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amounts of impressions to the audience. For example, when everyone gets wiped out by the plague, we came up with the idea of putting people around a table and just constantly circling the table and making them distorted and growing older to imply all those people being killed. That was partly because we couldn't think of any other way to do it within the constraints of our budget. But we were also influenced by video artists. There was one artist who had taken fishwire and wrapped his face, for example, and so I used a variation of that in this scene. We grabbed from the art director the dust and the smoke and the cobwebs, and in effect we wound up using some of David's
English heritage with the candelabras and the rest, which kind of went back to
1298:
540:," Le Guin was one of several authors whose novels were considered for adaptation: "The financing was awarded as the result of an earlier grant by to research and develop such a series. After much study with a team of consultants that included critics, authors, editors, publishers and professors, a list of candidates for the series was compiled, from which Miss LeGuin's novel was selected" to be the series pilot. In her essay on the making of the film, Le Guin was asked by Loxton to choose which novel. "I picked
470:, is that we had a very limited budget, and we were moving into science fiction ... and let's face it, some of Ursula's ideas were pretty big. I mean, how the hell do we possibly even begin to portray the attack of aliens or the wiping out of billions of people with the plague? What it came down to was, we had to find metaphors. We had to find things that didn't cost that much money and still led to maybe the same kind of emotional impact. ... Our special effects in
688:'s supposed "warehousing" of the film, but the budgetary barriers to rebroadcast were high. In a 2000 article, Joseph Basile, director of program rights and clearances for WNET, said, "'Lay people don't understand that to take a program out of mothballs, we have to pay for and clear rights with all participants in the program ... It's a difficult and time-consuming and expensive endeavor."
660:, this classic sci-fi film showed that you can make an arresting fantasy with hardly more than the change under your couch cushions ... ome of the no-budget effects haven't aged well--at one point the earth is visited by alien ships that look like electric hamburgers. The provocative exploration of consciousness, though, is priceless.
38:
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Only after several failed attempts to "make the world right" does Haber admit to Orr that he believes in Orr's power. Having used the
Augmentor to record and analyze Orr's supremely complex dreaming brainwaves, Haber begins creating a machine that will allow him to have his own effective dreams, and
361:
As Haber continues to use Orr's dreams to create change in human society, Orr remembers a dream he experienced years ago, which is briefly portrayed at the opening of the film (and which, it turns out, is in fact reality): The world was destroyed in a nuclear war, and Orr was poisoned by radiation.
365:
Haber enters the final version of his machine for directing dreams and learns this truth, driving him mad. Orr, who has joined him in the dream state, is able to stop Haber's nightmare before it destroys the world. The result is a reality that jumbles together elements of the different worlds that
725:
The back cover of the DVD notes, “The original film materials have been lost forever. A new digital master was created from the surviving 2″ tape and was then color corrected using state-of-the-art technology. Ghosting and darkening of the images may appear in some scenes. It is the best quality
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were not done the way they were because that was necessarily the direction we wanted to go. It was the direction we had to go. We didn't have enough money to be able to do these things, so we were constantly trying to figure out ways in which we could shoot something in half a day and imply vast
345:
Haber initially considers Orr's fear as a delusional symptom of neurosis or psychosis, referring to him as "possibly an intelligent schizophrenic". The doctor puts Orr into a hypnotic trance while attached to the "Augmentor," a device he has invented for monitoring and enhancing, or augmenting,
465:
David and I had a unique working relationship. We were co-producers, co-directors. If you really cut it down, I would run the set, and David would run behind-the-scenes. But when it came to content and the actual physical structure of the set, we had equal input. The reason that was important,
349:
Haber begins to use Orr's effective dreams, first to create a prestigious, well-funded institute run by himself, then to attempt to solve various social problems. But these solutions unravel quickly: Haber suggests that Orr dream of an answer to overpopulation (resulting in a plague wiping out
644:
an instant classic ... a film of ideas rather than action ... hile the minuscule budget didn't grant the filmmakers the grandeur of some of Le Guin's set pieces in the novel, such as the alien invasion or the melting of
Portland, the film's strength comes from its performers and the
369:
As the film ends, Orr is working in an antique store run by an alien. LeLache comes in to browse. She has only a vague memory of him, but agrees to join him for lunch. They encounter Haber, in a wheelchair, on their way to lunch. Haber recognizes Orr, but cannot come out of his catatonia.
761:: a "tunnel of blue light" effect very similar to a special effect used near the end of the film. (An image from this sequence is featured on the cover of both the mass market paperback edition of the novel that was issued with the film's premiere, and the 2000 video/DVD release).
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brainwaves during dreaming, to help with patient therapy. He encourages Orr to have an effective dream, recording his brain function all the while. The world changes slightly during this dream, and Haber realizes that Orr is telling the truth.
337:, in the near future, George Orr is charged with abuse of multiple prescription medications, which he was taking to keep himself from dreaming. Orr volunteers for psychiatric care to avoid prosecution, and is assigned to the care of licensed
444:
were pioneers in the early video art movement. They met in 1968 at WGBH TV in Boston and collaborated for over 20 years, until Loxton's death in the early 1990s. The first science fiction drama they created together was a 1972 film called
635:
wrote, "Unlike much current science fiction, it's driven by ideas rather than special effects, and
Davison's subtle performance as George, who turns out to be a far tougher character than he at first appears, is a highlight." In
353:
Orr turns to lawyer
Heather LeLache for help in getting out of his government-mandated treatments with Haber. LeLache doubts Orr's sanity, but agrees to help him, eventually becoming an ally. Orr falls in love with LeLache.
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three-fourths of the human population), the end to all conflict on Earth (resulting in an alien invasion uniting mankind), and an end to racism (resulting in a world where everyone's skin is a uniform shade of gray).
341:
William Haber. Orr's explanation of his drug abuse is incredible: He has known since age 17 that his dreams change reality, and tries to prevent himself from this "effective dreaming" because he fears their effects.
520:, during the process of funding a prospective series focused on "speculative fiction, a category of fairly recent vintage applied to ... the most thoughtful and provocative works of science fiction ...
511:. Le Guin, her husband, their fifteen-year-old son, and her husband's eighty-year-old Aunt Ruby appear as extras in a scene where Heather and George talk over lunch in a cafeteria.
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became one of the two highest-rated shows that season on PBS, drawing 10 percent of the audience in New York and 8 percent in
Chicago, according to Nielsen ratings.
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and learned that science fiction does not consist solely of dogfights in space and cardboard heroes facing 'gee-whiz' challenges. The best science fiction, such as
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would be the first production in a public television series exploring science fiction literature. They created one more telefilm together under this rubric, 1983's
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Le Guin, Ursula K.; Le Guin, Ursula K.; Le Guin, Ursula K.; Le Guin, Ursula K.; Le Guin, Ursula K.; Le Guin, Ursula K. (2024). Attebery, Brian (ed.).
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Haber created via Orr's dreams, but is relatively stable. Orr is heartbroken because the LeLache in this reality was never his close friend or lover.
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With a two-week shooting schedule, and a lean budget of about $ 250,000, Loxton and Barzyk had to get creative to effectively convey
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At the time this funding was given, it was thought the film would be shot in
Portland, Oregon, where the story takes place.
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In his dying moments, Orr dreamed a world where the war did not happen, resulting in the events of the film as we see them.
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was finally rebroadcast and released to video and DVD. In addition to the film, this release features an interview with
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310:. Le Guin, by her own account, was involved in the casting, script planning, rewriting, and filming of the production.
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1051:"Drama Series Proposed for Public TV; Ultimate Ideal Schedule Highest Audience Levels Uniform National Schedule"
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977:"TV: 'Amahl' Will Return for Christmas After 12 Years; $ 740,000 Grant to Aid WNET-TV Lab's Futuristic Pilots"
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Basile also had to negotiate a special agreement with the composer of the film's score, and deal with the
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601:, examines humankind's place in the universe and the products and problems created by intelligence."
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deeper meanings and sometimes grand science fiction scenarios. In an interview in 2000, Barzyk said:
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stating simply that it "wasn't cheap," and that hopefully royalties would help recoup the expense.
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699:", which is integral to a plot point in both the novel and the film. A cover version replaces the
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589:#1. Moore commented that "One hopes some producers who plan yet more clones of
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because it's the only one of my books that I ever enjoyed imagining as a film."
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The novel was again adapted as a telefilm by A&E Networks in 2002, titled
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transfer possible of this important work using the only surviving materials.”
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King, Susan (August 29, 2000). "PBS' first TV movie out on video, DVD".
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Once rights issues were resolved, the film was cleaned up from two-inch
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for Best
Dramatic Presentation. The screenplay was nominated for a
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telefilm one of the top 100 greatest works of science fiction.
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went on to become the most-requested program in PBS history.
1092:"Roger E. Swaybill; Novelist and Writer of 'Porky's' Was 47"
1003:. The library of America. New York: The Library of America.
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722:, which initially aired along with the film's rebroadcast.
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guest-starred in a 1995 episode of the television show
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Moore, Michael (March 1980). "Film & Television".
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Martin, Robert Scott; Earl, Jennifer (May 28, 2000).
677:' rights to rebroadcast the program expired in 1988.
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rather than in
Portland, Oregon. These included the
615:Award for writers Roger Swaybill and Diane English
673:was occasionally shown over the next eight years.
1144:. Entertainment Weekly. p. 3. Archived from
695:recording excerpted in the original soundtrack, "
1305:
1243:"Fans' demand prompts revival of sci-fi classic"
302:'s Experimental TV Lab project, and directed by
797:"After 20 Years, 'The Lathe of Heaven' Returns"
856:"Fred Barzyk explores what dreams are made of"
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732:has not said how much it cost to re-release
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1188:Szebin, Frederick C. (November 21, 2000).
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1080:(1). Simulations Publications, Inc.: 26.
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42:Cover of the 2000 video/DVD release of
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507:, and a vacated Mobil Oil Building in
277:is a 1980 film adaptation of the 1971
1364:Films based on science fiction novels
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933:"The Making of "The Lathe of Heaven""
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669:After its initial broadcast in 1980,
291:. It was produced in 1979 as part of
1283:at Bruce Davison's Official web site
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1109:De Vries, Hilary (January 3, 1993).
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975:Shepard, Richard F. (May 26, 1978).
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757:" which features a visual homage to
645:suspenseful concepts in the writing.
631:Of the 2000 re-release (see below),
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1134:Hochman, David (October 16, 1998).
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19:For the 2002 television movie, see
13:
1213:Poniewozik, James (May 28, 2000).
1127:
832:"About Films: The Lathe of Heaven"
697:With a Little Help from My Friends
664:
483:The film was shot at locations in
14:
1420:
1262:
1029:"TV: WNET Launches Sci-Fi Series"
640:, a reviewer praised the film as
908:Dancing on the Edge of the World
406:Jo Livingston as George's Father
1384:Films shot in Fort Worth, Texas
1049:Brown, Les (January 20, 1980).
854:Witcover, Paul (May 29, 2000).
514:According to a 1978 article in
1359:Films based on American novels
992:
895:
421:Gena Sleete as Woman on Subway
415:Frank Miller as Parole Officer
1:
1399:Films directed by Fred Barzyk
1374:Films set in Portland, Oregon
1369:Films scored by Michael Small
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572:When it first aired in 1980,
550:Loxton and Barzyk hoped that
1344:American psychological films
1324:1980s English-language films
1111:"Laughing Off the Recession"
560:, based on a short story by
557:Overdrawn at the Memory Bank
418:Joye Nash as Woman on Subway
400:Peyton Park as Mannie Ahrens
7:
1273:web site (archived version)
931:Collier, Jay (2015-11-29).
910:. Grove Press. p. 31.
862:. SciFi.com. Archived from
424:Ben McKinley III as Orderly
409:Jane Roberts as Grandmother
397:Niki Flacks as Penny Crouch
325:as lawyer Heather LeLache.
317:as protagonist George Orr,
10:
1425:
1334:1980 science fiction films
579:Michael E. Moore reviewed
321:as Dr. William Haber, and
44:The Lathe of Heaven (1980)
18:
448:Between Time and Timbuktu
427:R.A. Mihailoff as Orderly
403:Vandi Clark as Aunt Ethel
358:remake reality directly.
259:January 9, 1980
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16:1980 film by David Loxton
904:"Working on 'The Lathe'"
902:Le Guin, Ursula (1989).
624:magazine named the 1980
412:Tom Matts as Grandfather
658:The Blair Witch Project
497:Tandy Center Fort Worth
451:, based on the work of
373:
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684:Fans were critical of
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656:Nineteen years before
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21:Lathe of Heaven (film)
1319:1980 television films
1215:"The Lathe of Heaven"
1190:"The Lathe of Heaven"
1168:"The Lathe Of Heaven"
654:
642:
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459:The Lathe of Heaven's
1404:1980s American films
1379:Films shot in Dallas
1225:on October 21, 2012.
1166:McDonagh, Maitland.
1141:Entertainment Weekly
708:Quadruplex videotape
621:Entertainment Weekly
607:was nominated for a
568:Reception and awards
501:Hyatt Regency Dallas
388:as Dr. William Haber
222:Production companies
1288:The Lathe of Heaven
1271:The Lathe of Heaven
1098:. January 22, 1991.
1027:(January 9, 1980).
937:WGBH Alumni Network
679:The Lathe of Heaven
605:The Lathe of Heaven
581:The Lathe of Heaven
574:The Lathe of Heaven
542:The Lathe of Heaven
284:The Lathe of Heaven
274:The Lathe of Heaven
64:The Lathe of Heaven
30:The Lathe of Heaven
1354:Films about dreams
1329:1980 fantasy films
1136:"Sci-Fi's Top 100"
1115:The New York Times
1096:The New York Times
1058:The New York Times
1036:The New York Times
985:The New York Times
828:Le Guin, Ursula K.
740:Pop culture impact
593:will have watched
517:The New York Times
477:Great Expectations
453:Kurt Vonnegut, Jr.
394:as Heather LeLache
173:Executive producer
1281:production stills
1025:O'Connor, John J.
1010:978-1-59853-773-4
917:978-0-8021-3529-2
889:Chicago Sun-Times
755:White Light Fever
716:Ursula K. Le Guin
710:copies. In 2000,
530:Kurt Vonnegut Jr.
432:Behind the scenes
296:public television
289:Ursula K. Le Guin
270:
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187:Carol Brandenburg
160:Original language
152:Country of origin
70:Ursula K. Le Guin
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335:Portland, Oregon
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201:Robbie Greenberg
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1001:Five novels
720:Bill Moyers
562:John Varley
442:Fred Barzyk
308:Fred Barzyk
229:Taurus Film
217:120 minutes
190:Fred Barzyk
107:Fred Barzyk
95:Directed by
76:Teleplay by
1314:1980 films
1308:Categories
1252:2008-05-13
1199:2008-05-13
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946:2024-03-31
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774:References
609:Hugo Award
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436:Directors
263:1980-01-09
168:Production
1194:Mania.com
802:Space.com
638:Cinescape
618:In 1998,
591:Star Wars
503:with its
246:$ 250,000
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830:(2002).
753:titled "
633:TV Guide
298:station
142:Music by
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206:Editor
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1279:Lathe
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51:Genre
1293:IMDb
1219:Time
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730:WNET
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650:Time
536:and
440:and
374:Cast
329:Plot
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