The Day After

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{{Infobox Film 

| name = The Day After
| image = Dayafterfilm.jpg 
| imdb_id = 0085404
| producer = Robert Papazian
Stephanie Austin 
| director = Nicholas Meyer 
| writer = Edward Hume 
| starring = Jason Robards
JoBeth Williams
Steve Guttenberg
John Cullum
John Lithgow 
| music = David Raksin
Virgil Thomson 
| cinematography = Gayne Rescher 
| editing = William Paul Dornisch
Robert Florio 
| distributor = ABC/Producers Sales Organization 
| released = November 20, 1983 
| runtime = 126 min. 
| language = English 
}}

The Day After is an American TV-movie aired in 1983 on the ABC network. The film presented a theoretical situation which led to nuclear war between the United States and the Soviet Union, and its consequences as felt by residents of Lawrence, Kansas and Kansas City, Missouri. The film was written by Edward Hume and directed by Nicholas Meyer.

Contents

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Situation presented

The following is a chronology of the events, portrayed in The Day After, which lead to the fictional start of World War III. To this day, many military theorists have stated that the events portrayed were a very real possibility during the Cold War.

The film begins with a Soviet buildup in East Germany, as a method of intimidating the United States into releasing its claim on West Berlin. The United States does not comply, which leads to a Soviet blockade of West Berlin which is interpreted as an act of war by the United States.

As tension builds, the United States orders the Soviets to stand down the blockade of Berlin, which the Soviets refuse to do. The United States, from its bases in West Germany, invade East Germany to free Berlin.

The Soviet Union counters the United States invasion of Berlin by launching a major attack into West Germany, crossing the Fulda Gap. This invasion may have resulted in a nuclear explosion where Wiesbaden was destroyed. All countries of NATO counter the attack with military assistance to the West Germans. The Soviet Army reaches the Rhine, at which time the United States halts the assault by detonating several low yield nuclear bombs over advancing Soviet troops. Soviet forces countered by launching a nuclear attack at Europe's Regional NATO headquarters.

After the initial exchange of nuclear weapons in Germany, the United States enacts its "strike on warning" policy, meaning that it will launch a full scale nuclear attack on the Soviet Union if indications are received that the Soviet Union is preparing to do the same against the United States. Meanwhile, in the Persian Gulf, full scale naval warfare erupts as U.S. and Soviet ships attack and sink each other.

The Soviet Air Force destroys an Airborne Early Warning station in England and another in California. Onboard the Strategic Air Command Airborne Command Center, the order comes in from the President of the United States to launch a nuclear strike against the Soviet Union.

It is never made clear in the film whether it was the Soviet Union or the United States who launched nuclear weapons first, and it is implied at one point that, after such an attack on both sides, questions of who started it would hardly matter. However, for those interested, it can be deduced that the Soviets launched first as their weapons hit soon after the Americans' were launched, and therefore would have already been in the air at the time of the Americans' launch. The end result is that most of America's major cities are destroyed, the military is decimated, and the United States becomes a fallout wasteland. It is implied that a similar effect has been enacted on the USSR. After the death and destruction has been allowed to occur, the President of the United States declares (via a radio address) that a ceasefire exists between the USA and USSR.

All of this though is meant as background for an exposition on the plausibility of nuclear war, and its effects. The film was to emphasize that "the day after" a nuclear attack could exist, countering the idea, popular since the early 1950s, that a nuclear war would result in a simple and instant end of the world. The Day After continues a tradition begun in the anti-nuclear movement of the 1950s of emphasizing the grisly details of radiation poisoning, the vast numbers of casualties overwhelming hospitals, and the lack of cohesiveness in trying to organize post-attack governance and food supplies.

The film provoked political debate in the United States, as it was no doubt intended to do. Some argued that the film underscored the true horror of nuclear conflict, and that to prevent this possibility, the United States should both renounce the first use of nuclear weapons in conflict, which had been a cornerstone of NATO defense planning in Europe. Those arguing for a nuclear freeze also relied on the sheer horror depicted in the film for support.

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Plot

Spoiler warning: Plot and/or ending details follow.

Image:Dayafter1.jpg While the movie contains significant exposition to explain the onset of the war, the plot lies in the human struggles of the characters. The film follows several average citizens and the people they encounter through a nuclear attack on Kansas City, Missouri. Dr. Russell Oakes (Jason Robards) lives in Kansas City with his wife (Georgann Johnson), and works at Memorial General Hospital in downtown Kansas City. He is caught in traffic on a highway at the time of the attack (a high-altitude, non-lethal airburst for electromagnetic pulse effects, followed by a deadly ground burst) , and heads toward the campus hospital at the University of Kansas in Lawrence after the attack to treat the wounded with Dr. Sam Hachiya (Calvin Jung), Nurse Bauer (JoBeth Williams), and other aid workers. Also represented is farmer Jim Dahlberg (John Cullum) and his family, who live in a rural area far outside the city limits, but very close to a field of missile silos. They are among the first to witness the initial missile launches signaling the start of a full-scale nuclear war. While those near the impact zone die or become sick quickly, the Dahlbergs develop symptoms of radiation sickness slowly, as they had prepared their basement as a makeshift fallout shelter. They also face the looting and chaos that come after the explosion.

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Production

The Day After was the idea of ABC Motion Picture Division president Brandon Stoddard, who after watching The China Syndrome was impressed and wanted to make a film that would explore the effects of nuclear war on the United States further. Stoddard commissioned veteran television writer Edward Hume to write the script in 1981. The American Broadcasting Company, who financed the production, was concerned about the graphic nature of the film and how to tastefully present such a situation. Hume undertook a massive amount of research on nuclear war and went through several drafts until ABC accepted the plot and characters as acceptable to the viewing public. When Stoddard first announced to the Hollywood press the plan for the TV movie, to be titled either The Day After or Silence in Heaven, calling it the most important project ABC had undertaken, it met with a dismal and controversial reception.

Originally, the film was based on more of a Kansas City, Missouri setting. Kansas City was not bombed in the original script, although Whiteman Air Force Base was, making Kansas City suffer shock waves and the horde of survivors staggering into town. There was no Lawrence, Kansas in the story, although there was a small Kansas town called "Hampton." While Hume was writing the script, he and producer Robert Papazian, who had great experience in on-location shooting, took several trips to Kansas City to scout locations, and met with officials from the Kansas film commission and from the Kansas tourist offices to search for a suitable location for "Hampton." It came down to a choice of either Warrensburg, Missouri, and Lawrence, Kansas, both college towns---Warrensburg was home of Central Missouri State University and was near Whiteman Air Force Base, and Lawrence was home of the University of Kansas and was near Kansas City. Hume and Papazian ended up selecting Lawrence, mainly because of the fact that the locals believed in the subject matter and were more supportive of the project than those in California. Also, the people from the Lawrence Chamber of Commerce seemed to be much more helpful than other towns, and Lawrence had access to a number of good locations: a university, a hospital, football and basketball venues, farms, beautiful countryside. The Lawrence people were urging ABC to change the name "Hampton" to "Lawrence" in the script.

Back in Los Angeles, the idea of making a TV-movie showing the true effects of nuclear war on average American citizens was still stirring up controversy. ABC, Hume, and Papazian realized that for the scene depicting the nuclear blast, they would have to use state-of-the-art special effects, and they took the first step by hiring some of the best special effects people in the business to draw up some storyboards for the complicated blast scene. Then, ABC hired Robert Butler to direct the project. For several months, this group of people worked on drawing up storyboards and revising the script again and again; then, in the spring of 1982, Butler sadly was forced to leave The Day After because of other contract comittments. ABC then offered the project to two other directors, who both turned it down. Finally, in May, ABC hired feature film director Nicholas Meyer, who had just completed the blockbuster Star Trek II: The Wrath of Khan, to direct The Day After. Meyer was apprehensive at first. He doubted ABC would get away with making a television film on nuclear war without the censors diminishing the movie's effect. He also hated and despised television, and had placed a personal injuction on himself never to direct TV films or series again. However, after reading the script, Meyer realized that he could not call himself someone who believes in peace and humanity if he did not make the film. He would be, for once, putting his work in the service of his beliefs. So Meyer agreed to direct The Day After.

However, Meyer wanted to make sure he would film the script he was offered. He didn't want the censors to chop up the film and diminish its effect on the viewer, nor did he want the film to be a regular Hollywood disaster movie from the start. Meyer figured, the more The Day After resembled a film, the less effective it would be. Meyer just wanted to dump the facts on nuclear war in people's laps. So, first of all, he made it clear to ABC that no TV or film stars should be in The Day After. ABC agreed, although they wanted to have one star to help attract European audiences to the film when it would be shown theatrically there. Later, while flying to visit his parents in New York, Meyer happened to be on the same plane with Jason Robards, and asked the star to join the cast. Robards agreed later, after reading the script, remarking, "It's better than signing petitions."

Originally, ABC intended The Day After to be four hours instead of two, to be broadcast over two nights, instead of one. Meyer felt that version was too padded, and urged ABC to change The Day After into just two and a half hours. He reasoned that no one would sit through two nights of Armageddon, ABC was lucky if the audience lasted through one. ABC recognized this, but refused to change the film's length. Meanwhile, Meyer plunged into several months of nuclear research, which made him quite pessimistic about the future. Every day, Meyer would come home feeling ill. The next morning, he would be fine again. He soon realized that what he was learning was making him sick. Meyer and Papazian also made trips to the ABC censors and to the US Department of Defense during this time. There were conflicts with both. Meyer and the network censors had many a heated argument over elements in the script, both little and big, that were wanted cut out of the film by the censors. The Department of Defense said they would cooperate with ABC if it was made clear in the script that the Soviet Union launched their missiles first, something Meyer and Papazian were at pains not to do.

In any case, Meyer, Papazian, Hume, and several casting directors spent most of July of 1982 taking numerous trips to Kansas City. In between casting in Los Angeles, where they stuck mostly to unknowns, they would fly to the Kansas City area to interview local actors and scenery. They were hoping to find some real Midwesterners for smaller roles. Hollywood casting directors strolled through shopping malls in Kansas City looking for local people to fill small roles, while the daily newspaper in Lawrence ran an advertisement calling for local residents of all ages to sign up for jobs as a large number of extras in the film, and a professor of theater and film at the University of Kansas was hired to head up the local casting of the movie. Out of the 80 or so speaking parts, only 15 were cast in Los Angeles. The remaining roles were filled in Kansas City and Lawrence. While in Kansas City, Meyer and Papazian toured the Federal Emergency Management Agency offices in Kansas City. When asked what their plans for surviving nuclear war were, a FEMA official replied that they were experimenting with putting evacuation instructions in telephone books in New England. "In about six years everyone should have them." This meeting led Meyer to later refer to FEMA as "a complete joke." It was during this time that the decision was made to change "Hampton" in the script to "Lawrence." Meyer and Hume figured since Lawrence was a real town, that it would be more believable, and besides, Lawrence was a perfect choice to be a representative of Middle America. The town boasted a "socio-cultural mix," sat near the exact geographic center of the continental U.S., and Hume and Meyer's research told them that Lawrence was a prime missile target due to the fact that 150 Minuteman missile silos stood nearby. Lawrence had some great locations, and the people there were more supportive of the project. Suddenly, less emphasis was put on Kansas City, the decision was made to have the city be completely annihilated in the script, and Lawrence was made the primary location in the film.

Image:Douglas county kansas courthouse.jpg Production began on Monday, August 16, 1982, on location at a farm just west of Lawrence. That day, the ABC crew had needed sunshine, and it turned out to be a dreadfully overcast day. The set required a floodlight for shooting. That day, the crew set fire to the farm's big red barn for one scene during the blast sequence (it was eventually cut). The owner of the farm was not paid by ABC for the use of his property, but ABC did compensate by building him an all-new barn in place of the one they exploded. The crew spent most of the next week and a half filming on various farm sets near Lawrence. One set in rural Lawrence, depicting a schoolhouse after a nuclear blast, was made in six days from fiberglass "skins." On Monday, August 30, 1982, ABC shut down Rusty's IGA supermarket in Lawrence's Hillcrest Shopping Center from 7 A.M. until 2 P.M. to shoot a scene representing the rush to grocery stores for provisions when a nuclear attack appears likely. While the crew was shooting, a local man and his infant son walked up to the supermarket. Apparently, they had not gotten the word that ABC was filming a movie there. The man saw the complete chaos inside his neighborhood grocery, over 100 extras rushing about, pushing and shoving and hoarding food, and ran back into his car in fear.

Local actors and extras, including local film director Herk Harvey and University of Kansas professor Charles Oldfather, were paid $75 to shave their heads bald, have latex scar tissue and burn-marks pasted on their faces, be plastered with coats of artificial mud, and be dressed in ragged and tattered clothes for various scenes of mass despair and radiation sickness after the nuclear blast. In a small park in downtown Lawrence on the bank of the Kansas River, ABC set up a grimy shantytown to serve as the home for survivors of the nuclear attack in the film. It was known as "Tent City." From the afternoon of Friday, September 3, 1982, well into the evening, the cameras rolled, recording the chaos and mass despair, using many University of Kansas students as actors and extras. The next day, Saturday, September 4, 1982, lead actor Jason Robards, the only well-known "star" in the film, had arrived in Lawrence and production moved to Lawrence Memorial Hospital, where scenes of hundreds of radiation sickness victims crowding into a besieged hospital were filmed. Nicholas Meyer and the ABC crew were amazed by the amount of cooperation they received from the citizens of Lawrence. Many local individuals and businesses participating in the filming and the city profited off of the use of thousands of local actors and extras. It was estimated in contemporary newspaper accounts that ABC spent $1 million in Lawrence, not all on the production. It was also during this time that Nicholas Meyer revealed his ambitions and goals for The Day After: The director wanted the film to not take political stands, but rather just spread the message and inform people that "nuclear war is a bad thing." He thought of the TV film not as a movie, but as a gigantic public service announcement. His main goal was to reach an audience of at least 20 million people through the TV showing, which would spread his message across to a larger and wider audience. His goal was eventually achieved.

On Monday, September 6, 1982, in a block of businesses in downtown Lawrence, the filmmakers repainted the signs for several businesses, changing the names of the stores; the facades were stained with dark smudges of soot. The large windows were shattered into sharp teeth; bricks were scattered across the sidewalk admist scraps of lumber, and several junked cars were painted with clouds of black spray. Two industrial-sized yellow fans bolted to a flatbed trailer blew clouds of white flakes into the air. This fallout-matter was actually cornflakes painted white. Several quick scenes of devastation were shot, and the next day, Tuesday, September 7, 1982, thousands of local extras, most of them University of Kansas students, poured into Allen Fieldhouse, a basketball court at the university, which, in the story, was the only place left on campus big enough to accommodate so many wounded. A scene representing class registration was filmed in an upstairs hallway before noon, but the large crowd scene on the basketball court, with thousands of radiation victims stretched out on cots and mattresses on the court floor, did not get under way until after 2 P.M. The extras were asked not to bathe for several days to make the scenes more realistic. The next day, on Wednesday, September 8, 1982, a four-mile stretch on Kansas Highway 10 was closed for shooting highway scenes representing a mass exodus from the Kansas City area. Over the next few days, the filmmakers shot mostly pre-blast scenes in Kansas City, and on Friday, September 10, 1982, they filmed a scene where Jason Robards returns to what is left of Kansas City to find his home. ABC used the demolition site of an old hospital in an inner-city neighborhood in Kansas City as the set. They had found this location a few months before, and paid the city to halt demolition for a month so the crew could film scenes of destruction there. However, when the crew arrived, more demolition had apparently taken place. Director Meyer was angry beyond belief, but then realized he could populate the area with fake corpses and junked cars, "and then I got real happy." Robards, however, never became happy. He had had to get to makeup at 6 A.M. that morning so he could be made out to look like a radiation poisoning victim. The makeup took three hours to apply. Finally, around 9:30 A.M., shooting began. Traffic on the nearby avenue slowed and passer-bys strained for a closer look as Robards lifted the arm of a body stuck under fallen debris — just the arm, severed at the shoulder. It was at this site that the moving final scene, where an affected family taking up residence as squatters in Robards' home, has a confrontation with Robards, and the father of the family, played by a Kansas City actor, crawls out to hug Robards, was filmed.

Image:Libertymemorialkcmd2002.jpg There were more problems in Kansas City the next day, Saturday, September 11, 1982. Nicholas Meyer had scouted and desperately wanted the Liberty Memorial, a tall war memorial in Penn Valley Park overlooking downtown Kansas City, for two scenes: postcard-perfect shots of Kansas City near the beginning, and a scene of Robards stumbling through the ruins of the Memorial at the end. The Memorial was to function as a symbol for some of the messages in the film. However, one of the directors of the local parks department did not want the crew to film there for a number of reasons. He was trying to avoid letting city parks be used for commercial purposes, and he was concerned that ABC would somehow damage the Memorial. Also, the director was caught off guard when ABC asked for permission to use the site one day before they planned to shoot there. But in any case, movie officials met with city officials, there was much flattery and cajoling, and that next day ABC had the Liberty Memorial. By using fiberglass, they were able to make it look as if the Liberty Memorial had been reduced to rubble (they would use special effects later to make it look even more realistic). Robards stumbled through debris once again, and then they shot the post-card scenes. That evening, the cast and crew flew back home to Los Angeles.

The filmmakers returned to Los Angeles to shoot interior hospital scenes with Robards and co-star JoBeth Williams and complete post-production work. While shooting in Los Angeles, Meyer noted that extras there weren't as helpful and cooperative as those they had run into in Lawrence. "You tell them you want them to grunt and they say, 'Hey, that's a word. That's money,'" Meyer complained. Many scientific advisors from various fields were on set to ensure the accuracy of the explosion, its effects, and its victims. The government, nervous of how it would be portrayed, didn't allow the production to use stock footage of nuclear explosions in the film, so ABC hired some of the best special effects creators to work on the film. The result was a frighteningly real explosion and iconic "mushroom cloud" (created by injecting colored dye in small tanks of vegetable oil).

The editing of The Day After was one of the most nerve-wracking processes ABC had ever gone through in post-production of any of their films. There were many meetings with the censors, and Nicholas Meyer was enraged and confused because the network actually cut out many scenes due to pace and cutting, not because they were too controversial or too graphic. It quickly became ridiculous. In April of 1983, Meyer wrote a letter to Brandon Stoddard stating that he was resigning from The Day After and that he would petition the Directors Guild to have his name removed from the credits. Apparently, Meyer changed his mind and the letter was never sent. It was originally planned The Day After would be aired in May of that year, but the air date was pushed back to November to allow for more post-production work. At Meyer's urging, the film was cut down to just two and a half hours, to be shown over one night instead of two. The first major cut was made to the film that could be called "censorship": censors forced ABC to cut an entire scene of a child having a nightmare about nuclear holocaust and then sitting up, screaming. A psychiatrist told ABC that this would disturb children. "This strikes me as ludricous," Meyer wrote in TV Guide at the time. "Not only in relation to the rest of the film, but also when contrasted with the huge doses of violence to be found on any average evening of TV viewing." In any case, a few more cuts were made, including to a scene where a young woman is shown to possess a diaphragm, and another scene where a hospital patient abruptly sits up screaming (this was excised from the original television broadcast, but then restored for home video releases). Meyer urged ABC to dedicate the film to the citizens of Lawrence, and also to put a disclaimer at the end of the film letting the viewer know that The Day After downplayed the true effects of nuclear war so they would be able to have a story. ABC complied. At last, the film was ready for broadcast, and Nicholas Meyer came out of his experience with The Day After vowing never to work in television again.

The Day After received one of the largest promotional campaigns prior to its broadcast. Commercials aired several months in advance, ABC distributed half a million "viewer's guides," which discussed the dangers of nuclear war and prepared the viewer for the graphic scenes of mushroom clouds and radiation burn victims. Discussion groups were also formed nationwide. Schools required their students to watch it as a homework assignment and discuss it the next morning in class.

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Reaction

On the day of its television broadcast, on Sunday, November 20, 1983, ABC opened several 1-800 hotlines to have counselors available to calm viewers. After the film's broadcast ABC also aired a live discourse between scientist Carl Sagan and William F. Buckley, Jr.. During the heated debate Sagan discussed the concept of nuclear winter, the global climatic change that was theorized to come following nuclear war.

The film had an effect on the citizens of Kansas City and Lawrence. A psychotherapist counseled a group that watched at Shawnee Mission East High School in the Kansas City suburbs, and 1,000 others held candles at a peace vigil in Penn Valley Park in downtown Kansas City. In Lawrence, a discussion group called Let Lawrence Live was formed, and several thousand more people gathered on the University of Kansas campus in front of the university's Memorial Campanile and lit candles in a peace vigil. Among callers to psychologist Michael Saper's radio show, one said, "I'm against dying."

The Day After garnered both praise and criticism upon its release. Depending on their view on politics, critics tended to claim the film was either sensationalizing nuclear war or was too tame regarding the subject. Technically speaking, however, the film was praised for its use of special effects and realistic portrayal of nuclear war and its victims. The film received twelve Emmy nominations and won two Emmy awards.

Nearly 100 million Americans watched The Day After on its first broadcast, making the film one of the most successful television broadcasts. Producers Sales Organization picked up international distribution rights to the film, and released the film theatrically around the world to great success (this international version contained six minutes of footage not in the telecast edition). Years later this international version was released to tape by MGM.

Some critics argued that the film's message was misplaced. Commentator Ben Stein, who was critical of the movie's message (i.e. that the strategy of Mutual Assured Destruction would lead to a war), wrote an article in the Herald Examiner asking what life might be like in an America under Soviet occupation. This article provided the inspiration for the TV miniseries Amerika, about life in America ten years after its conquest and occupation by the U.S.S.R..

While the story is possibly apocryphal, it is said that U.S. president Ronald Reagan burst into tears after watching the movie at a private screening (Gerald Degroot, The Bomb: A Life, 2005). In 1987 during the era of Mikhail Gorbachev's glasnost and perestroika reforms, the film was shown on Soviet television.

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Cast

Striving for a more documentary-styled film, casting director Hank McMann cast mostly newcomers and more obscure actors. At the time, Jason Robards was the only well-known actor in the production, having been a veteran of stage and screen. Steve Guttenberg, who would go on to become a successful comedian and actor later in the decade, was only known for the Barry Levinson comedy Diner, released in 1982. George Petrie, best known as a stock player on several incarnations of Jackie Gleason's television series, had a small but effective role as a doctor at the hospital where Robards' character worked. While many of the principal cast would go on to have successful careers and notable films (John Lithgow and Amy Madigan), at the time they were relatively unknown to the audience. This allowed audiences to become attached to the characters without the baggage of preconceived notions.

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The Oakes

Jason Robards as Dr. Russell Oakes
Georgann Johnson as Helen Oakes
Kyle Aletter as Marilyn Oakes

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The Dahlbergs

John Cullum as Jim Dahlberg
Bibi Besch as Eve Dahlberg
Lori Lethin as Denise Dahlberg
Doug Scott as Danny Dahlberg
Ellen Anthony as Joleen Dahlberg
Steve Guttenberg as Stephen Klein

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Hospital Staff

JoBeth Williams as Nurse Nancy Bauer
Calvin Jung as Dr. Sam Hachiya
Lin McCarthy as Dr. Austin
Rosanna Huffman as Dr. Wallenberg
George Petrie as Dr. Landowska
Jonathan Estrin as Julian French

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Others

John Lithgow as Joe Huxley
Amy Madigan as Alison Ransom
William Allen Young as Airman Billy McCoy
Jeff East as Bruce Gallatin
Dennis Lipscomb as Reverend Walker
Clayton Day as Dennis Hendry
Antonie Becker as Ellen Hendry
Stephen Furst as Aldo
Arliss Howard as Tom Cooper
Stan Wilson as Vinnie Conrad

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Awards

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Emmy Awards won

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Emmy Award nominations

  • Outstanding Achievement in Hairstyling
  • Outstanding Achievement in Makeup
  • Outstanding Art Direction for a Limited Series or a Special
  • Outstanding Cinematography for a Limited Series or a Special (Gayne Rescher)
  • Outstanding Directing in a Limited Series or a Special (Nicholas Meyer)
  • Outstanding Drama/Comedy Special (Robert Papazian)
  • Outstanding Film Editing for a Limited Series or a Special (William Dornisch and Robert Florio)
  • Outstanding Film Sound Mixing for a Limited Series or a Special
  • Outstanding Supporting Actor in a Limited Series or a Special (John Lithgow)
  • Outstanding Writing in a Limited Series or a Special (Edward Hume)
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References

  • Cheers, Michael, "Search for TV Stars Not Yielding Right Types," Kansas City Times, July 19, 1982
  • Twardy, Chuck, "Moviemakers Cast About for Local Crowds," Lawrence Journal-World, August 16, 1982
  • Twardy, Chuck, "Fake Farmstead Goes Up in Flames for Film," Lawrence Journal-World, August 17, 1982
  • Laird, Linda, "The Days Before 'The Day After'," Midway---The Sunday Magazine Section of the Topeka Capital-Journal, August 22, 1982
  • Twardy, Chuck, "Shooting on Schedule 'Day After' Movie," Lawrence Journal-World, August 24, 1982
  • Lazzarino, Evie, "Homemade Specialties of 'Proud Chef' Make Life on Location Easier to Handle," Lawrence Journal-World, August 29, 1982
  • Lazzarino, Evie, "From Production Crew to Extras, A Day in the Life of 'Day After,'" Lawrence Journal-World, August 29, 1982
  • Rosenberg, Howard, "'Humanizing' Nuclear Devastation in Kansas," Los Angeles Times, September 1, 1982
  • Schreiner, Bruce, "'The Day After' Filming Continues at KU," Lawrence Journal-World, September 2, 1982
  • Appelbaum, Sharon, "Lawrence Folks Are Dying for a Part in TV's Armageddon," Kansas City Star, September 3, 1982
  • Hitchcock, Doug, "Movie Makeup Manufactures Medical Mess," Lawrence Journal-World, September 5, 1982
  • "Movie-making Stuntman Returns to KU," Lawrence Journal-World, September 5, 1982
  • Twardy, Chuck, "Nicholas Meyer Tackles Biggest Fantasy," Lawrence Journal-World, September 5, 1982
  • Twardy, Chuck, "How to Spend $1 Million in Lawrence," Lawrence Journal-World, September 5, 1982
  • Twardy, Chuck, "Students Assume War-Torn Look as Film Shooting Winds Down," Lawrence Journal-World, September 8, 1982
  • "K-10 Route Altered by Movie Project," Lawrence Journal-World, September 8, 1982
  • Goodman, Howard, "KC 'Holocaust' a Mix of Horror and Hollywood," Kansas City Times, September 11, 1982
  • Jordan, Gerald B., "Local Filming of Nuclear Disaster Almost Fizzles," Kansas City Star, September 13, 1982
  • Kindall, James, "Apocalypse Now," Star: The Weekly Magazine, October 17, 1982
  • Leach, Phyllis, "Hollywood Goes Midwest!", 1983 Jayhawker, University of Kansas Yearbook
  • Loverock, Patricia, "ABC Films Nuclear Holocaust in Kansas," On Location (magazine), November 1983
  • Meyer, Nicholas, "The Day After: Bringing the Unwatchable to TV," TV Guide, November 19, 1983
  • Torriero, E.A., "The Day Before 'The Day After,'" Kansas City Times, November 20, 1983
  • London, Michael, "Nuclear Disasters Prliferate on Film," Kansas City Times, November 20, 1983
  • Associated Press, "ABC Allegedly Cut Deals to Sell Movie Ads," Kansas City Times, November 20, 1983
  • Petterson, John, "Kansas Advertising Plan Gets No Ahs from Network," Kansas City Times, November 20, 1983
  • Hoenk, Mary, "'Day After': Are Young Viewers Ready?", Lawrence Journal-World, November 20, 1983
  • Helliker, Kevin, "'Day After' Yields a Grim Evening," Lawrence Journal-World, November 21, 1983
  • Throwbridge, Caroline, "Film's Fallout: A Solemn Plea for Peace," Lawrence Journal-World, November 21, 1983
  • Twardy, Chuck, "'Day After' Scores High in TV Ratings," Lawrence Journal-World, November 21, 1983
  • Kraft, Scott, "Film Becomes Focal Point Across Nation," Lawrence Journal-World, November 21, 1983
  • Horst, David, "Civil Defense Chief Sees Flaws, Some Truth in Movie," Lawrence Journal-World, November 21, 1983
  • "Pupils' Reponses to Film Vary," Lawrence Journal-World, November 21, 1983
  • Eisenberg, Adam, "Waging a Four-Minute War," Cinefex (magazine), January 1984
  • Greenberger, Robert, "Nicholas Meyer: Witness to the End of the World," Starlog (magazine), January 1984
  • Lipps, Ramelle, "The Day After," 1984 Jayhwaker, University of Kansas Yearbook
  • Garrity, John, "Kansas City After 'The Day After,'" Travel-Holiday (magazine}, June 1984
  • {{cite journal 
| last=Boyd-Bowman | first = Susan
| title=The Day After: Representations of the Nuclear Holocaust
| journal=Screen
| year=1984
| volume=6 | issue=4 | pages= 18–27
}}
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External links

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See also

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Films depicting nuclear war

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Books and other works regarding nuclear war

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Works with similar names

ja:ザ・デイ・アフター ru:На следующий день (фильм)

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