PRODUCTION NOTES

The Computer: Wonder of the Future is a comedic take on a 1950s educational film that presents a look into the future showing how computers will one day simplify the lives of all who use them.

Writing the script, director Michael Kenneth Jackson and producer Eric Vejby played off one another’s respective strengths; Jackson’s background in film writing and Vejby’s experience in corporate communications marketing high technology products. Together, they fashioned a script based on enough factual knowledge to be completely inaccurate (producing humorous results).

Once the screenplay was completed it was decided early on that the story’s concept would be most successful if the filmmakers could get audiences to question whether the movie they are watching was actually filmed in the 50s. This meant furnishing every department -- sets, props, wardrobe -- with the real McCoy where ever and whenever possible.

The first order of business was securing locations that would make the movie look believable as a 1950s period piece. The production needed look no further than Vejby’s parents. Their home, a mid-century suburban tract house in the San Francisco Bay Area, was not only perfect for the exterior and interior kitchen shots, but the rumpus room doubled nicely as the movie’s central location: the school room where the professor foretells future computer wonders to the school children, Larry and Suzy.

With the locations in place, attention turned to dressing them with as many authentic 1940s and 1950s pieces as possible. These items included such vintage items as a crank lever adding machine, a loving cup, and a keen orange casserole dish. There was one item, however, that could not be found in any antique store: the personal computer of the future. As described in the movie, it is a “powerful, mobile machine that users can take with them where ever they go.” It is revealed that this machine is mobile because it has legs -- it’s a robot.

Jackson and Vejby always knew the robot needed a retro feel. They based the look on the many toy robots they treasured as kids as well as the archetypal robots from 50s B (and C) movies. To give the robot a look unique to the production, an analog clock (with hands) was mounted on the mechanical man’s chest. “We just loved the idea,” says Jackson, "with all the advanced technology used to make the robot, the main scientific tool on this thing’s chest is a plain ol’ kitchen a clock.” Ben Harrison joined the elite group of actors who have played robots when he donned the thirty pound costume, performing all sorts of activities such painting, washing dishes and walking, all with with zero-vision.

Full attention was now given to casting the production. “This is a tricky movie to cast,” relates Jackson. “You not only need actors who can bring that 50s acting style to the screen, but they have to look the part as well. With just three short minutes to establish the film’s look and feel and tell the story, you need every advantage you can get.”

The central role of the film is undoubtably the Professor who foretells the fantastical future computer advances. The filmmakers cast Tom Acord, who, as fate would have it, was an actual professor -- but of music studies, not retro computer sciences. While not an actor per se, Acord had performed in numerous operas as well as given solo tenor performances. “Tom was a direct gift from the movie gods. I took one look at him and thought to myself ‘he looks just like he stepped of the Yahtzee box - all he needs is that graduation cap.’ which, of course, made him perfect for the role”

Larry and Suzy, the grade school children sitting in on The Professor’s fantastical lecture, Vejby’s nephew and niece, Ciaran Vejby and Caitlin Vejby respectively, were cast. “Originally, I wanted to cast family members in the kid’s roles,” remembers Jackson, “so we could skirt all the child labor laws [joking]... But then I was ecstatic when I discovered how talented they were -- very natural and very focused.”

The two remaining roles were of Bob and Doris, the office worker and his wife who both benefit from computer life. The part of Doris went to musician and television producer Deborah Jean Welsh. “Deborah is a friend of mine,” says Jackson. “I asked her to play the part because I knew she would “get it” - she could add a little ‘wink’ to the role; an almost surreal approach that could move it further away from reality. Eric and I were always aware that the part of Doris was an anachronism; the little housewife, at home, cooking for her husband. What Deborah brought to the part, and pretty much all in one shot, was this sort of eerie, knowing smile, like Doris really has more than tuna in that casserole dish for ol’ Bob.” Rounding off the cast as Doris’ husband Bob was Vejby, adding the job of acting to his duties on the production.

With the movie’s cast came another key aspect to the production: the actors’ clothing sizes. Next stop was every vintage clothing store in San Francisco to acquire authentic wardrobe from the 1950s. Nearly 90% of all costumes worn in The Computer: Wonder of the Future were actual clothing from the era. Complimenting the costumes was period hair and makeup by Eileen Bartlett.

Filming took place over four days in the San Francisco Bay Area. The movie’s four sets, the school room, Bob’s office, Bob and Doris’ kitchen and the exterior of their house, were shot at two different locations -- making furniture moving as necessary a skill as film production.

Jackson directed and shot the movie, acting as both cinematographer and camera operator. “Believe it or not,” says Jackson, “one of the toughest things to do in photographing this movie, was to make sure there was at least one shadow in every shot. These old movies where shot in like, 20 minutes so there were often shadows all over the place -- one light, flood it, shoot, print it. We wanted that same creepy feel in this movie so we were constantly re-blocking actors” Vejby filled in as grip and gaffer while location sound was recorded by David Jackson.

In postproduction, picture and sound were edited by Jackson at AVI Studios in the San Francisco East Bay with technical engineering by James Boyle.