Christmas in Connecticut

Key Takeaways

Arnold Schwarzenegger directed a 1992 made-for-TV remake of "Christmas in Connecticut."
He pursued a low-risk, family-friendly project after "Terminator 2," with a $100,000 directing fee.
The original script was significantly altered, incorporating action and humor, leading to production challenges.
Despite on-set chaos, the crew remembered the unique production experience fondly.
The project fostered a lasting friendship and political collaboration between Schwarzenegger and his producer.
The film's creation was driven by a desire for creative fulfillment, not just commercial success.

Host Malcolm Gladwell revisits the 1992 made-for-TV remake of the 1945 film "Christmas in Connecticut."
The episode explores Arnold Schwarzenegger's unexpected role as director for this holiday movie.
Schwarzenegger was reportedly looking for a low-risk, family-friendly project after the massive production of "Terminator 2."

Hollywood agent Lou Pitt proposed Arnold Schwarzenegger to producer Stan Brooks for the "Christmas in Connecticut" remake.
Schwarzenegger sought a change of pace from massive productions like "Terminator 2," desiring a simple, low-budget, non-controversial film.
He was offered $100,000 to direct the made-for-TV movie for TNT.
Schwarzenegger accepted the script but requested revisions and to shoot in Los Angeles.

Schwarzenegger requested script revisions for more humor and jeopardy, adding an action sequence where he rescues a child.
Writer Jeff Loeb, known for the 1985 film "Commando," was hired for the rewrite, leading to a "bigger than life" film.
TNT executives were reportedly unaware of the extent of these script changes, finding such alterations unusual.
The $3 million budget production for cable included Diane Cannon, Tony Curtis, and Kris Kristofferson in its cast.

Filming for the 1992 remake began two months before Christmas in Los Angeles, proceeding chronologically due to Schwarzenegger's directorial inexperience.
The character of park ranger Jefferson Jones, played by Kris Kristofferson, was introduced with a hero moment rescuing a child in a simulated blizzard.
The blizzard scene, shot on a soundstage, was criticized by an insider for poor blocking and a perceived "snowball fight gone awry" appearance.
Difficulties were noted in the scene where Jones held what appeared to be a mannequin, with his lips not moving during groans.

Filming included a chaotic, implausible bath scene where actors' dialogue and reactions felt improvised, contrasting with the original film.
The production in South Pasadena introduced challenges in managing actor egos, highlighted by a trailer size dispute between Schwarzenegger and Diane Cannon.
Despite visible gaffes like sleigh wheels and chaotic scenes, the crew fondly remembered the hectic production.
Schwarzenegger was actively involved, with his voice frequently heard on set, even while "Terminator 2" was breaking box office records.

Arnold Schwarzenegger's personal insult, "forehead," was reportedly a favorite and made its way into the film's dialogue during a police scene.
The film's production wrapped after 20 days of shooting with a party at Schwarzenegger's restaurant around Christmastime.
Crew members recalled the hectic set as a happy memory, appreciating the improbable project and Schwarzenegger's full dedication.
Schwarzenegger's focus on small details, like camera focus, was notable even while "Terminator 2" was breaking records.

Author Mitch Albom wrote the song "Cooking for Two" for the 1992 film, a request from producer Stanley M. Brooks.
Albom had two days to write an upbeat song about food for Schwarzenegger's movie.
Albom's wife performed the song for the film due to the quick turnaround needed.
The lyrics describe appealing meals and a shift from eating alone to dining by candlelight.

"Christmas in Connecticut" received mixed reviews and a low IMDb rating of 4.8, not establishing Schwarzenegger as a director.
Producer Stan Brooks later joined Schwarzenegger's administration as governor, helping develop California's film tax credits, passed in 2009.
The film's creation was driven by a desire for the joy of making multiple smaller projects annually, rather than infrequent large features.
The host concludes that both Stan Brooks and Arnold Schwarzenegger found personal satisfaction in the work, akin to Scrooge's self-validation.