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Fire in the Sky | How We Made the 1993 Alien Abduction Thriller

Beloved by Chris Carter, Fire in the Sky – based on the ‘true’ story of Travis Waltons 1975 abduction by aliens – set Robert Patrick up for The X-Files.

In November 1975, a group of loggers in Arizona watched while their colleague Travis Walton was seemingly abducted by aliens. Despite their outlandish explanation for his disappearance, the local townsfolk initially thought the team had murdered him. But a few days later Travis was found alive – naked, confused, and saying that he’d been beamed onto a spaceship and undergone extra-terrestrial probing.

The controversial global incident became bestselling 1978 book The Walton Experience and 15 years later, producers Todd Black and Joe Wizan decided to adapt it into a movie called Fire in the Sky starring Robert Patrick (Terminator 2: Judgement Day) as Travis’s best friend and boss Mike Rogers, DB Sweeney (The Cutting Edge) as Travis, Henry Thomas (E.T.) and James Garner (The Great Escape) playing the detective trying to solve the case.

We spoke to Patrick and director Robert Lieberman, as well as Industrial Light & Magic (ILM) FX artist Jeff Mann, producer Black and co-star Scott MacDonald about the film.

As Told By

Todd Black (Producer): I remember reading the book and loving the mystery of it. I remember meeting [the] people [involved] and I just was in shock at how believable they were, how real they were.

Robert Lieberman (Director): Travis Walton, I mean, he’s a total enigma, right? I haven’t seen him in all these years, but when I met him, he lived in north-western Arizona in a town called Snowflake and he was a foreman in a wood-milling factory that milled mouldings. You don’t expect a guy who spent his life inspired to stand in a factory and supervise a bunch of guys doing moulding to be very interesting. This guy had a MENSA-size IQ. He was probably one of the smartest men I’ve ever met. Very weird. He would send me emails and there would be vocabulary in there that I would have to go look up. He had like six or seven kids and was very religious and a super-nice guy.

Scott MacDonald (Actor, played Travis’s brother Dan Walton): I went out to dinner with Travis and I just asked him questions. Something happened to that guy. I don’t know what, but something happened.

I don’t think it’s this hoax that some people claim. He told me that his eyeball had punctures in it that our modern science was not capable of producing when he was examined after the fact. And there were several wounds on him they could not account for.

Scott MacDonald (Actor; Dan Walton)
Travis Walton (D.B. Sweeney) leaves the truck to investigate the UFO. The story was based on the account of forestry worker Travis Walton who claimed to have been abducted in 1975. | Paramount Pictures, 1993.

Robert Patrick (Actor, Mike Rogers): [Mike] was telling the truth based on the incidents that had happened to him, and then he’s tried in the court of public opinion. And that was what I thought was fascinating and what I personally hung on to while we were making the film. It wasn’t about an alien abduction, from my point of view, it was about, ‘this is what happened to my friend and you don’t believe me and it hurts.’

Robert Lieberman: They were giddy that a movie was being made about it, because in a way I think the whole event was something theatrical for Travis Walton. Internally, I had my own reservations about the truth of it all. My gut feeling had it that Travis was so much smarter than those other guys, that it started out as a gag. They probably laced their beer at the end of the day with a little acid or something and then they put on a show for these guys and they believed it.

Robert Patrick: In real life, Mike did not know these guys on this team. There was a couple of guys that had worked with him before, but not everybody on this crew that he put together. So why would he tell these guys we’re going to cook up this elaborate scheme and you got to all go along with it for the rest of your life?

Todd Black: We didn’t pitch it as a sci-fi. It’s still not sci-fi to me. This was a guy coming home from work.

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Building the Crew for Fire in the Sky

Scott MacDonald: I was in this big play that started in Seattle and came down to Los Angeles. I had literally been up until three in the morning filming on another movie and my wife tapped me awake to say there was an audition. I had to pick up the script and then look at it while I was driving. I had three-day growth and no idea what I was reading for. Rob (Lieberman) said I was pretty good, but ‘those guys will make the decision’. I looked around and all the producers were in the room, I had no idea because they were behind me. They said, ‘we’re looking at two actors to play the lead – one of them looks like you and one of them doesn’t.’ So just as I was walking out the door, I looked at all those producers and jokingly said, ‘you know that guy you’re considering who looks a lot like me, he’s a great actor.’ They all laughed.

Robert Lieberman: Putting Henry Thomas in [as one of the crew] was a very pointed idea that I had. Because unconsciously everybody would go, yeah, he knows aliens.

Robert Patrick: I couldn’t get work after T2. T2 jettisoned my face into a globally-recognizable face, but there was no connection to an actor because that actor was an unknown guy. No one knew who Robert Patrick was. And no one knew what to do with me, including me. The only things that seemed to be coming my way were more retreads of the T-1000 or robots. It seemed like that was now my career – I was going to be a robot. So I kind of dug my heels in and turned down a lot of fairly lucrative opportunities. And I didn’t work for about a year-and-a-half.

David Whitlock (Peter Berg), Mike Rogers (Robert Patrick), and Bobby Cogdill (Bradley Gregg). Standing just out of shot is James Garner’s Lt. Frank Watters. | Paramount Pictures, 1993.

Robert Lieberman: The casting people tell me they’ve got this actor and I see him as this liquid metal man in Terminator. And that’s like the stoic kind of thing that has no expression, is relentless. And I went, not so much. I mean, this guy’s got to have pathos, he’s got to have all kinds of emotion and depth and gravitas and I don’t know that this actor has it. They went, ‘I think he does, you should see him.’ I went, ‘alright, I’ll see him.’ The door opens to the casting room and this guy comes in and he’s totally effusive! And I fell in love with the guy.

I decided to grow my hair long and gain weight and just really hide myself from the physical recognition of that [Terminator] character. And it worked because I went in to read for Rob Lieberman and he didn’t know I was the guy from The Terminator. It was a very emotional audition. I had the cook up some tears. And he believed it.

Robert Patrick (Actor; Mike Rogers)

Robert Lieberman: He said, ‘Did you know my cousin is Mike Rogers? I was driving out here from New York and I stopped in Arizona to meet with him, to talk to him about it.’

Robert Patrick: I had taken the script to the Grand Canyon camping. My wife and I left the Grand Canyon and went to Snowflake, Arizona. I went to the phone books, looked up Travis Walton, found his address and we drove to his address and observed him in a very voyeuristic way. We watched him rake his front yard with his children. We later drove to the [where the movie is set]. It’s a very spooky place. It feels like aliens are going to come down there, tied in with the fact that there are Mormons involved. And lo and behold, when I contacted the Mormons in my family, I found out through marriage, I am related to Mike Rogers. And I was like, ‘I am?!’ I called him, we spoke, I asked him specifically about how he was feeling during all this. I wanted to know his emotions. And he said to me during the abduction and the subsequent conversations afterward, that he could not control his emotion. And I tried to utilize that during the film.

Robert Lieberman: I talked to a lot of people about DB Sweeney and they didn’t speak highly of him. He was kind of difficult and he was somewhat problematic and so on and so forth. So I passed on him. We went up to Oregon to start prepping and [production boss] Brandon Tartikoff left the studio. Sherry Lansing came in and she called me up on a Thursday. We’re supposed to start shooting the following week. And she said, ‘I’m sending DB Sweeney up to Eugene, Oregon and you should meet with him. And the deal is this: if you want to make the movie with him, you’re making the movie. If you don’t want to make the movie with him, you’re not making the movie.’ So it was like, you either buy this guy or we all go home.

D.B. Sweeney as Travis Walton in Fire in the Sky. Sweeney admitted that his primary reason for participating in the film was the opportunity to work with Industrial Light & Magic. | Paramount Pictures, 1993.

Todd Black: The studio definitely wanted DB, but if we didn’t want DB, it wouldn’t have been DB, trust me.

Robert Lieberman: I thought about it long and hard and my wife at the time, she dropped me off at the hotel. And he came down very nice, shook his hand and I said, ‘You know, DB, I’ve heard some mixed things about you and this is going to be a really difficult film to make. And I need somebody who’s going to be my partner on this thing. If I buy into you, you’ve got to tell me you’re going to be my partner in this thing to make it together. I’ve been told that if I don’t cast you, I don’t get to make my movie. I’ve spent a year getting it to this point. We’re supposed to start shooting next week and I’m prepared not to make my movie.’ And he went, ‘You got it, I promise you.’ And he was a man of his word.

Scott MacDonald: It was really amazing for me. I recognised Robert Patrick from The Terminator and I knew DB Sweeney’s work. I didn’t really know [fellow cast member] Peter Berg at the time, he was about to have some big skiing movie come out. Of course, I knew Henry Thomas from when he was a boy in E.T.

Robert Lieberman: Peter Berg was just a super great guy. His character in the movie is named David Whitlock. And every day he’d come to me and say, ‘you’ve got to do a sequel to this movie, The David Whitlock Story.’ He was always selling me the sequel he was going to star in.

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Creating Mr. Fitz and the Aliens

Todd Black: When you watch the film to this day, that sequence is pretty amazing. I don’t think it looks dated.

Robert Lieberman: It came to me in a dream. It came to me as vivid as what you see in the movie. I can attest to it because my ex-wife is Marilu Henner who has the most extraordinary memory. I couldn’t write it down because it was in the middle of the night, so I woke her up and told her the story because I knew she would remember the whole thing.

Jeff Mann (ILM Creature Supervisor: Alien Sequence, Puppeteer: Alien Sequence): It was all done on two of our stages, not very big. And all done pretty much in-camera. I thought the work was really good.

Todd Black: It was a decision [to do it practically], a lot of time went into that. We didn’t want to make it look CG. I remember all of us talking about it – it’s got to stand the test of time. You watch certain movies of that time period and they just look shitty. I’m really happy that’s not the case with ours.

In Travis Walton’s book, he describes his abduction as they walked him into this geodesic dome that looked out onto the stars. He describes the aliens being seven-foot-tall, Aryan-looking, long blonde hair. I went, I can’t have Dolph Lundgren playing the alien, man, they’ll laugh me out of the theatre.

Robert Lieberman (Director)

Jeff Mann: I mean, [it] was all just wood and tin foil and painted and you had to figure out how the puppeteering was going to happen. Someone’s going to be riding on that with a camera or someone’s going to be zooming by the camera, you had to figure out all that stuff. It became more than just your hand inside something. It was a whole set-up of action that had to be worked out with the stage and the camera and the grip department and electric and model-makers and creature makers that have built this character. How does it work within the set and how does it interact with the light as it goes by?

Travis Walton (D.B. Sweeney) awakens in an alien operating theater in Fire in the Sky. For the real Mike Rogers, this represented the largest departure from Walton’s account. He told X-Posé magazine: “They changed the aliens from benign to evil. They changed a very tidy, clean-looking atmosphere in the ship to something gooey, sloppy, dirty.” | Paramount Pictures, 1993.

Robert Lieberman: Mr. Fitz was the alien that was Mister Fire in the Sky. All the UFO groups and conventions and websites and all that stuff, they don’t like my movie because they don’t believe my aliens are true to form, you know? And I thought, no, I’m not buying into that. I got to make an alien that has certain qualities. One is it can’t look like a person’s inside it, right? Now, on a couple of occasions, I had little girls, little ballerinas in costumes, like when he’s being dragged along.

Jeff Mann: We hired a bunch of young girls, really thin young girls. And we made these costumes around them and they would trot through the scene.

Robert Lieberman: I needed to come up with some concept that would prove to the audience it’s not somebody in a costume. I designed it so that the neck had a spine and a throat and nothing in between those two things. Today we would just put green there and we’d paint it out later. But we couldn’t do that, so we made puppets.

About 85% of the alien action is being puppeteered by three puppeteers from the Muppets. And it’s a very complex puppet that had, I think, nine servo mechanisms in its face so the cheeks could puff up, the eyebrows could move, the eyes could blink.

Robert Lieberman (Director)

Jeff Mann: If you look at the shots in that film, they’re all from chest up. Some wide shots. There was a lot of wire removal and that sort of thing.

One of the visually arresting aliens in Fire in the Sky. A piece of information I’m not sure where else to put is that is one of Happy Mondays vocalist Shaun Ryder’s favorite films is Fire in the Sky and he spoke to Travis Walton for his recent TV series Shaun Ryder on UFOs. | Paramount Pictures, 1993.

Robert Lieberman: I was asked, ‘are [the aliens] malevolent?’ And I said no, they’re ambivalent. They don’t have feelings. I used a polar bear as an example for the crew and the designers. Large, beautiful animal. If you went over to it to say hi or to shake its hand, it would take these claws and rip your head right off your body. And while your head is still screaming in its paw, it would have no idea what it did. Doesn’t compute. So that’s the aliens. They don’t do anything bad because nothing computes as good or bad. But I wanted the audience to be scared shitless, so I put human eyes in them. They could read whatever they want into them. 

Jeff Man: To be honest with you, when I’m standing there on the stage and I’m seeing this pod of these aliens hanging there, full-sized kind of things on monofilament net, [they] look pretty hokey. But when you start to add smoke and cut it right, there were so many really well-designed shots in that movie.

Robert Lieberman: Once I decided I wasn’t going to have Star Trek doors, I had to sell the studio on doing it weightless. The movie schedule was only six or seven weeks long. The 12-minute [alien] sequence took an additional seven weeks. Half the schedule was twelve minutes of the film. DB hung in those weightless rigs till he bled. I bought him a masseuse every night because I just felt so bad that he had to hang up there. We couldn’t keep lowering him and raising him and everything. His back would get ripped up and he’d be bloody. It was not easy. But [he] never complained. Not one time. There are a lot of flaws in the weightlessness. I knew hair would be kind of floating around all the time, so I put him in all that goo, all his hair gets matted and can’t go anywhere. 

Travis Walton (D.B. Sweeney) is covered with an alien membrane in Fire in the Sky. Another departure from the real Travis Walton’s account, he nonetheless appreciated the similarities, telling X-Posé magazine: “I was having trouble breathing, suffocating in this panic that I had being trapped […] this membrane gives you these emotions visually.” | Paramount Pictures, 1993.

Jeff Mann: You know the big vacuum form latex thing that sucks around the guy? First of all, that’s a brilliant solution. We basically built a big vacuum form and we created these latex sheets that were huge and the aliens were around the table. [DB] was on the table and we built these hands that would come in the frame and they’d be pulling off his shirt and his pants and stuff like that. And you didn’t know what they’re going to do. There was a guy, Nelson Hall, in the model shop who is a really talented model-maker. And at a certain point, DB was out and Nelson volunteered to be on the table. It was mainly for the vacuum-form aspect. And it was terrifying to be in that latex thing. There’s a lot of people on the credits of this film, [but Nelson] didn’t get his name on the film. He came up to me after we saw the movie and said, ‘I didn’t get credit’. So this is my opportunity. 

Scott MacDonald: That great thing they do when the machine goes right towards his eye? It’s horrifying.

Jeff Mann: It’s surprising that it was never used before. When you see that needle coming in and the focus racks to it, it’s very attention-grabbing.

Robert Lieberman: The thing that really disturbed me most of all was in Marathon Man, when Olivier starts drilling his tooth. I knocked it up a notch and I thought, you know, a needle in the eye.

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Felling Trees

Todd Black: We couldn’t use [the book title]. I remember sitting with marketing and we went over a million titles. And that one was the one we all liked. Titles are always so hard and we couldn’t use the real one because no-one would know what that means.

Robert Patrick: Rob [Lieberman] brought us all to Roseburg, Oregon. I will tell you this, I had a hard time with the film to a certain degree. The other actors were much more seasoned. And I was slightly intimidated by everybody in a weird way, which kind of worked for the character. Ensemble pieces are difficult because you’re dealing with a lot of different personalities and styles and if you’re lacking in a certain amount of confidence, it can work against you. But in this case, it might have helped me because I was a little unsure of everything.

Robert Lieberman: I asked the studio for two weeks of rehearsal time, which they gave me. For two weeks they all stayed at the same motel in Oregon. And every day they would load into the truck and I, standing at the windows on either side, would rehearse all their scenes with them sitting in the truck.

Scott MacDonald: I grew up in north-western Montana and I had worked for logging companies as a younger guy. I knew what those men looked like and how I wanted them to move. I was an amalgam of two brothers. [Travis] has two real-life brothers and they only had permission from one of them, that was my understanding.

Mike Rogers (Robert Patrick) in Fire in the Sky. Though he co-operated with the production real Mike Rogers was so non-plussed with the liberties taken that he signed an agreement not to publicly criticize the movie prior to its release. | Paramount Pictures, 1993.

Robert Patrick: There was a scene I did that took me 16 takes to get and they made a big joke about that. I remember James Garner giving me some advice, very kind advice. He stood me up and he said, ‘look, the camera’s right there, it loves you man and you’re playing away from it. You got to embrace it.’ And he literally stood me there and opened me up to the camera.

Scott MacDonald: Peter Berg and I hit it off pretty well. I went with Henry Thomas to drive dune buggies in sand dunes on the coast of Oregon. [Co-star] Bradley Gregg (who plays another of the loggers) was kind of holed up because he had a new baby and his wife was up there with him, so he was busy with that.

Todd Black: I’ve made movies with a lot of young actors and it’s really fun to see them sink into the roles. Certainly, that happened on our set.

Scott MacDonald: There’s a competitive aspect to acting that comes into play. And some shows are more competitive than others. A couple of the guys were feeling a little non-plussed that they weren’t getting used more.

Robert Lieberman: Craig Sheffer shows up late to the set almost every day. It’s supposed to be make-up, let’s say 6:00, he shows up at 7:00. We need him on the set at seven, he shows up at eight almost every day. The producers are really angry with him. And they came to me and said, ‘do you want me to have a conversation with him?’ I went, ‘no, that’s the guy. That’s who he’s supposed to be, he’s a putz. Everybody doesn’t like him. He annoys everybody. He’s in character, he’s doing his character.’

Scott MacDonald: Sheffer was working on A River Runs Through It the same time he was shooting Fire in the Sky. You couldn’t have two more divergent parts. He was sort of staying in character, but I felt like he was trying to keep that separation between the two movies. He was literally jumping in fancy jets and flying from Missoula to Roseburg, working on two movies at the same time. That’s some pretty heady and intense stuff.

David Whitlock (Peter Berg) and Bobby Cogdill (Bradley Gregg) in Fire in the Sky. Screenwriter Tracy Tormé is – or was, we did try and contact him for this article – a believer and had previously co-written the 1992 CBS miniseries Intruders, based on Budd Hopkins‘ book Intruders: The Incredible Visitations at Copley Woods. | Paramount Pictures, 1993.

Robert Lieberman: So that goes on for like four weeks and now it comes to his big scene. It starts with him playing cards with a bunch of Hispanic guys outside a trailer. I get there and no Craig Sheffer. And I’m like, shit, he’s going to ruin it, man. Where the hell is this guy? And I’m getting angrier and angrier and I figured, this is the day I’m going to take care of this. He finally gets in and I go up to his dressing room door, and with my fist, boom, boom. And he opens the door like, what? And I started yelling at him. At the end of it, he goes, well, I’m sorry, I didn’t realize. We start walking to the set and I’m walking ahead of him and all of a sudden I feel him grab my shirt and spin me around. And he looks at me and at the top of his lungs, he said, ‘you had a fucking do this today on the day of my fucking scene?!’ And I looked at him and I went, ‘use it.’ Now, if you go look at that scene when he’s out there, he is so fucking angry that he can’t even control his body. He’s just perfect. At the end of the show, he gave me a Swiss Army knife. I still have it in my drawer. And it says To Rob, love Shef, engraved on the blade.

Todd Black: Everybody that signed up for the movie did their homework, did their research. You would go on the set, people believed it. It was very real to all of us. I think the movie feels that way.

Scott MacDonald: I was there the whole time because I was the ‘cover shot’. If it rained, they were going to film this sequence, a nightmare that Robert Patrick has while he stays in the hotel after he moves out of his house. It just turned out that it never rained. For me, it was great because I was getting a lot of consecutive weeks just sitting up there. I was riding my mountain bike up the river, fly fishing, and going to the gym. One time I drove up to Washington state to visit my dad. It was this dream job.

Todd Black: All the actors performed it in a way that was grounded – normal, rural people in America. [Rob] didn’t direct it with bells and whistles. This was one man’s personal journey, hellish at times, scary at times, amazing at times.

Robert Lieberman: The scene of the actual abduction site in the woods, we found a clearing and then we brought in cranes and we lifted up a huge lighting grid. It was like a concert. But one guy had to go up in it, because the beam that actually sucks him up is just a beam hitting him and then there’s a spring-loaded platform that throws him. And that beam had to be operated. So one guy had to go up there and we couldn’t bring him down except at the end of the day. He went up there with his lunch and a thing that he could pee in, because he wasn’t coming down.

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The Strange Afterlife of Fire in the Sky

Robert Patrick: I was looking forward to something really great happening with Fire in the Sky. I remember doing press with DB Sweeney and we were everywhere promoting the movie. We were in Madison Square Garden together at a basketball game and they put it up on the scoreboard. We did all sorts of talk shows.

For two weeks before [the release], they pump up the PR and all of the print ads and TV ads and I figured the only thing that could hurt me is weather. And sure as shit, that weekend was the storm of the century and it closed down all movie theatres from Boston to Atlanta, as deep as Chicago. All the eastern industrial cities had no ticket sales at all. Nobody could get out of their house.

Robert Lieberman (Director)

Scott MacDonald: It crushed us! That’s my memory of it.

Todd Black: That’s a very hard thing to recover from as a producer, when you get killed by the weather. We got a little bit screwed there but thank God for the afterlife of these movies because this has had a real following ever since.

Robert Lieberman: I have people coming up to me saying, ‘I saw it when I was six and I’m still terrified.’

Travis Walton (D.B. Sweeney) in Fire in the Sky. Travis Walton lived almost completely off-grid following his alleged abduction and only had a telephone installed shortly before Fire in the Sky screenwriter Tracy Tormé got in contact with him, which he took to be a sign.. | Paramount Pictures, 1993.

Robert Patrick: I do remember being at an Indecent Proposal screening, I believe. I was invited by Paramount, it might have been the premiere. And we were congratulated for opening and holding the box office for a week or two, long enough for them to unveil Indecent Proposal.

Robert Lieberman: The big disappointment for me is that that film didn’t launch [Robert] and DB Sweeney’s career. It wasn’t a blockbuster, [but] the studio was very happy. They made their money back, because it didn’t cost very much, I did it on a shoestring.

Todd Black: [The original participants] did do [lie detector tests in 1993] – a couple of times actually. They passed every time, which really gives you chills.

Robert Lieberman: The producers made them do it. Six guys can’t consistently fake a lie detector, so they are 100 per cent convinced that it happened. Now, did it happen? I don’t know. But they’re convinced it happened and it made for a really great yarn.

Todd Black: It’s why we said yes to making the movie. There’s a lot of UFO stories out there, but there’s not a lot of Travis Waltons.

I watch the heavens whenever I get a chance. And I’ve seen weird stuff, I will say that I’ve seen strange things. When I did The X-Files, that question came up a lot. And this movie gave me the opportunity to do The X-Files actually. I think Chris Carter and Frank Spotnitz were both aware of Fire in the Sky and had seen my performance in the movie. And I think that bolstered my chances for doing The X-Files.

Robert Patrick (Actor; Mike Rogers)

Todd Black: There has been talk within my company about maybe remaking it. I don’t know if we’re going to.

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Ben Falk is an entertainment journalist and author, who’s talked to scientists about whether Skynet will eventually take over the world and to cryptozoologists about who would win in a fight between a Xenomorph and a Predator. He is the author of books about Robert Downey Jr and Professor Brian Cox and particularly enjoyed writing the parts about how the latter helped make Danny Boyle’s Sunshine.

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