A FASCINATING PORTRAIT OF THE CREATION OF THE MARVELOUS SPECIAL
Executive Producer Lee Mendelson wrote in the Preface to this 2000 book, “I was talking on the phone with Charles Schulz. It was not unlike thousands of phone calls that we had shared over thirty-seven years on various projects… We talked about the preparation for this book. ‘A Charlie Brown Christmas’ had always been his favorite of the forty-five specials we had produced with animator Bill Melendez. He was excited about our retelling of how it all came about… Charles Schulz’s final comic strip was to appear the next day. It would be number 18,170 in over forty-nine years of drawing nonstop… We planned to meet the next day at his home. A few hours later, my friend of nearly four decades passed away in his sleep… his friends all called him Sparky, and he never lost the common touch. This is the story of how he created a television milestone.”
He recounts, “In 1963… I called Charles Schulz … I told him that I would like to produce a documentary about his life and about the world of ‘Good Ol’ Charlie Brown.’ He invited me to come out and visit him so that we could discuss the project… we decided to produce a half-hour documentary. I wanted to include one or two minutes of animation (which as all I could afford at the time), and Sparky told me to get in touch with animator Bill Melendez. Sparky and Bill had collaborated on the first-ever animation of Peanuts a few years back for the Ford Motor Company…While Bill was creating two minutes of animation based on a few comic strips, Sparky and I started to shoot the documentary… Once we completed filming I had to add some music. I had always been a great fan of jazz, and while driving back … I heard a song … [that] had won a Grammy and had been written and performed by … Vince Guaraldi… It turned out that Vince was a great fan of Peanuts and he agreed to work on the music.” (Pg. 11-12)
He continues, “A few weeks later Vince called me, very excited. He said he wanted to play something he had just written. I told him that I would prefer to come hear it at his studio, rather than over the telephone, but he said… ‘I’ve got to play this for someone right now or I’ll EXPLODE!’ … what I heard over the next two minutes stunned me. It was perfect for the Peanuts characters! ... I asked him what he was going to call it. He said, ‘Linus and Lucy.’” (Pg. 14)
He goes on, “in April of 1965… I received a call from John Allen … ‘Have you ever considered doing a Christmas special?’ he asked me. ‘Of course,’ I replied, not bothering to think about what I was saying… I called Sparky. ‘I think I may have just sold a Charlie Brown Christmas show… The one you need to make an outline for tomorrow.’ … The next day I took notes as Sparky outlined his ideas. ‘If it’s to be a Christmas special, I want to certainly deal with the true meaning of Christmas… And I’d like to do a lot of scenes in the snow…’” (Pg. 14-17)’” He adds, “John called me… ‘The good news is that Coca-Cola wants to buy ‘A Charlie Brown Christmas,’ but the bad news is that they want it for early December…. Can you do it in six months?’ … I blurted, ‘Of course!’” (Pg. 17)
He recalls, “eight-and-a-half-year-old Peter Robbins … became our first Charlie Brown…. [Peter said] once I got in the studio I found it was chaotic, with a bunch of kids, six to nine years old, running all over the place and too excited to calm down… Another challenge was the fact that I, as Charlie Brown, was supposed to be depressed at Christmastime. It was very strange … to pretend to be depressed about Christmas, the most joyous time of the year!’… somehow all the kids settled down and got to work. ‘We did the whole show in a few hours,’ said Peter. ‘I’ll never forget that day.’” (Pg. 20-21) Linus was voiced by Christopher Shea: ‘His slight lisp gave him a youthful sweetness while his emotional delivery gave him power and authority as well… There is no doubt that the high point of the show is Linus reading from the Bible to explain the true meaning of Christmas. I asked Christopher how it felt to be the voice of perhaps the most famous one-minute animation ever. ‘Well, at the time,’ he said, ‘…I didn’t realize the depth and perception of what I was reading…. But as I grew older I came to appreciate the true meaning of Christmas as it was told on the TV show.’” (Pg. 22)
He recounts, “Toward the end of production, Vince Guaraldi brought in a beautiful opening song. After he laid down the instrumental track, however, we all felt it needed some lyrics. Because we were running out of time, I wrote some lyrics in about fifteen minutes on the back of an envelope. The song became ‘Christmas Time is Here,’ which has become a holiday standard covered by dozens of recording artists. Who knew?” (Pg. 27)
However, “When I flew to New York to present the show to the top two executives at CBS… the two men looked at each other and then at me, and I could tell instantly that they were disappointed. ‘Well, you gave it a good shot,’ said one. ‘It seems a little flat… a little slow,’ said the other. I was crushed… ‘we will, of course, air it next week, but I’m afraid we won’t be ordering any more… But maybe it’s better suited to the comic page.’” (Pg. 27)
He explains, “The idea for Linus and his blanket came from Schulz’s first three children, who each dragged blankets around the house… Schulz wrote, ‘I did not know then that the term ‘security blanket’ would later become part of the American language.’” (Pg. 38)
Bill Melendez recalls, “It was amazing how Sparky came up with the religious aspect of the story and made it so acceptable…When I first looked at that part of the story I told Sparky, ‘We can’t do this, it’s too religious.’ And he said to me, ‘Bill, if we don’t do it, who else can? We’re the only ones who can do it.’ … It just didn’t sound right for a cartoon… When I read that part, I thought we were going to kill this thing, but by golly he came through.” (Pg. 39-40)
Mendelson laments, “When we saw the finished show, we thought we had killed it. It had so many warts and bumps and lumps and things. A year later we fixed up a few things, but we never completely re-created the show. The inconsistencies and little problems seem to make it even more endearing to a lot of people, and Sparky never wanted change it.” (Pg. 61)
This wonderful book will be absolute ‘MUST READING’ for any fan of the show.