Free Twilight Zone Companion by Marc Scott Zicree Page A

an adaptation of Raymond Chandlers The High Window, as well as The Lodger and Hangover Square, two effectively scary films starring Laird Cregar (Cregars last two films, in fact). It was on the basis of the two Cregar films that Houghton hired Brahm, feeling that the mood he had created in them would be perfect for The Twilight Zone. It was. In all, Brahm would direct twelve episodes for the series, more than any other director.
    Judgment Night marked the first (and only reported) case of censorship on The Twilight Zone. In his original script, Serling had the ships first officer (Patrick MacNee, later the inimitable Mr. Steed of The Avengers) order up a cup of tea to the bridge. General Foods, whose Sanka coffee commercials were sponsoring the show, objected to this reference to what they perceived as a competitor. The line was changed to ordering a tray be sent up. (Its fortunate that apparently no one at General Foods realized that on occasion people will drink water, too, or the episode might have had to take place on dry land!)
    Serling encountered another problem on Judgment Night, albeit a tiny one, regarding the reading of the narration. One of the first lines I had to say was, Next week, we invite you to take a trip on a tramp steamer. And of course I said, Next week, we invite you to take a trip on a stamp treamer. And of course we had to do it over.

 
    SERLING AS NARRATOR
    Serling had more problems in adjusting to his on-camera role than just stumbling over the occasional word. His last acting had been in college, and it hadnt been to an audience of twenty million. During the first season, Serlings narrations were off-camera, his sole on-camera appearance being at the end of each show to announce next weeks program. During the second season, this role was expanded to include an on-camera appearance at the beginning of every show, as well.
    Rod was a very nervous man before the camera, explains director Lamont Johnson, who would come on the scene during the second season. When he had to do his leadins he would go through absolute hell. He would sweat and sputter and go pale. He was terribly ill at ease in front of the camera.
    Johnson resorted to a number of devious devices in order to relax Serling. Id clown around with him and roll the camera without letting him know and Id say, What was that you said? And he would sort of snap off the thing at me as though, Smart ass, Ill show you. The crew was with me on that; theyd shut up and be quiet, otherwise wed never get a take under those circumstances.
    One director who actually enjoyed and felt challenged in directing Serling was Douglas Heyes. With each new episode he would try to think up a novel and surprising way of introducing Serling into the scene. In The Eye of the Beholder we see the bizarre and distorted silhouette of a figure walking behind a screen. When the figure emerges, it is Serling. In
    Rod Serling introducing Nightmare at 20,000 Feet
     
    Dust, a weighted bag has a noose fitted around it on a gallows. The trap is sprung, the weight falls and jerks to a halt directly behind Serling. In Nervous Man in a Four Dollar Room, we see a down-shot of a tiny room looking directly from the ceiling. Serling enters the frameat such an angle that he would have to be standing straight out from one of the walls! (This was accomplished by using rear projection of the room behind Serling.)
    The directors werent the only ones to film Serlings spots. In fact, during the fourth season, producer Herbert Hirschman often took on the assignment. Generally, however, the chore would fall to an assistant director.I remember the first time that I directed him, says assistant director Edward Denault. You know, Rod always talked out of the corner of his mouth, and I felt that that didnt look right for camera and I tried and tried, as nicely as I could, to get him to be relaxed and to get him to deliver in such a way that he would open his mouth, because he also talked through his