J.J. Abrams’ Childhood Obsession That Shaped His Hollywood Career

J.J. Abrams is one of Hollywood’s most influential storytellers, known for blending mystery, adventure, and science fiction into some of the biggest film and television franchises of all time. As the creative force behind Lost, Alias, and Fringe, and the director of blockbuster hits like Star Trek (2009) and Star Wars: The Force Awakens (2015), Abrams’ career has been defined by a passion for narrative depth and cinematic spectacle. But long before he became a household name, Abrams was an imaginative kid obsessed with storytelling, magic, and filmmaking—a passion that shaped his entire career.

A Childhood Immersed in Storytelling

Jeffrey Jacob Abrams, known as J.J. Abrams, was born on June 27, 1966, in New York City, into a Jewish family deeply entrenched in the world of entertainment. He was the only son and first grandchild in his family. His father, Gerald W. Abrams, was a successful television producer, and his mother, Carol Ann Kelvin Abrams, was an accomplished law professor and later a film producer. His biggest childhood influence was his maternal grandfather, Harry Kelvin, who owned an electronics business. Kelvin introduced young J.J. to the mechanics of storytelling, illusion, and technology, often taking him on “adventure walks” and showing him how electronics worked.

The family moved to Los Angeles when Abrams was five, and he grew up in the affluent suburb of Brentwood. His upbringing was filled with discussions about television, production, and storytelling, making it almost inevitable that he would develop a fascination with cinema. However, Abrams was not merely an observer—he was a child who needed to create. His love for stories was evident from an early age, and he has acknowledged that his favorite television show growing up was The Twilight Zone (1959). In particular, the episode Walking Distance left a lasting impression on him, reinforcing his love for mystery and thought-provoking narratives.

His Early Interests and Personality

Abrams’ childhood bedroom looked like a miniature version of his future production company, Bad Robot—a creative space overflowing with filmmaking tools, magic props, and special effects materials. He meticulously organized his collection of movie soundtracks, monster magazines, Star Wars memorabilia, and magic tricks. Fascinated by illusions and sleight-of-hand tricks, he often performed magic for friends and family. His curiosity about special effects led him to write letters to legendary makeup artist Dick Smith, who responded by sending Abrams a prop tongue from The Exorcist—a defining moment that reinforced his passion for cinematic effects.

His passion for film was further shaped by his first viewing of Star Wars: Episode IV – A New Hope (1977), which he later described as a defining moment in his life:

“Star Wars: Episode IV – A New Hope (1977) is probably the most influential film of my generation… It left an indelible imprint.”

However, despite his deep love for Star Wars, Abrams admitted that as a child, he didn’t fully grasp Star Trek. He recalled:

“When I was a kid and saw Star Wars for the first time, it blew my mind… I had friends who were huge fans of Star Trek, and I don’t know if I was smart enough to get it or patient enough.”

This early distinction between the two franchises would later be ironic, as Abrams became the first director in history to helm both a Star Trek and a Star Wars film.

Teenage Years and Early Filmmaking

While other kids played sports, Abrams was busy making homemade Super 8 movies, often casting his sister and friends in horror films featuring dramatic special effects. Abrams was particularly fascinated with practical effects, using household items like Karo syrup and food coloring to create realistic blood.

At 15, Abrams co-organized a Super 8 film festival showcasing his own work. The event caught the attention of Kathleen Kennedy (future president of Lucasfilm and longtime Spielberg collaborator), who was so impressed that she hired Abrams and his friend Matt Reeves to restore Steven Spielberg’s childhood Super 8 films, marking Abrams’ first significant Hollywood connection. Years later, Abrams would incorporate his childhood filmmaking experiences into his movie Super 8 (2011), which Spielberg produced.

High School and College Years

Abrams was not particularly engaged in traditional academics and often found himself more captivated by the world of storytelling. At recess, instead of participating in games like dodgeball, he would frame scenes with his fingers as if directing a film, running around the playground with a red Superman cape while inventing imaginative narratives. When he considered attending film school, his father advised him:

“It’s more important to learn what to make movies about than how to make movies.”

Taking this advice to heart, Abrams enrolled at Sarah Lawrence College in Bronxville, New York, where he focused on literature, creative writing, and storytelling rather than traditional film studies. He believed that storytelling was the backbone of great cinema, and his education helped him refine his ability to craft compelling narratives.

During his college years, he honed his writing skills by studying screenplays. He specifically cited Alvin Sargent’s screenplay for Ordinary People (1980) as a guide, analyzing its structure and depth of character development.

While still in college, Abrams made a major career breakthrough—he sold his screenplay for Forever Young (1992) for $2 million. This deal launched his career as a screenwriter, and he quickly gained recognition in Hollywood.

Early Career, Restlessness, and a Move to Directing

Abrams quickly established himself as a successful screenwriter, penning scripts for Regarding Henry (1991) and Forever Young (1992). However, despite his success, he was always restless, preferring to move on to new creative endeavors rather than staying in one place:

“I’m an impatient guy and tend not to like to stay with one thing for a long time. I’ll never be able to write as many scripts as I did for Felicity or Alias ever again. I’m just too impatient these days. I want to get on to the next project.”

This restlessness led him to co-create and produce hit TV series, including Felicity (1998) and Alias (2001). His work on Alias would later change the trajectory of his career.

A Love for Mystery and Practical Effects

Abrams’ deep fascination with mystery storytelling has remained a core theme throughout his career. He once described his love for mystery through an unopened mystery box he bought from a magic shop as a child. He has never opened it, stating that its potential is more exciting than the reality of what’s inside. This philosophy extends to his approach in filmmaking, as seen in Lost, Fringe, and Super 8, where mystery plays a central role in engaging the audience.

Additionally, Abrams’ early love for practical effects never faded. He preferred practical effects over CGI whenever possible, as seen in The Force Awakens (2015), where he reinstated the use of models, real locations, and animatronics instead of relying entirely on digital effects.

Summary of His Early Life

J.J. Abrams was always an outsider—not into sports or academics but completely absorbed in world-building, illusions, and filmmaking. His fascination with movies and storytelling started young, and his deep love of analog, tactile filmmaking (as seen in Super 8) was shaped by childhood experiences with magic, electronics, and early Super 8 cameras.

Key Quote About His Childhood

“I was always a little bit of the outsider. I wasn’t athletic. And I was never a particularly great student. You find yourself somewhere in between the schoolyard and the library. That’s the gray area of no-man’s-land. You have to find something that interests you, something to focus on.” – J.J. Abrams

Refrences

https://www.esquire.com/entertainment/a44348/jj-abrams-star-wars/ https://www.sarahlawrence.edu/news-events/commencement/archives/2017/undergraduate/jj-abrams.html https://www.npr.org/transcripts/137108820 https://www.imdb.com/name/nm0009190/bio/?ref_=nm_ov_bio_sm