowing and he began thinking of other ideas to subvert time-honored happy images (and hopefully not piss off Mickey Rooney again in the process). What kind of horror film could possibly appeal to the teens of the day, he wondered. And it suddenly came to him – a film set in a shopping mall. “It seemed like a perfect setting for that demographic at the time,” Schneid explains of the idea’s origins. “PHANTOM OF THE MALL – it just kind of came into my head and was the perfect environment. Again, like SILENT NIGHT, DEADLY NIGHT, taking something and turning it upside down. Taking that mall environment – something which is bright and cheery – and somehow figuring a way to make it dark, sinister and evil.”
1980s mall in all its colorful glory
(look closely to spot Tom in there):
The low budget film industry was booming during this period and any producer dealing with horror/exploitation material could find himself awash with fast cash in order to supply product for video store shelves. Fries, known primarily as a prolific television producer, felt dabbling into medium budget theatrical features was worth it and the company soon began prepping PHANTOM OF THE MALL on a $4 million dollar budget. “We were hired by Fries to do a rewrite with Kayden overseeing it,” Schneid explains of the project’s early growth.
The preproduction process saw the filmmakers really investing in the special effects heavy screenplay. “We had really big special effects,” Schneid says. “Alec Gillis and Tom Woodruff, Jr., who went on to do the ALIEN movies, wanted to do the effects for PHANTOM OF THE MALL. They did drawings [which are showcased throughout this article – WW]. Then there was a company called Introvision. This was before CGI in the mid-80s, an innovative in-camera [effect] with [special effects] plates. They gave this big presentation to Chuck Fries and said, ‘We’ll make this four million dollar movie look like a ten million dollar movie’ and Chuck Fries says, ‘Ten million dollars? What does it have to look like ten million dollars for?’ That was the mentality we were dealing with.”
An aerial establishing shot of the mall to feature miniatures
and live action; nothing like this was in the final film:
Indeed, it appears the executives heard “special effects heavy” and only saw dollars flying away. An executive named Maurice Singer, who previously worked for HBO, came onto the project and decided the first order of business was to slash the budget by a significant amount. “They wanted to make it for two million. They bounced Tony Kayden off the movie and never gave us a chance to do the next draft to try and figure a way to make it cheaper. Singer just decided to get rid of all of us and bring in Robert King [to do the rewrite].”
Fries article promising state-of-the-art special effects in films,
after cutting them all from PHANTOM OF THE MALL:
Evocative storyboards for ambitious nightmare sequence:
One need only read the first three pages to immediately notice the difference. The original script opens with a moody scene of empty houses being bulldozed and the mall being built in a montage. The introduction of the female lead Amy Christopher (later switched to Melody Austin in the King draft) a year later working at the mall has a surreal dream sequence where she sees her friend Susie (saved the wrath of a name change in the final script) literally burst into flames and melt into their Snacks Unlimited workplace. Amy awakens to find herself a scarred person, both literally and figuratively, thanks to her ordeal involving the fire that killed her boyfriend Carl Grant (later changed to Erik Matthews). Throughout the script she is haunted by nightmares. Below is an example of one of them.
Schneid/Michelman scripted nightmare
(click to enlarge)
Special FX drawing for charred transformation:
|The Schneid/Michelman script had |
thankfully no Pauly Shore buttcrack
Expansive is the first word that comes to mind when reading the earlier draft. The script is filled with many more well drawn characters and some incredible set pieces. For example, there is a great dream sequence where Amy remembers the fatal blaze and Carl rips off his grandmother's head and fire spews out of her eyes.
There is also a great scene where the Phantom attacks a chauffer in a parking garage and scrawls “close mall or die” on the limo’s hood as a warning.
|About all the romance you |
get in the produced version
“That’s THE movie,” Schneid emphasizes passionately. “That’s what the movie is all about – Amy still loves Carl to the end, but Carl realizes he can’t be with her anymore. Peter respects her emotions for Carl. It’s not like he is some really aggressive kid who thinks, ‘Now that my best friend is dead I’m going to move in on this woman.’ At the end the Phantom realizes that he’s got to let Amy go. And if he’s going to let her go, who is he going to let her go to? His best friend.”
Indeed, the script’s finale not only features a better emotional payoff of the Phantom saving Amy and his best friend, it also features a more visceral one with Amy ultimately confronting the purveyor of her misery. “You’ve got Wilton versus Amy in the mall atrium,” Schneid recalls. “The evil woman that killed the love of her life and caused Amy all of this physical and emotional suffering. She goes one-on-one with her at the end while the mall is burning around them.”
The Phantom puts an end to the Amy vs. Wilton showdown:
|A TOWERING INFERNO-esque |
stunt from the original draft
Schneid, however, holds no ill will toward King as he figures he was just doing his job. He even liked a thing or too that King added to their scenario. “You know what scene I liked,” he states. “I kind of liked that he had the video monitors set up, listening to that cool song and watching Amy. I thought at the time that was a cool thing. VCRs were happening and security people had video monitors around the mall and stuff. So he stole some VCRs and somehow tied in electrically to the video monitoring system of the mall in his little lair.”
Fries offers PHANTOM at the American Film Market
(note Eric Matthews, the Phantom character, mistakenly listed as an actor):
|Flyer with an alternate title,|
which Schneid found ridiculous
Ultimately, the work on PHANTOM OF THE MALL turned out to be a baffling and painful experience for Schneid. Looking back, he is realistic about the film though. “I’m not saying it was genius,” he shares, “but I think it was a better screenplay and potentially a much better and slightly more sophisticated movie.” Having read the original screenplay, I can say that I wholeheartedly agree. PHANTOM OF THE MALL in its original screenplay form was definitely epic in scope and would have provided enough thrills for audiences to support the planned sequels that Fries signed lead Derek Rydall to. And while I still have love for the finished product, there is no doubt that this PHANTOM is the better beast.
Alternate poster with Schneid's preferred tagline: