According to the late Allan Foshko, the series co-creator and then-vice-president in charge of new programming for the Kroffts, all of the dino-mite excitement commenced with Sid Krofft's long-standing affection for dinosaurs and dinosaur movies.
After the Land of the Lost pilot was created, it was a job for the Kroffts (veterans of The Bugaloos, Liddsville, H.R. Pufnstuf) to prepare the weekly Saturday morning series for NBC.
With memorable music describing the series' central premise, and Tenzer keeping an eye on the bottom line, it was up to young art director Herman Zimmerman, now a veteran of several Star Trek film and television series, to visualize it. "I was hired to work on a new series Land of the Lost, because I had been working for NBC and a place called Hollywood Video Center," he told me.
Another young talent (and graduate of the Star Trek saga in recent years ), is make-up artist Michael Westmore, whom I also interviewed in early 2001. He landed an equally difficult assignment during the protean stages of Land of the Lost.
Visualizing two "alien" races wasn't Land of the Lost's only challenge. "The amount of effort going into creating the series was incredible," affirms Robert Lally, who directed a dozen episodes of the season during its first and second season.
Not long after its premiere, Land of the Lost became a monster hit, the most popular show on NBC's Saturday schedule. Nonetheless, a series of changes were to come in the third season. Spencer Milligan departed from the show over a salary dispute, and was consequently replaced by Ron Harper (of TV's short-lived 1974 Planet of the Apes series) as Rick Marshall's brother Jack, who happened to fall into the Land of the Lost just as Marshall was falling out.
A thoughtful Tenzer understands why the series endures, even in the age of CGI. "People who love the show remember that time in their lives. That's the attraction of nostalgia. Seeing Land of the Lost again today is like reviewing a film reel of your life."