parody within copyright law. They were able to obtain the rights from Warner Bros. and Paramount for about $2,500 at the time. The original script contained spoofs of television commercials but people who proofread it advised them to shorten the commercials, and they eventually removed them. When their script was finished, they were unable to sell it. While failing to sell their script, the trio met director John Landis, who encouraged them to write a film based on their theatre sketches. They managed to put The Kentucky Fried Movie into production in the late 1970s. David Zucker said "it was the first time we had ever been on a movie set. We learned a lot. We learned that if you really wanted a movie to come out the way you wanted it to, you had to direct. So on the next movie, Airplane!, we insisted on directing". Eventually the Airplane! script found its way to Paramount through Michael Eisner. Eisner learned of the script via Susan Baerwald, another scriptwriter with United Artists, and had Jeffrey Katzenberg track down and meet with ZAZ to discuss details. Avco Embassy Pictures also expressed interest in producing the film, but ZAZ decided to go with Paramount. Paramount insisted the film be shot in color rather than black-and-white as ZAZ wanted, and to be set aboard a jet airliner rather than propeller plane to better identify with modern filmgoers. In exchange, Paramount acquiesced to ZAZ's desire to cast serious actors for the film rather than comedy performers. Principal photography began on June 20, 1979, and wrapped on August 31, with the bulk of filming having been done in August. Jerry Zucker stood beside the camera during shooting, while David Zucker and Jim Abrahams watched the video feed to see how the film would look; they conferred after each take. Casting David Zucker explained that "the trick was to cast actors like Robert Stack, Leslie Nielsen, Peter Graves, and Lloyd Bridges. These were people who, up to that time, had never done comedy. We thought they were much funnier than the comedians of that time were". David Zucker felt Stack was the most important actor to be cast, since he was the "linchpin" of the film's plot. Stack initially played his role in a way that was different from what the directors had in mind. They showed him a tape of impressionist John Byner impersonating Robert