In fact, “The Santa Clause” was a far darker comedy when Allen signed on. He kind of remembers that Calvin might have shot Santa.
“To this day, it’s one of the best scripts, top to bottom, I’ve ever read,” he said.
But for the series, Allen wanted — demanded, really — a story with a beginning, middle and end, as well as explanations for some lingering questions about what happened to the original Santa and the process for selecting a new one.
“We answered those in a very wonderful, organic way,” he said. “So I had, in this one, conceptual strength in the script room. ‘Let’s get to these points and the jokes will come. And once we get to the funny stuff, I can add.’ That’s kind of my strength.” Physically getting into character originally was not.
In the first film, Allen spent four hours in the chair each day, often followed by 10 hours in a hot, heavy suit — an affair he called psychotic.
The process has since been streamlined, but its effect is still undeniable.
Allen recalled the hush that fell over 225 people on the first day of shooting not so long ago, as he walked onto the set in his gorgeous velvet suit and uncannily realistic headpiece with beard, mustache and flawless skin that make him look younger even if you’re right next to him.
“And all of a sudden you have adults, half adults, children looking at me with these big grins on their faces, and they’re silent,” he said. “I realized the magic of this image — that whatever it means, it means the same thing to all of the children in these people.”
“It’s a responsibility. I don’t make fun of it.”
