Issue link: https://digital.copcomm.com/i/1546034
41 F A L L Q 3 I S S U E B O O K R E V I E W P H OT O : P H OT O F E S T WORK IT: Starkey, left, says he "falsified savings" to make the budget work. t e c h n o l o g y, r e l a t i v e l y o l d - f a s h i o n e d te c h n i q u e s we re u s e d i n s o m e s ce n e s with Lieutenant Dan after the loss of his lower limbs. Magician Ricky Jay designed "a w h e e l c h a i r t h a t c o u l d h i d e G a r y 's legs," Starkey writes, referring to Gary Sinise. "The chair he came up with used mirrors to make it appear that you could see underneath the chair and through the bottom. While sitting in the chair, Gary could bend his legs and tuck them under the seat." (Other shots, of course, necessi- tated computer technology.) A less-is-more approach also aided in the on-screen aging of Forrest's dear mother, beautifully played by Sally Field. At first, "one of the best pros- thetic artists" created extensive makeup for the actress, but her face did not emerge to a sufficient degree when the prosthetic was applied. Instead, makeup artist Danny Striepeke fashioned "a few little pieces" for Field's eyes and mouth. "All of Sally's emo- tions came through beautifully," Starkey writes — as viewers of the film can attest. But Paramount's hesitancy about the film hovers over the shooting, up to and including an on-set visit from executives Michelle Manning and Larry Albucher. (Starkey suspected, based on a rumor he had been told, that he was on the verge of being sacked, even though, by this point, he had taken responsibility for a "splinter unit" to expedite f ilming.) Eventually, Zemeckis demanded that Manning leave, which she did. Alas, once the production w o u n d i t s w a y b a c k t o L A , S t a r k e y 's creative management of a schedule and budget attracted notice. "The film is over budget and over schedule, and the costs are escalating by the day," said executive Fred Gallo, who sought concessions from Starkey on everything from extras to scenes to days. But coming so late in the process, Starkey writes, "anything we cut would unravel the story. . . . I thought they had little recourse other than making me feel bad and responsible." Starkey dedicates the book to Arthur S c h m i d t , w h o d i e d i n 2 0 2 3 a t a ge 8 6. Befitting such a tribute, the book includes insights into the film's postproduction. Here, too, the studio was surprisingly at odds with filmmakers who not only had an impressive track record — Schmidt had been nominated for an Oscar for Zemeckis's "Who Framed Roger Rabbit" — but who were fashioning what would turn out to be a greatly popular, widely acclaimed movie. Executive vice president of post-production Paul Haggar balked at the cutting rooms being set up in Santa Barbara ("far from the meddlesome studio," from Starkey's per- spective), where money would have to be doled out for expenses and per diems for the crew. Starkey countered: "Zemeckis wants to edit up there. He lives there. The editor, Artie Schmidt, has a house there. Bob won't cut the movie in LA." (Haggar acquiesced, although Starkey's own hotel and living ex- penses would not be reimbursed.) Another point of contention was the film's planned use of popular (and pricey) songs, which were freely chosen by Schmidt and Zemeck- is, who "paid no attention to the cost. They used any song that felt right." After seeing the work print and recognizing the music's centrality to the film as well as the great- ness of the film itself, Lansing, Goldwyn, and Manning permitted the filmmakers to negotiate deals for the music. Of course, there still was that preview to contend with and the attendant issue of whether to administer an audience questionnaire — all this over what would become a huge hit. This pull-no-punches reminiscence of making "Forrest Gump" is not only vivid, well-written, and abundantly illustrated but also a reminder of the blood, sweat, a n d q u e s t i o n a b l e s t u d i o s u p p o r t t h at sometimes go into making future classics. ■ "On the Set of 'Forrest Gump'" by Steve Starkey, Foreword by Tom Hanks, 189 pages, University Press of Kentucky, $29.95, 2026