Descripción: The first ten issues of Fangoria Magazine. In these early issues, sci-fi and fantasy films were featured; the shift then focused exclusiv...
program code for sequence detector(0110) using mealy machines it covers both vhdl and verilog code along with simulation waveformsFull description
Descripción: Valentines Day Pop Out Card Printable 0110
fangoria
Take a Iflp Inlo Tomorrow .... ilh FUTlIlE I.lFE. the magalinoe 01 things 10 come In each and e-ve<)' issue. ~"pIor~ 1M many IOIOrIds 01
devoted 10fuIUfeirendsprnoedby
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ISM<: Asifl1Oll. 8m 801.-.. Fred POOL R..- ~y and Robe" VIDEO .I"IAOE5: EaduSIYe ..mati!. ~_oIt1wt09 Anion Wilson k PO-ONiro
We ba"e MIen tbe futu ... and It I. funl
E«tI i.uur~ INTERVIEWS: EaduSI~ ""\lui ,*,th JUd'I un.g,neerJ M Alliin T 01fler. TImothy Leary. Gerard K. O·NeIlI. Ray Bradbury. Arthur C. Clark~. 51~ Spielbe
-----------------a e......... FUTURE lifE /I\orguIno
One of the moet Importanl soumrs d Ihil fuelts In rtw aJt5-rnovIft. ptlinl· plays, books, magazlnes and yon. even television. And some of the most appealing works of art to young ~ are tM amazing flights of \mag. IMbon that creale fantasDC worids and Iancastk: creatW"ltS. FOf ~ ye.m. the rcaden of NIl.OG and fUIUIIf. Magazines lour famlh; 01 pubkatlons) have begged us to n:Jude pctorlal features on fantasy subjects But STNIUXi Is devoced to !hot world of Idence 8cbon, and F\1TlIIt: LFt (the new tide) COW'~ the real hopes.,nd progre$lI of the human flIQl. Rather rh&n 5Cjueeztng a few pages 01 faruasy .., those magazineI from time to ttma. we dedded 10 launch a new pubkatat wholot udusrue world Is the realm 01 monsteR, aliens and btzarN cuatures. fA.'G.lUA is much fl'IOfe than ~ anoeher cheap monster magazinot, each Issue wIlIlndude fuD-cok:Jf art. media news, tachmquft 01 spedaI Jl"ects and makeup. \mpOJtant Jntervlews-ttw tame high qu.ahty you haw come to expect hom other STNtI..OG publicatION Our Intention .. for FA.~ to be the first classy. profesliOnal, plein rwws magazine CO\'QJtng the woOd 01 fan1ngI,
008~CIK
1'1 .... _
..
""'" goah.
C_ trib.tlq: Edltoft
~
adventure and romance In evervone In a world of reality. we need more fantMy
Whether or not you had the IaJne mellOn 10 IfttI'Ig Supamon doesn tnIItter, the thoughl ~ t'I this kna Is 100% tc*t gold! Therv Is II spirit of adventure and of romance InsXtc everyone-etpedilly W'lside young people. Unfortulllliely. 11:1 they ~ older, mllfly lose thai ~ and slowly. perhaps w\!hout knOWing ~, ~ II wtth a tense of frmtnItlon, cynldlm and bIealIlndlffeNnCe. In other words. as they "mature," they {PduaJly give up 4JIPCICting tNt Me wi be exciting and wonderful They sntN up and start dyng. But thai cIoan'l nHd to happen In fact the people who hokI onto their tpIIit of adventure are che t>ne!I who MIhU It\u wtth ex.cIIIng punuils and projed.s-tumlng lheir hopes Into rea8ia. It 1In'1 easy to hold onto !hat podfve splrtl 1here Mil dllappolnlments. fear;t. hurts and aB ~ oi negallva expotilellCeS In III" thai make II V\Ify hard 10 keep your chin up and your hurt high W. t1Hd aD the help w-e can get-aillhe emooonol /uti thai vA kelp I.4I11OY1119 eagerly loward our long.
JOE80SHAM
....
recetYed II Iomft' this week that 5C.JrIet.l "I juSt sa.... &pmnan and I was amazed; It made me feel hkoe I could n." I loved It It brings oullfw
....
fMlGOUA is available al the same ~ and boc:M mJres where you find STN!tOG ~ 1St. and the" COUJR PO§TI]IIIOOK wr\a TheN's allo II special coupon In this il&ue that Invllft you to subto1be for one year al a dis· countl1lte.
Examine every page of our premlctVllsue. and send us your kIMs. questions and cntidIms 50 that we can shape ow future editions Into the klnd 01 magamle)lOU want ll\et's our goal. More than that. we want to shape FAA (jURI,.\ Into the kind 01 rnagazinoe that awakens your spirit 01 adventure and
romance-and makes you feel like you can fly.
E,joy!
NEW FROM THE PUN ISHERS OF STARLOG If you are a young 6.lmmaker with a spcdal intereSt. in science. 6ction, special effects wId the Ilmltless magic ofthc cinema . ..
TlDS IS YOUR ~IAGAZINE
Betwem the pit of Man'.Jcor and thc almmd of hrl ~Jedge CJdsD a land populat«J by
APbantasmagoric: flight Into Sbeerlmagination Hn., .. last, •• magadnclMI W\IIellp!orlt tMou'er limits of ImaglnaUon, offmng gIImpton of both far -out Idmce fiction and out.nd-oul fanwy, HobbItJ, horrors end h~ invaders from oula tpKe wtI)Din forces
.ach Iuue \/tilth tM real-Ide atbtlJ who O'n'e them to bring ~ the BEST ollTKMe and TV O'ntwt fUlura
CL~E ~lAGI C
WILL FEATURE:
Each -.., 1ncIude5• Page.s of FULL·COLOR photos"! • Original horrific art!!! • Exclusive Intervlews!!! • Behind the .scenes In HoUywood!U
NOT ON NEWSSTANDSI Subscribe TO
• Monster makeup secreu'!! • Animation and special eHects!!! • Flight fUm updates!!! plus MUCH MORE!!!
II I '-' 'GO ••• OC~I"::t.t:.¢" I I I •. 0•• 0 .- . _ , - _ _ -..._.-..-_. all.I IL __________________________________________ ~I 0-"""-.. I :.... --.... _~O-..... I ' ANQO RI A
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THAI"fI\S FOR WAITING for thll, tha premiai' IIIua d fAHGOlaA Aft., nwch del.y. _"\4 ftndy gotI,n .. tha kInb ou' and _ busy working 10 br1ng \IOU tha froaI ~ In the ftdd d 1I'IIUIbr, fantasy on • regular bimonthly bM W, Itmk you'l find thalli: _ ~ tha wMI!
"AGGER lI't SPACE? ~)IOU k6I C¥I.tIed _ 's;1t on ........ P'J on In It*; .,.. Wm !hi O*ugo Surt ~ ~ ~ . . . . . . . '1 lull twned ........ .bouI $17 10 do , .a.nc.-Iaion INMI caIId n. 8/I;d ,..,. tI-.id ' - ".,.,101 d rnorwo,/. bill
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~mo
A British sensation makes its way to the United States
, . , only 15 years after its debut.
Abow rIw noc- and LftIrr '" oI>oded !Iv dw "",.....-m ~ Ihoy IJfI """" Itw horrw pbwf~ ... Itw tpiIcdr """"->n at n... "lAII ~ ..." dw Z!I9O"f. dw Doaor ilia lID &Ip " - ' " from ~ IhW "*'PO", dw.sm..-. !he Loch Ne. ~ in 'T_ 01 !he ZWO'" - &-Iooo~, !he". rhtn CIoc:Joo.., Patrid< TroughlOrl, Jon Perf_n and W.m
noc-.. -... lID
'*
"'""' found themselves battling DaJeb, Sesorites, Zarbi and, at one point, Marco Polo.
Since tMt Initial episode, the good doctor has encountered hordes of
F
itteen yean; ago. a BritIsh t~ legend was born. It
aI 5U\JIed, quite innocently
enough when. in the .series' fInI ~e two schoolteachers followed a mysterious young girl back to ha IxNne instead of a house. though, they diIcoYered that the girl appeared to M In a small, antique London poke bcut WIth a crotchety old man she m.md to as "Grandfather M Her abode was no ordinary London police box nQ' .....,.. the girl and her ~ lathe ordinary humans, In fact. they Wft\!f1·t humans at aI. "The lC:hocNteachers had stumbled upon a II1I\Itlu 01 lime and space, Dr
Who. his comparuon Susan and their ome·and-space fTWKhine - the Tardls CTlme and Relattve OimerlSions in Spacel. Before long. the schoolteachers were befriended by th~ strange: pall" and whisked away to strange and alien worlds where they
deadly enemies, other new acquaintances and some recurring foes. He has changed companions and even altered his appearance! Today's Dr, Who Is no longer II ga,ndfatherty oIdaer but, rather. a curly-haired vagabond, This Iounh incamation, as played by Tom Boker, is the most popular Who ever rt'he preceding WOOs were William HartneD (l963-66), Patrick Trooghton (I966-70), Jon
Pertwee (1970-74),) A$ a resuk, the- Dr. Who series is currendy en)oylng a renewed popularity In Great Britain; a ratings renal ssance that has IinalIy led the good doctor and his armada 01 fliends and foes to stateside TV. A$ the longest-running tdence-flcdon/fantasy series ever 10 hit television, the BBC-lV production has managed to survive while ocher pr0grams with more money for special effects and big name staB have failed, In a large sense. Dr Who owes Its success to a talented cast: and crew who use creallvlty Instead of ovenipe budgets to create phantasmagoric spacetcape$, Tom Baker and his cohorts have man&ged to carry off scenes IMt
may have otherwise suffered &om Lack of money. While many people see Dr Who as a children's program (as it was originally Intendedl, much 01 the show's EngIlsh audience is made up of adults, and many 01 those adults who watched the series as children are now wlltchlng it with lIleir children Owing to Who's phenomenal success, lune-Ufe has llIIken the first 98 half-hour segmenlS 01 Baker's DoctOf Who lind syndicated them across the U.S In some sections of the country It's being presented In a onat-a-week, half-hour format, while In other areas it can be seen five days a week. sometimes twice a da.y. Meanwhile. back In the U,K., SBC Is currently running the newest series of adventures stllrrlng Baker and his latest companion, Lady Romana (Mary Tamm), a young woman who also happens to be a member 01 the doctOf'S RICe, n.e TIme Lords At present, U,S, audience reaction to the series is overwhelming. thus assuring the doctOf a stateside niche fOf years to come. And If U.S Doctor Who fans feel cheated because they're missing the current U.K. series. nOito worry; eventually the new Who will make his way over. After aD. he does have 011 the time In the universe to make the voyage, II 9
TOM SAVINI:
New Master of Magical Makeup
o"wn ohlM Dead o:mpft>/luomo: 0/ rM _
~, I'd o/l«II"t.,~ ",oIIshc. mob up .,/Jech ...... _" 01'1 1M IC1ftn And unUc jq pn!dlKalOr. Nlgtu of ,1M lktinSl Dud. 0...... "1n/14co1or Rlflhl The dHd lIN Allow 5o<>,n'....,00l'l Daanged
With only four films and over 70 stage productions to his credit, makeup artist, stuntman and actor Tom Sauini is shock filmdom's newest rising star. BY DAVID HUTCHISON
T
om Savini has three faces. He ~
a speciaI·effects makeup
artlSI. actor and stuntman. In
Down of the Drtad. George ROfT1(!ro's sequel 10 Night of the Living Orad. and Savini's most recent fdm d1011. he appears as the motorcycle gang leader, BlMIe. performs various leaps and falls as 011 stunlTnl!n and is responsible for thecrelltlon and execution of the many sUlrdlng special makeup effects for which the film Is rapidly becoming
I.""""
SavinI's first film assignment was Bob Clarke'. Dead oJ Night, followed by Clarke's next fUm, Deranged But he got his real start as /I. stage actor M in fact. says Tom, "I got a telegram from George Romero about doing Down oJ the Dead while I was plllying Phikp at France In II. produdlon of The Lion In
Winter for a theater in North Carolina 1be script for Down soon followed H
the telegram. After Iooklng it OIIeI', SavinI remembers being somewhat !!Iken aback by the sheer quanllty of special makeup effects required, Fur-
thermore, thescriptcal\ed for a number
of effects Nt Sa\. . had no! done before sn*s SaWd.. ··the fun
.Bu:t:
part of what I do is irM'nt!ng IOIlltlOnS 10
rve
such p!obIem$ Fouurnple roe"\Ief chopped the lop of someorw , i'w.xl off with a whirIng heIcopte blade 01'" driven a machee lui force ... to
heild w But such protkm toIvIng 15 Savmh
someone'$
specialty. ''FUm t, a trueIy rMgical medium. 1nere'$ thai blank frame and you. can do anvthrng The audience Is
seeing everythrng through tM eye of the camera YOlL can creale lDuSlon$ ci reality-make people think they've
_............-wen thlOQ5 that they really hllven't bIowmg II guy's head off with
II
"-" "CreaUflg these Illusions lor George RomftO 15 fun, because he likes ~1Iw1g to happen right on camera
If lOmebody IS gomg to have a machete
StUCk through tus head, he doesn't cut away before d'It' blow hll$ lind cut to a shot 01 the bloody rernlllflS He likes the thinS! to hlIppen from beginning to end -the guy picks up the machete, raises II, lhen whop right inlo the head with the blade
and on camera!
MOr the helicopter blade cutting off
the top of the zombie's head. It would have been easy to do a shot with the relll guy SllIndlng next 10 the nelicopter lind cut to a shot 01 the dummy with the chopperblbdeph~$WUnglntothe
dummy'shead. ButGeorgewantedthe real guy to juS!: S!:and up right Into the whirling blade and then whocko, off 1\
-'" Anding actors willing to perform such slunt51s not as difficult as It might seem, For the helicopter shot Savini happened lICTOS.s an old friend he had not seen In a number of years. ~I just ran up to him and asked him if he wanted to be In a
movie, ']'vegotaneffect here, which In, voIves you getting your head chopped off with a he/ic:opter blade.' My friend's response was, 'Yellh, Great!' ~I guess he lJ'USIed me,M reflects Savini. MI've seen the finished film several limes now and the hekopter effect almost always getS IIppllluw Why the lIudience should IIpplllud there I'm not qulle sure. Is if the effect or just the fact thaI a zombie is getting It without our hero having to do anything?"' The first 10 minutes or 50 of the film Is lhe mosItelling. MIt's crammed with eli
Abow: ~I .IH , Tom So~ln; crppr«lc>U. ~ Rom • .o /0< ~ .. IOI{Inf'''9 {!/feeu, no mCllI{!, ho ... gory IMY may loot, 10 k comp/{!/{I/v bcu....,u,Ic TIl .. uplodlng loud oc.n. COrrMl dunng llo.JUm 'l fl..' JO m lnUlel
fects, 1 usually walt for the shotgun sequence. When the guys head gets blown IIJ')o'rt , wkale lludieT'lOl! screams and jumps OUI ol lheir sealS From tMI moment on, the audience kOOW5 It's in for.~ Was Dn effort imide to have the effects appear as gory as possible? - No,says SavinI. '"it just tumed out thai way A Io! of times I would be sitting around with the crew trying to thInk of new ways to kill people Some of the Ideas found lhelr way lnlo the Wm. For example , one of lhe her051s SInIggIing with a zombie janitor. He gets a grip on a screwdriver from the zombie's tool beh and drives the end ol it through his ear and into his brain and It happens right on cameraF SavinI's solution for this sequeoce was simple and ingenious, ~I painted an ordinary soda straw silver and rigged it into a screwdriver that had been cutin half solt~u1d function likea retJaCtabie blade , Then I put a syringe, ~ke a baby's ear syringe, down Into lhe straw, The 'blood' flowed through the straw and looked like it was coming out ol his ear Then ] rigged a second, smaller screwdriver with a baD of wax InIO the actor's ear, 10 it would stay there, sticking out ol his ear, and look like most d the blade was buried in his brain,-There are a lot ol.sequences in which zombies are biting people, ~I guess the bittng effects turned oul bener than I had .eKpected- surprisingly. The crew on the sel even reacted 10 those. Met" Ihe flrsl takes were done In which a zombie takes a bite out of a person and you see tom flesh and flowing bIoOO. there was this king sigh from the crew and then
- In North CaroUna, after I got back from Vietnam (I enlisted In the Army), l became the makeup director for three theaters, I also acted , doing a show every two months for five or six years The more I acted, the better I got, until I was pio!Iying ~ Savini has been seen In a wide variety roles In all kinds of productions, from KIng Arthur In Came/ol to Thoreau In The Night Thoreau Spent I" Ja;1. "] was playing ugly stepsisters In Cinderella or even Charlie BI"OIAIn in VOl/ ·re a Good Man, Charlie Brown. Eventually I came to Pittsburg and auditioned for Came· gie·MeIion Theygave mea fuDscholarship itS an 5Cting major, while I taught thell' makeup course It was 1"1()( king after that [ started with George Romero on Marlin,w Does he like acttng better than makeup? ~Well , the combination has been a great asset, This technical skill I
t.....
...mat
Sa", Sc>ultll 'The /un poll 10 In urumllng -oIUfIonf 10 probl.r .... y"" (On (r{!(N. lIlu.slonl oj ..,crl ll ~ _ mat. ~P/{! _ Ih ln!!, IhCll Ih ~y r{!
applause. People came up to me saying it was the besI: effects they had ever
seen!" Tom Savini's interest In makeup began at age 13 when he happened 10 catch James Cagney In The Man 0/ 1000 Foca- the life story ollhe legen. dary Lon Chaney. "] staned punlng togetheT" my own makeup kit, asking my mother for 1lpsticks, compactS, etc. ] was always up in my room screwing up my face ,- laughs SavinI. "Eventually, ]
started buying books on the sub;ec/, geIting professional materials and Slarted making I1"IOI"Iey al ii,
have asa makeup artist and a 51untman people thai juS! being an actor wouldn't get me," His person Idol Is Dick Smith, whom Savini admires as '"the master and god of prosthetic makeup I've read everything about hIm that's been published. I even studied the photos of his workshop with a magnifying glassF Tom SavinI Is a truely unique combination of talenlS, of whom II would be weD to keep an eye on In the future . As one of the admiring crew members on Down pUIS it, ~I wanl your autograph, you 're going to be famous!" R getS me into places to see
MaHTo: FUTURE LIFE MAGAZINE Bob Mo;:;c.M~, . IIfJ'T. "'" 475 P.n. A _ South
New York, NY 10016 PlHM Mnd me withouI (lNy the lollowlng Bob McC." lilhogr"Ph': MApoIIoVlIlComIngHorN~ - $10-00 K FlrsIMenontt.Moon ~ - $10.00 -sp..Sl:ationOne" - $10.00 fndoMd S2.OO lor poU;9 & h8nd11ng lor
----....
Tot"EndoMd _ _ _
indudMpost~)
...... _---
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--"" don' . . .
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NOTE; .. you nl to cut this COUpOn. -.nil order on HpWilt. JNI9If.
FANGORtA INTERVIEW
Monster No More! ~== By ROSCOE POUND
After over two decades of typecasting, Christopher Lee celebrates his triumphant farewell to monsterdom in this exclusive interoiew.
is face looms meni!ldngly in my memory. FIrst II horrbIy scarred vIs&ge rises
up, like an advanced case
of terminal acne. It Is Christopher Lee, in his first !iJ'OUnclbfeaklng role, as the inhuman monster In Curse enstein.
0/ Frank-
Next came an even more hor-
rible vision: cold red eyes staring out of an inhumanly evil RIce; the thin , white, bloodless lips, dnlwn oul In II bIoodthirstysmlle, revealing two long, sJ'larp, wet
canine
teeth.
[t
is
the
pari
Christopher Lee's American reputation is based 011 . It is II role he returned to eight lima. It Is the Prince of Darkness
himwH. Count Dracula. 0.- shouki [ Slly was, becau5e the . Christopher Lee of 197915 nothing like the brutal rec::oUections anyone who
has
SGlG!n
his performances for
England's Hlimmer StudJo would
•
recall. As the tal!, cultured Brltlsher, now residing in America, creates his Jales role in Arabion Adventure for producer John Dark and director Kevin Connor, other pe:riormllnces supencede his Image as 011 monster IYWIker Ahhough he pl.!ays an evil son;erer In this Arabian Nights fantasy, he displays sud! ready U!lent lind 0b-
-
I
~77
chana to pby
illIDge
nero.
vious breeding thai to pigeon-hole the
man as II horror actor suddenly seems
,
.... "'"
Badt in his dressing room lit England's Pinewood Studios, Christopher Lee. resplendent In his black wizard robes. laughs when his earlier work Is
mmtioned. ~I was unquestionably he eas!ly admits. ~Although , Mogether, horror films only constitute 10 ~t of my entire career, they made such on Impoct thot pe<:lple
type::.a5l,"
automal:icaBy associate me with that kind 01 film, It's because of the success of thai kind of film IIll over the world that I hod to Pl!y the peni!!lty of typecasollg . But, OS, one must suffer to be beall1iful,The acIIlI"s!Jin gives evidence to his sardonk: remarl!., but , fora period of aImosa: 12 yeaJS, II: was no laughing mane!" After the huge mllrk his classic HOfTOr 0/ Drocu.ID made on the genre in 1958, Lee's perionnllnces were rek!gated, i!!lmost exclusively, to the horror genre, even though he did not p\i!ly the vampire role again until 1966. Between f;mg times, he enacted The Mommv In Hammer's 1959 venIon , a vicious oriental villi!lln in The Terror of
the Tongs, a murdering French pirate in The P!rotes of Blood Rluer and many other roles in Eng\i!lnd and elsewhere abroad, all giving new
mellning to the word nasty, "Sadly, at the time," Lee recalls , "I found myself frustrated because castIng, especii!!Ily in Englaond, was extremely conservative, very C!lutlous and enormously competitive. I WllS getting stuck; there was absolutely no question about it. People would make the most fatuous remarks about how they couldn't use Christopher Lee In their mm OOcllUse everyone would think I! was one of those movies. It Wi!lS extremely limited thinking and extremely limiting for me." Unfortunately, an actor's lot dictated to the talented thespian \hilt he must eat, so, with the combined wging of Hammer Studio and a new generation of American horror fans. Lee returned 10 the part which gave him the most notoriety - the worki-famous vampire, Dracula. As he went from Dracola, Prince of Darkness 10 Dracula Has Risen /rom the Grtlue to TIlSie the Blood of Dracola to Scars of Dracula
10 Drocu/o AD 1972 to , finaDy , The Satanic Riles of Droct.da (recently re-released as Count Dracula and his Vampire Bride) , the quality of the series plummeted and Lee's dissatisfaction with his career soared. "You know, I'm not sure my American fans were right In ... let me pull! this way .. proclaiming me the successor to the likes of Karloff and Lugos!. WeD. KarIoff and Lugos! were two giants, so there Is nolhing wrong with being in that company, but lei's be honest, there were a great many more who escaped the horror stigma. 1 would like, if 1may , to add the Immortal name of Lon Chaney, the STelltes! of them aU. Then there was Frederic March, Lionel and John Banymore, Conrad Vledt and others. The list is" enormousl" Enormous, too , was Lee's certainty thllt he would escape the penalty of typecasting sooner or later, Meanwhile, he continued 10 star In features that he may h~ve felt were, on the whole, Inferior. But he never i!IOowed the size of the budget or the talent around him to affect his performance.
He continued 10 deliver the best he could In pictures Ike I, MomteT, The Devil RJda Oul and Hercules In the Haunled World, retIIIed Hen:uJes Ver· IUS
the Vamp/TU 10 capltaHze on Lee',
.....-. Happily, along the way, the actor was also alii. 10 portray tome cA the greatest characters In literature, among them Raspulln, Fu Manchu (In a series cA Hemmer adventures) and the ~at
detective Sherlock Holmes In a Germen film besed on The VCJIIev of F_ _
Lee, the IOn 01 a globe-trotting ambassador, speaks many foreIgn Ianguage:s fluently , making him a popular actor In France, heIy, Germeny and elsewhere. But It was the latterrole, lIS England', greelest private eye, thet was to be espedalIy telling when the year 1970 rolled MOUnd . "I think I am the only ador In history to play both d Holmes' brothers, ~ Lee pronounca proudly. And he hes good. reason 10 be proud, considering whet the periOfmllI'lCC as the secood Holmes brothe-, Mycroft, did for him. "The Prf...- l...I/e of Sherlock HoIma was one 01 the II'105t Important pictures cA my career," the actor explainS, "beceusc It totally broke the ring cA typecesIing
that was beginning to
choke 1M. The role d Mycroft, who, you will remember, Sherlock called 'the braIns oItM fllmllY In the A. Conan Doyle books, totally, unequivocally broke It. I shaI always be enormowly pefuI to BIlly \Wder for casting me. ReeDy, If BIlly WIlder, one d the great directors In the hiSl:OI)' of cinema can say, 'I'm not Interested In whet this ac· tor hoi done, rm only Interested In whether he sub this pM In pictUre,' wei, that's good enough for almost any director In the wOOd," And Indeed, thet rnovI8 Iftmed 10 do the 1r1ck, for whQe It dkin't light any Americ.ao box-offlce ftres, O!ristopher ln's sublequent roles, though SIll
mv
villainous, were c.ads 01 an entirely dlf· ferent 5Ulmp and caliber, Myou go from The Wicker Man, probably one d the finest things rYe done an~ In any fUm, 10 The Three MuskelftrS and The: Four Musketem, two big, hugely popular
16
MONSTER FEVER CATCH IT!
films, then James Bond, plllying The Man With tM Golden Gun. I con-
donic. Scanlolnanga, 007'5 nemai5, was charming. ludfer. In Poor OeuiI, II television film I did, was amusing. So. you. see, there are enormous variations
And enormous rewards as wei. Although stili primarily pegged as •
honor heavy, Lee's repu.tlllion started changing, most noticeably among the
fbc:tIons that had previously ioYed him only as II vampire-the AmerIcan public:. Answering the casting cal 01 Inlll muse, Christopher Lee moved and settled down In CallfornLll. "And what is the first thing rm asked 10 do In America?" Lee asks, relishing the memory. ~O!e a heroic deafh and save everybody In Airport 77 As It turned OUI, I nearly did thai In reaIIty_ You try IIoating by I window I.I~-~ wlter with your eyes open, 90 seconds II I time, over and over. II w~ fi\SY, believe me. Built was worth It Not only was lee mlJCh In demand In thiS country, but after appeartng In two minor science-fiction offerings. End 0/ the World and Star#llp 101.10lions, he found he no longer had to depend on Iow.oodgct genre pictures to Insure hiS livelihood. ~Even tho5e two efforts were largely made on the basis of misconceptions," lee admits. "I was assured certain
very
things tnal weren't lrue. Otherwise, those prodllClkm! relDy are not worth
d _." NOlL a.-c", 10 _
"
_
What.- worth discussing, as far as the.:lOr .... concerned, was his newly formed regard. created by the recenl 'nfuD't of young taIern In Hollywood, the very same people who had en-
..... ... .-., """"' ..............
0/ ... 600 '1 now quote a senior executive of one 01 the mlJQf Amerbn studios, ~ l.ft ded.a_ .. 'You .... now the IUC-
ce.or and ttw only lucc:a5Of to Clal.ldc Rains. Basi Rlthbone and Gcotge Saunders' 1 reckon I'm In prft\I
good company. don't
you
thrIk.' ThanlduIy. ttungs are changing for me and !he industty. A new breed at hioj\Iy knogInattve producers and diredon iI COIIW'IQ
in _..
Ev.dencv ofl...ee·s bdef was a short time In coming A performance that he c:onaders. aD told. the most Important ~has_~tohlm
CJC:CUrTed ... ~ not on My theatrical stage or movie saeen, but on ,,,,,,",,,,,
Mght Lw," Lee reveals. comedy. repeated on the networi< after 11M) 11"KlI"Ih_ The first teIec:asI: got I rating of 36 and the rerun got 33 Of 34 Which means that JOmewhere In the region of 50-55 mi1IIon people saw me do that show_ And they didn't switch off. h was the most important thing that ever happened 10 me beClUSI II showed the AmerIc.arl public and the American film Industry thai 1 am capable at doing comedy. Actual~&.urday
~A
." .......
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20
•
An Amazmg Amazon Adventure Twenly·five years ago, Universal feh the need in unleash a new monster in compete with the Rkes of Dracula and Frankenstein. Delving inin the Amazon jungle, they rome up with The Creatwe &om the Black Lagoon, a finned fury that stalked its prey in 3·D! By SUE ROY and AL TAYLOR
T
he year was 1953 and Un!·
The rest Is soggy history ... history
wnaJ.lnlemational producer WAam AlIand was becoming inauSingIy immeshed In the
worth repelIting.
!iJe. s;JII'ICe-f\cIion boom. The postWorid 0 days of Hollywood was produdng Moon landings, MartIan jn. vaWonI and assorted movie mutants. And Aland wascaught up In the rniddIa crI. Ccmmined to helming the iJn&. ginM:IrIe It. Come from Durn S~ for ~. AIond spent his spare time ~ to corne up with a new celluloid . . b tdence-fictlon films, an angle , . would prove as charismatic for l.IrWenaI In the 50s as their monster . . had during the 30s and early 405. Somehow AIIand had to produce an SF menace thai could stand on Irs (MIn .!ongIide the Iarger.then.llfe legends 01 frankenstein, Dracula and The Wolf. • L _ _ _ _ _ _ _ _ _..J man, Toying with a fairly ambiguous the visual representation of his nightAIT'IIIZOrI River legend. AlIand began to marish denizen of the deep. While envll60n his potential star: part man, working on It Come from Outer Space, part fish, a missing link of lOfts, the de· he assIgn4!d Harry Essex and Arthur scendant of an ancient AfrIcan momter Ross to write the screenplay for the pr0who reigned beneath the waves. posed fUm. In an attempt to prow the With that type of pmonaIity In mind, shock value of his newly formulated AIIc:Ind approeched Bod Watmore, friend, AlIAnd dowed the Creature to then head of Unlversal'J makeup de- make Its screen debut In a twentypMtment, Westmore', ta5k was to come mlnute short entitled Abbot ond up with a coovlndng, tot.ally lentfyIng Cosr.e/lo MRt Ihe Cremure, reIeMed In aaturc that would be worthy 01 lin SF 1953. Thot same year, II Come: from -bock1CripC. Westmore and the team 01 Outer Space proved a box office hit, «It Kevan, Chris Mueller and Bob thus establishing the combination d :-tdanan began 10 work, eventually pnxIuce:r Aland and diredOl" Jack (The UJn*lg up YIith II slimy green creature, Inc:rrcJibkShrlnkingMonl ArnoIdasscihaaialGid In appe¥af1Ce yet rept$an In ence-fidion exponents par exceIanat. !IIftft the gil-man Uniwrsal gIIW the gG-ohead 101" the fIrsI AIInd was enormously pleased with Creature feature to be filmed in 3-0.
w.
Webbed H.nd. In the Sunset The fOlllllzad remains d a web-fln· gered hand II di5coYered by Carl Mala (Antonio Menno) along the banks d the Amazon River_The scientific worid Is astounded by the fInd_ Anthropologills Dr David Reed (Richard Carbon). Dr Marit Wiaams (Richard Denning), Kay Lawrence (JuBa Adams) and Dr . Edwin Thompson (WhIt BIssd) set out with Mala 10 discoYer the seae1 d the mysterious hand and search fOf remainIng skeletal partS. What they di!lcowr Is not ancient remains. but rather the contemporary remaim of Mala's associates, SIrewn about the campsite they had sleodfe.stly been guarding '01" the arriving scientists. Horrtf\ed III they are by lhe mass murder. the anthropologists continue with their mission. Boarding a tramp steamer run by Caplllin Lucas (Ne$lor Paiva). they trudge clown river. LtttIe do they suspect that their every mow Is being watched by an amphllian beast ... a direct descendanl 01 a mighty underwater raoe, a race which the 5dentists COflSM:IeT 10 be long exdnc:t. After a shor1 voyage. the aew
where the 5dentlsts believe -the spot"" '""'" Ugoon, mort fOl5lh will be found. Drs. Reed and \WIiams, donning scuba gear. do some underwater exploring whde Kay optS for some sunbMhing. The Crea· ture, after qulle a few yean; alone in the
"
The swamp·dweiling C~ makes an unupeded appo!arQ1\aI aboard a shlp/u! of dedkoted sd""ristf. Ricou 8""""ln9 play«d lhe ulldetwarer delll..",. Ben Chapman""" the motlIIlerOtl klnd.
lagoon, finds Kay's actions more appealing than the scuba divers' and decides to ogle from afar. When Kay takes a casual dip In the steaming water, the Creature closes the peeping gap a blt, mirroring her every aquatic movement from below in a scene resembling a haunting horrific underwater ballet. The Creature spies on the party unseen until It accidentally entangles itself In the boat's mesh netting. It escapes. Battle lines are drawn-the present vs. the past, human vs. monster in a struggle for survival in the Black l..agoQn. Reed is determined to capture the beast alive in an attempt to study evolutionary processes. Williams, however, wouldn't mind coming back with a Creature carcass. Dead or alive, the Creature will bring fame and fortune to 22
beast (while the Creature, in tum, stalks the scientists), Williams succeeds In spear-gunning it. The monster vents Its anger on " hapless crewman nearby who loses his life at the webbed hands of the gin-man. Once the Creature retreats into lhe murky deplhs of his watery home, the scienlists re-evaluate their strategy. deciding to paralyze the reptilian beast with a shot of "rotonone," a native poison. The glU-man is thus rendered harmless and is Imprisoned in an oversized fish tank onboard the ship. Not one to respect the rules of modem science, the prehistOric beast breaks out of his tranquil state faster than expected. breaks loose from his bonds and seriously injures the dedt-catOO Dr. Thompson. Diving overits captor. Stalking the
board, the Creature finds itself consumed by the primordial desire for revenge. It 5haD retum! In tum, Dr. Reed does some primordial reckoning of his
own, realizing that the best way tolnsure survlvalln the hanle with the beast is to flee the lagoon. The doctor wheels the ship around anempting to leave the accursed waters but finds the way blocked by a 5trategically placed tree. The enormous log is firmly moored across the narrow, and only, exit from the lagoon. The desperate adventurers "ttempt to lift the log out of the waterby using the ship's winch. The Creature, however, unhooks it. Drs. Reed and Williams dive Into the water In an attempt to both rehook the winch and remove the log. WMe Reed struggles with the problems at hand, Williams decides to take one
... undefwatef swipe lit his would·be trophy. The CrYature ckumvents the hW'lMt' and,ln a surprise attack, drowns the SCientist far beneath the surface of the lagoon. T o add Insuh to Injury, the monster leaps aboard the boat, 5fl/It. ct.s Kay and drags Its human mate to an underwater~. Reed. who Is aJso thinking of Kay In romantic terms, dons scuba gear and pursues the fleeing , finned thing. Reed surfaces In the !J"Odo. He spies Kay ~ on a rock. The Creature is n0where to be seen. Speargun In hand, tha scie"tist approaches his love. She's not moving [5 she dead? Reed puts ckrw'n his 5pellfgun and revives the un· CIOnIdous woman. With his weapon out c:l ruth, Reed suddenly becomes ~ of a shadooNy ~rnenl behind
mm. The Crealun!; attacks! Reed
bounces a rock 08 the thlng'schesllnef. fectlVeiy. The Creature lifts the rnan as If he were a toy. Reed slashes helplessly at the beast with a drawn knife, AU seems "'" Thm . A shot rings out. Another. Then an· other. The Creature drops Reed and turns to the abooJe.ground entrance 01 the cave. There stands Captain LI.ICi!IS and his party, armed with rlfIes, The monster weaves betwHn the woman he desires and the exit to the cave. Lucas and his men ~ repeatedly. The bullet·riddled Creature takes one IasI: look at Kay and slowly, palnfuDy, makes his way tothe water. Hedlvesln· to his aquatic habitat, sinking gracefuDy In a tangle ol seaweed to the ocean's floor The Creature, survivor of ceo-
tunes of evolution, is no rrlOfe SIfoyed by modem devices.
de·
The Face Behind the Fins "It was like swimming In your overrecaIs snmlmM/ actor/ dlreclor Rlcou Brownblg, the rnan who played the &lned fury . "They made one sull flrst and It was re;ected,K Thatlnitia1 de, sign turned out 10 be simpler, lighter and leu cumbersome than the one used by Browning, Browning was a Florida State University student when the 8kx:k Logoon film team began scouting for l0cations. Actingasanadvisorforsomeof the 1oca11ocatlon shooting, Browning eventulllIy tried out for the role oIlhe Creature. Dinldor Jack Amok! was impressed II coat ,~
with the boy's SWimming sklhs lind Browning got the underwater role while Ben Chllpman portrayed the Creature on land. Browning WilS surprised &t get-
ting such II prestigious posilion. OrIgInilIly the role of the monster WilS being tailored for Glenn Strange, the charllC· ter ador famous for his monster role In House of Frankenstein and House of Dracula. Strange's aquatic skills, however, proved to be equillly ilS clumsy ilS the Frankenstein monster's and, so, the Iandlubbing lICtor was scratched from considerlltion. There were times during the shooting of the film when Browning wished
Strange had been better at treading water. The young fUm novice found the movie to be &gallery of horrors. He had to Hterally become the Creature. Jack Kevan sprayed II synthetie rubber, ne0prene, over Browning's head In order to sculpt the Creature'sskuU. In the meantime, a complete body cast was being made to serve as a base for Creatwe construction. A mold was later created and the skintight suit was bunt. PIeces had to be tried on the f\edgIIng actor, then taken off, reworked, reappllecl, taken off, reworked, ad Infinitum. The finillly completed Creature suit cost $12,000 bv the end of the ordeal. The finished suit was a one·plece affair, entered through a back opening which zipped and snapped closed. The webbed hands, feet and head were aU separate parts which also zipped and snapped on. "There wasn't room for a fllCe mask under the head appliance, Browning shudders. "In other words, I didn't have the distance from my nose to the monster head to wearone. ,tried to use goggles, but you can't clearwater out of them like you can with a face mask. Also, your vision Is somewhat distorted. I wound up using no underwater protection. I just used my eyes to H
....
'The eye of the Creature, I would guess, sat about an Inch from my own . It was like looking through a keyhole, but from a distance. I was limited In what I could see. One of the most dlfflcult things WilS trying to see where I was gaing while attempting to maneuver." The Creature's movements were also Impaired by the addition of lead chest, leg and waist pieces designed to keep the buoyant latex suit submerged. ~ It was aD difficult swimming," Browning st<'otes, "but' had excellent safety men . I depended on them for my air. We used an air hose slmUar 10 the ones used lit Wiki WakI Sprlngs for their underwater shooNs. There wasn't enough room to puta tank and &n Aqua-lung in my suit.
"
Where .. He Now? t's been 25 years since the gill-man made his first appearance on the Iscreen. Now, decades after his stardom, where is the latex rubber prehistoric beast? Just where he belongs: In Fony Ackerman's massive SF collection in Los Angeles. How Fony came to be the Creature's keeper, however, Is qwte alale. ~After the last movie of the series," Forry recounts, "Universal threw out the suit. A janitor found it and thought, 'Gee, my kid would like this: He brought it home to his son who used It for Halloween. When he got tired of I!:. he sold It to a neighborhood boy fOf $5l When I found out about this , called up theboyandsaid, 'Hey kid, how'dya.&ke to double your investment?' He laughed and said that he'd like to keep thesult fOf himself but, as soon ilS he got !ired of it, he'd give it to me for free . WeD, I sweated for a year or so but, sure enough, he showed up one day out of the blue with the suit. He gave II: to me for the collection. [I's still here in perfea condition. ~ R Once In the water, my head appliance became skintight. But It was pliable_HI overacted, distorting my head m0vements, the face seemed to move with me. I &Iso had a squeeze bulb to v.rork the Creature's gills above the throat." The &ctu.al shooting of the film c.alIed for entire days to be spent underwater_ Director Arnold attempted to work In ilS shallow a body of water as possible, but there were always dangers. '" would start the scene breathing from the air hose through the actual mouth of the Creature," Browning relates. ~ [ would then do the scene or the swim-through and &safety man would pick me up on the other side and give me air. H , just went bmp and relaxed, then they knew 10 give me air immediately. They were aU very good people. I knew I could de· pend on them." When the perils of the deep weren't pktgulng the battered Browning, he was assaulted by the above-water world. In between scenes, the latex-encased athlete would often have to stand for long stretches In the hot Sun while the crew set up. The scaly skin would tum into a sweat suit as a result. After toughing it out In the humid weather, Browning would then eagerly dive Into his next water-logged scene ... with sometimes surprising results. "During the shooting done In the winter, the water temperature Wl\S just a little bit too cool for cool-
Ing off You never had a happy
medium _Ii was just a matter of getting
!he job done _ I remember one time when we were shooMg at Wakulla Springs and everyone was trying to be Yefy nke to me when [came out of the
water because
it was
such a struggle.
They'd fjVe me a little shot of brandy. lhen ~ got too nice and I was getting til few too many shots of brandy. I had 10 cut It out before we had
wen.
one drunk Creature down there!" Despit the grueling shooting schedule of The Crearure, Browning and the crew had !heir share of humorous incidents too. At one point, in fact, the Creature got Into (I. tug-of-war with one
of nature's real-life water dweHers. "We
were shooting (I. scene at Marineland."
Browning says. "I had just gotten down to the bottom when I felt somethIng tug-gig at my ~. I thought it was one of the guysckNming around at first , but then I saw a tw1Ie swimming away witn my Creature fOOl! This turtle had bitten off the heel of the foat. We were at the ~ where IoIo.'e didn't have any extra feet so Jack Kevo.n and another guy chased the turtle down and got the piece back. Released In 1954 In the expensive, Polaroid 3-D process. The Creature from the Black Lagoon proved a boxrwn linll~d on page 48/
•
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B
ack In 1941 . hapless Lany
Tabot (Lon Chaney Jr.) listened WIth dread to the Tran-
sylvanlan poem thai predlcled tus destmy _ TaboI, after a nenx banJe with an ominous wolf. became one of Univena! Pk:ture's biggest nom:. stars .. The Wolfman. A IC!ries of pctures featuring Chaney as th. Iyc-anihropot ~ in the! 40s before th£ Egend lapsed Into disuse for t..... . - t three d«aM,. rearing its kead for such oc:casionaI thrillers as I Was a Teenage Werewolf, Curse of lhe Wnewolj lIOnel Werewol/ In a Girl'.
llonnwy. Now. the
~
legend in aD its
Goduc solen... • bad< "" Earl
Owensby's The Wolfman. a tale of Ie!"TOt that rransplants the Transylvanian borror Inlo 1910 GeorgIa. Descrbed M ~a ~matic study In cIMsic horru ," the film folJooNs the m!sadventures of CoOn GIugow (Earl Oweruby) • • 5llIIwart lad who becomes heir to the ~Devlfs
The New Wolftnan Grits and Growls 0 mon who Is pure of heort And says his proyel'1' by night
"Even
May become
0
wolf when the
woIjbo~And !he moon ill fuJ and bright •.
By TERRY MCGINNIS
Curx."
Colin's father. on his deathbed, is stabbed to death by the sIIver-daggerwielding R.. Leoowd (Ed L G,ody). v.rhaIe blase rel.suves look on. AnMng for the funeral , ~ Is Informed by okf fr1ends that the Glasgow family Is family attorney Ewan Rowe that flOW hated by the citizens at the nearby GIasgov.r Sr. died of a heart attack. vtJt.age. They.are suspected at e.anyb'lg AI the family manor, ColIn Is oYeJ- a famdy CUrM that has resulted In the whelmed by the strange demeanor of violent death of many townspeople. thI: household. He Is greeted by the To the logical Colin, all this td at supersl!tion and insanity makes no ~ fomlly butlu, Luthor (VIctor He breaks Into his Srnth), who is a Jeu.thon~ sense grandmother's room .and finds her sII· typI: . Uncle Clement (Richard Ded· mon) and Aunt EIr.abeth (Maggie ting, re!.axed, and perlecdy he.althy. She warns him that there Is a curse lautem') are slightly deranged In the head area lind Grandmother (Helene on the Glasgow family ... the curse Tryon) Is $0 far 'round the bend men- of the werewolf! Colin's father was a z.Iy that she Is kept In II locked lycanthrope and, flOW, ColIn Is doombec:hoom upstairs. ed as well. She tells the skepdc.aI ColIn AJ. the funeral, meets Lynn to dig up his father's 9'8ve for cor1m roboraDon. He1 see the mark at the ci'Mooc
_ _eo...R_.
""'""
eo...
The following evening, ColIn Is transformed into a werewolf 1he curse has continued. TIme passes As the vtctIms at the wolfman's lust for flesh mount In the nearby village. ColIn pleads with Lynn .and friendly Dr . Tate (SId Ranccr) to help hlm md the curse. Before their unbelieving eyes. he turns Into a wolfman The next day, Tate and Lynn confirm the fad: that Coln has been murdering local residents under the CWM at the lycanthrope. They surmise that the curse Is the work 01. Reverend Leonard, who Is not a man of the doth but, In reality, a disdpIe of the devf. Tate, Lynn and Co~n vow to flnd Leonard and end the CUI'$e . At this point, kowever, a Ioc.aI posse enters . the S«me, with bloodhounds braying. Colin attemptS to escape, but Is cornered .and captured. In )all, ~ tdls his woIrnon story while Tate and Lynn comer Rev. Leonard In his secluded hideout miles away. As dusk approaches, I...eon.atd stabs Tate and kidnaps Lynn. He II g0Ing to kill the only people who know the truth obout his secret life. Back at the poke station, Coan fmlshes his tale of woe. The c.aptain teas one of his men to find Rev. Leonard for questioning. The offlce:r says he saw the reverend and Lynn headed fOl' the mansion . A strange look appears on Colin's face . He jumps up, knoddng his Cilplors out at the WlIY, .and flees the police station, the police In pursuiI:. At the manor, Leonard piaN to kill Lynn. ColIn sprints through the woods, heading for the homestead. Rev. Leonard raises his knife. Colin reaches the house. The Sun sets. The IuD Moon emerges from behind the douds. The police make thft way onto the Glasgow grounds ... Sufftce to say that the grand finale to this Iow-budgeted. high-spirited film Is a howl; something that Lon Chaney would appreciate and lycanthrope lovers worldwide will relish. 1979's answer to the classic horror films cl decades ago w\II not disappoint vintage vIoIenoe fans. In an era of Concorde jets, germ warfare and super-scientific .achievement, there's stili nothing more awesome than the unleashed poweI" of The WoIfmon . II 27
THE AMITYVILLE HORROR: REAL OR REEL?
B ~dream
y day, a warm comfortable· looking residence in sylvan setting in the smaU community
of Amityville. LI But the house which the LuRes bought H
for a song becomes a leering monster at night. The horrifying house Is the starol
American International's new thriller, The Amityville Horror. based on the non-fiction best-seller of the same name by Jay Anson. Starring James Brolin, Margot Kidder and Rod Steiger. Ho"or is directed by Stuart Rosenberg Irom a screenplay by Sandor Stem.
'n"
T rupped h"m" ""pposed/v _ d by Q murd.. ..,,,•. ghOoUIy p""""ce. ,I, .. Luu family und"'goelchanges. Top 01 P
(he hoUK 01 all hell breab 100M RighI: Margo! KJdIk ... mod.. up Jot a pl'etn
~U!",1Iy
•
Abo"e, Kldderdown.o belween 10k,... In In,..unt. th. yOllng womOn oj Ihe nOllse. Kalhleen Lilli. III drolned 0/ her yo 11th by Ihe pow ... o! her nome. Left , The hOllse of horror lIself. u.escen. oj a mll/llpl. mllrd.. In real !Ife, Ih. LIlIZef mOlit'd InlOlh.lr dream ;'0"" In o,.c.mbero/ 1975. Tom>f!nled by a se,w oj InupJJcobJt eutnu ond cono'need thOllh .. lt hom • ..,," poNUIl'd by ."II.plrlU. In.. L ..u /om!'" fled few Ihelr n",. after jllll28dIlY' In ,h. ho ...... Below left, Behind Ih. bose1lW!nI Wt. Bebw, Rod Sieigo'r II Flllh .. £>o,lonev. !he ITO
Twenty-live Years with Godzilla
I
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I A qu-.. of a century ago, Japan unearthed a Ii/anic radioactive reptile and a _ was born ... and reborn over a period of 25 yeo7S, in 15 motion pictures. Here, for the first fime, ~ the in·depth history of The King of the Monsle7s ... Goc:ImJa. By ED GODZISZEWSKI
T
here are very few fans of
science fiction aoo fantasy who are unfamiliar with the name of "GodzIBa." Japan's most popular and durable monster. GodzIDa has appeared In no \ess than 15 Toho feature films, II numberoflV programs and has launched a flood of toys, doIk, games and ~ed
....."""'"'_.
zIBa's later monster-Met! ftIrnt have pr0ven ideal. WhJe the two fadions 01 fan.. dam argue about wNch GotkIIa lit the -...r I
lumbers onward WI moW! attar rnovw, c.artyIng on II screen ndItIon that dales back 10 1954 In that year. the Toho MotIon Pk;. tun! Company produced II Nm caIed GoIro; theb- answer to the popular Amerlcan film , The &ostfrom 20,000 Fathom. . SpecIal effects aeated by the
The r&
10
an American reporter and some English-speaking Japanese actors as weD as a smaD amount of dubbing. G
uxd. By shooting much of lhe. monster footage of this bIad\·and while film as night scenes, director Honda was able 10 cnlale an eerie almosphere, and Tsuburaya was able to conceal some. defects in his specilIl ef·
f_.
Following the h""" '"""" 0/ Go· ]ira,
Toho
Gvokushu
produced Gojira No In 1955. The film was
released In lhe u.s. four years later as Gigontis, 1M FIre. MOl1SU!r by Warner Bn:.then Wamer chose to rename GodziIIa rather than purchase the right 10 use Ihat name . The film lolows the running LattJe between Glgantls (since the original GodziIIa WllS killed, this monster was yet 4IlOlher of the $arne. species and would appear In aD the subsequent movies In the series) lind Angurus, II multi-spined creature later to be dulXled Angllas. Godzilla / Glgantls wins and Is !;,ter killed in an icy avalanche . Gigontis proved an odd GodziIIa film In more ways than one. Instead of using Masaru SlIto', original !ICOfe, Warner substituted some rather lackluster themes from Kral105 and The DeersSayer. The quality of the spedaI effects was exceJIent, but certain battles were. projected onto the. screen 0' OCCCiefO,ed speeds, Ihus detracting from the rea6sm. The GodziIIa suit was
also a different model than the original movie's. with Godzilla appearing II bit taDer and thinner In the arm and legarea The dubbing, handled by Hugo Grtmaldl for Warner, was of the baIgaln-basemenl variety. The King of the Monsters made a technicolor comeback In 1962 via Toho's King Kong Vs Godzjlia (Klngu Kongu Tai Go;ro) , the first color and wIde:scrttn GodziIIa feature . While endawed 1Nith some fine effects, the movie's real downfall owes to Toho's decision to Ileat the fllm humorously. Kong Is found alive on Faro Island by '" 1V crew and Is drugged and floated back to Japan on a raft. En route, he escapes and heads for Japan on his own. Godzilla simultaneously escapes from his Ice. tomb and begins leveling Nippon independently. The. two monsters meet, and after a series of tag-team matches, tumble from MI. Fujl into the sea below. Kong swims off. Godzilla slips Into a deep sleep on the ocean floor. Returning to a serious approach, Toho produced what Is probably the best of lhe God1;iIa series In 1964GodzIIIa Vs. 1M Thing (Mosuro Tai Gopa) Everything aboul the film worked, from special effects to plotting to dubbing. FoDowIng a hunicane of astounding force , Japan finds two alien ob;ects washed up on Its shores: a large egg belonging to Mothra (the gigantic MOIh of Infant Island) and GodziIIa. Godzilla begins his usua.l hobby of destruction. Tworeporlers and asdenlist travel to Inlant bland to enlist the aid of Mothnr. in battling GodziIIa. Mothra )oumeys to Japan to do battle
lind Is killed by GodziIIa. Her egg. however, hatches lind two caterpillars emerge, eventually overpowering GodziDa with their webs of silken cocoons. It 15 no coinc:ldence that Godzilla reached his artistic peak In a film where he was his most evil. The Godzilla suit used was perhaps the. best ever designed - a deep charcoal gray (GodztlIa was never green in any film , contrary 10 popular belief). perlecdy proportioneCl, with a large dorsal fln lind a fierce-looking face , highlighted by pronounced eyebrows and menlldng eyes. Next in the. series was 1964's GhidToh, the Thru-Heoded Monster (Sondaikoiju Chljo Soldo Ina Ke_n) . Here, Godzilla began his transforma· lion into a Mhero, ~ although he remain· ed a villain 101" most of the film A meteor spews a gigantic firebaD which gives birth to the flying dragon , Ghldrah. Simultaneously, GodzItia and Rodan (a winged creature first seen In 1956's Rodan, the flying Monster) appear In Japan lor a series of duels. Ghidrah begins its destructive path iIlOUnd the wodd. The larva Mothra Is summoned by the Aelinas (two tiny girls lelepathically hnked to Mothra) to Intervene In the battle /)e.. tween GodziIIa and Redan and persuade them to join forces against lhe allen inv~. Ghldrah . Failing In her mission , Mothra 5eI5 off alone to fight ABOUT Til e ~"":Jt , A roIo
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Ghidrah. rather unsuccessiuUy. God· zUIa and Rodan reconsider and SOOfI ,loin Mothra in the fight for Earth's sur· viv~ . Motlva climbs atop Rodan's back and, with God2ilIa holding Gl'Udrah at bay. 1M twoJome launch a dive· bomber attack with Mothra firing her silken webbing. Defeated, Ghidnlh flies bock 1010 space.
One 01 Ghldruh's hlghpolnb was Toho's excellent effects. Ghidrah 1 _ named KJng GhidoBhl. WN, In mon~er tenns, a testimony 10 Toho's craftsmanship. Though SlID an actor In a suil , Ghldrah's three heads and two tails were manipulated from ~itd by unnoticei:lble wires, while the wblgs were mechanically operated.
Aside from some slightly altered fadlill features, GodzIIIa appeared much the same as In the previous rum. A mechlanical puppet of Godz1IIa , with movable but ralh~ oddly focused eyu, was used lor extreme long shots. os weD as 10f" cloM~ups of the atomk: breath scenes. At this point In lime. Godz!IIa's stateside future began to grow shaky with $Orne 01 tus films being loa for years. Following the succe-. 01 Ghidroh , Toho released MolUUT Zero
The movie concerns the plight of the clti2ens 01 P\anet X ... an allegedly peaceful folk cunently being threaten· ed by Monster Zero. alias King
Ghodofah, alias Ghidrah. With Earth's pennission, the X people take Godz!IIa and Rodan to their planet to fight the monster. In actuality, lhe entire trip Is an alien trIdt. aIowing the aliens 10
M1,ya.
Japanese giants and launch a three· pronged monster attack lIgoIIinsI Earth. Sound waves eventually destroy the Invaders and their control devices, at which point GodziIIa and Rodan revert back to enemy status. They fight each other and faD into the sea while Ghidrah escapes into space. GodzilIa's next appearance ocx:uned In 1966 In Godzj/Ja V,. The Sea MolUUT (Nanlchl No Dalketto) , a rum whlc:h never saw stateside theatrical release but, rather. was sold directly to 1V by American international PIctures. Sea MoNter was the flnI: 01 two con· MCUtive ftlms wherein director Honda and muslc:al director lfukube were replaced by Jun Fukuda and Masaru
The nexl GodziIIa film , De5troy AR Monsler$ (Kaiju $o5hlngeld , 1968), was a landmark film for a number 01 reasons. Aside from rnaridng the return of Honda and lfukube, the movie WM the last GodzIBa film made
SaIO.
1965. Marking the last film appearance 01 Nick Adams, the movie wasn't seen in the States until 1970, released on a double bill with
adventurers di:5eov0" a sleeping God-
"
w.... oj /he Cargo",...,..
of a series of United Nations weather control experiments on tiny 5oge1 Island which CIIUse a series 01 gigantic: insects and plants to prosper Also on the island Is a huge egg which hatches Mlnya , GodzIDa's son GodziJIa and Jr defeat Spiga, a giant spider, M a sec;:one! weather experiment succeeds In lowering temperatures on the island, eventually turning it Into an icy hibernation haven for GodzIIla and $On Aside from being slanted for small· fry audiences, the main fauk 01 Son lies In Its characterizallon 01 God2:iDa as a humanlike parent lIgure. Ahhough this lent the film a certain chann and appeal, Fukuda's Insistence on por. traying monsters lIS "people" came off, for the most part, M foolish. The God· zilla suit used WM probably the worst to date, the head was smaD and stubby and lhe eyes were al haH·mast, creat· Ing a comatose k:Iok on The King of the Monsters. AD these c\esign$ were probably the direct result of Toho altempting 10 make GodzIBa facially reo semble his pug·nosed offspring,
gain mental control over the two
A SJOUP 01 adventurers are shipwrecked on the isJ",nd of Letchi, a base for a secret military organization bent on wOOd conquest. Enslaved on the island is a group 01 natives from Infant Island, kept in place by the lsIand's guardian. the lobster Ebirah. The
(Koiju Doisenso, abo released In the U.S. as Inuoslon of 1M AstroI) in
zilla and, waking him, set him loose on the base . GochIIia destroys the military outpost and Mothra arrlYes to rescue her native worshippers Godzilla destroys Ebirah. Mothra and GodziIa spar, but everyone escapes from the island just before It Is consumed by a nuclear holocaust 1967's Son 0/ GodDIIa (Gojfro No Musoko) was the second fUm 01 the series to be saki directly to 1V k told
by Toho in a serious manner. It broughltogether 11 of TotIo's greatest
Glgontfs) , Manda (the giant sea snake from Atrogon) , Gorosaurus (the dinosaur from King K0Il9 £SCOpes) , Baragon (a subterranean monster from Frankenstein Conquers the World) . Varan (a four·legged, fh;Ing reptile from Varon, The Unbelievable) , Minya, SpIga and KIng Ghklorah. This was also the last complete GodziIa feature for which Tsuburaya served as spedaI.effects directOf. The film takes place In 1999. when aI of Earth's monsters have been col· lected and confined on Ogasawara Island for security and SCientific
research PUrpo5eS. The Kilaak , aliens
from ~, gain mental control of the
monsIen and attempt to oooquer Earth through commands lent out
from their Moon base. The aew of EorthohIp SY·3 ........ ... KIlaok base and Earth Idrmtlsts regain control of the monsIers, turning them agoImt the KIlaak headquarters at the base oJ. MI. FUJ. The KlIaaks call on Ghldorah to SlIve the day, but the thrM-headed hon'Or Is sIlIughtered by the united ler-
ran fTlOf\St/lf front. The final battle wtth Ghldorah was
O>«dontly _ , _
when
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one c:ontIden the requirements: II vast array of wirvs to Invisilly control Ghidorllh's heads and the tails of all ; tI'w! oth0 monsters, the coordtnallon eX I
aD explosion and 01 wind the ;"".,.". d&,1ty deffects, _ '"and >don In monster suits wHh
IL~:::=~~~~~~~~~~~~~~~~~~~J
restricted vI5IbIIIty.
GcxUllla's Revenge (Oru Ja/Ju ~Id'.
filmed In 1969 and In 1971, Waf sup-
released In the U.S.
posedly In production when effects master Tsuburaya passed away, II fact which rmoy account fOf the heavy use
of stcx.k footage from Son 0/ GodziIJo
and GoddIo v•. II>. Sea Mon&Utr. The film essentially deals with II young boy who drums of going to Monster Island where he meets and chats with God· zIDa's sao, Minya. Using Ies50ns learn-
ed from watching Mlnya overcome ill bully mQn5l2r named Goborah, the boy outwits and captures some Inept thieves and triumphs over the JocaI bu.Dy. If viewed IlrictIy as entertalnmen! for pre-khoolers. Reveoge was II
~ wd·~
serious GoddIa fans, however, the movie was and II bitter pili to swalow. film . The FOf few orig!naI effects ICenes shot for the movie went up to par. but when combfned with the stock footage, the use 01 different GochiIIa suits from scene to Kene wa. polnfully obvtous.
made II minor comeback from the depths of Revenge. In this one, coastal dt!es are lerror1zed by Hedcn.h, II monster spawned from sludge.
H"""'h tw ... obtI!y to " " - " shape Into two forms: one that flies (emttttng II sulphuR:: IICId mlst In Its wake) lind one that ItIIks the land " UJXlihl. GodzIIa eventualy kIIs the beast by holding the monster between
I
huge electrodes "'''''''.body. The two
which dehydrate
movie had qulle a few ~
!able moments for die-hard Godz!IIa fans, including the lizard's new flying ability wherein GodzIIIa tucks his tai hoPt..-n hk • lind propels hlrmef dvough the air with his lltomlc breth.
Insane Earth Jdmti!t. The aliens have Rlved the Me of the ldentlst', daughter. rep&aalg many of her Internal organs with bionic parts as wei as integrating the oontro/ mechanism for the newly rafurbished MechagodDlla nto her body. Mec:hagod.dIIa 2, even more powerful than tho _ . oM ChJtano. 5OUNS, II monster who can create ~ WIth hb tall, are unleashed upon the warid. Gcx\zfII!I finds hlmxf outmatched by the two 1M! bea.sIs.
However. the !dentist's daughter comSUiCide In order to destroy the
rruI$
control dev1ce. thus giving God2& the
M~. ChkanoMUlUI II kIBed by II .onIc cannon deWed by Earth 5Cientistl. A numb. 01 posIdve factors helped nriM this lim above the level of most of the 70. Cforts, most notably, Improved spedaI eff8Ctl and II st!n1ng ICOrt! by
"""" to _
Ifukubo Wkh the
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IUCCeI5 the CInema Shares. God.zIIa's releasing company sinCe Momw Wand. has experienced WIIh 1M Japanese series In recent
....... ....." G, _ " " . ' - ' 01 cornpw!y, has seen fit 10 Invest money In !he next film 1 0 " GodzIb,
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the
"', ..." __ ......".. , "'" 01. In I#.- a:enII from ~ V.. !hi c-nIe Mer.- ~~~VI the8ionle Mor-.IItIIiI ..............
set 10 be released In 1979 In Japan. The 81m wi have II budget of over S4 mAon and an American u.iII \Nrita the ~ Tho ~ ,.,. 01 tho film is Gqira Tal Drbiru, or GodJiIIa V,. tho """,, In 1m. Toho aonounoed that they would produce Rebirth of GcxUtBa, a
$pedal effects were also below par, In OM JCeI'Wi! , the wire manipulating GodzID,a's tall was dearly visible- a mistake previously never committed In a Toho RIm . Smog Momtn was the first of three rums to fo8ow the formula of a small child as a rlUIln human chanscter and Godz!ILa playing super-hero defender of Earth .
1972', GoJra Tol GoIgan didn't reach the U .S. until 1978 where II. mel nrleaM as GodIiIJo on Momtcr &.land. In this .Roo, dens unleash Ggim and Ghldorah Wi a plan of world domination. GcxizIBa and Angilas vacation from Monster Island to COfIfront and defeat the Invaders. In 1973, Toho and Elm col1Iborated on Gocbdo us. MegoIorI (Goj;ra T01 Megoro}, a new low In the series that earned the film the title GoddIIa v,. the Stock Footage In tome fan circles. DIrector Fukuda decided to pIlIy thll battll (the underwater Seatop/.an', monstenl Megalon and Gigan vs. cyborg Jet Jaguar and GodDIa) for laughl and had GocbiIIa performing running ~ and tallIIIda and various wires Intruding on thl fight scenes. WhIle the other monster suits were wen-daigned for this
.
film , GocbiIIa', outfit was an artistic disaster; smaJI and simply detailed, wtth a hideous pushed-In face and overgrown eyes that gave Godz!Ia a "'playful" look. Megalon reoc:hed, America', shon!s In 1976. GodziIIa began an asthetIc c0meback In 1974 with GojIro Tal Mekago}inJ, orIgInaIy released In 1977 In the U.S. as GodIiJg V.. /he Bionic Monster. Whm UniYerMI StudioI, the
f.
responst,Ie for both the SIx Milan Dolor Man and the BionIc Woman, Itnatened to sue Cinema Shares Releasing 0IIeI' the litle, the movie was quickly redubbed GodJiIJa us. the COIInic MOfIIter. In thls adventure, aliens try to take OYer Earth using a mechanical GoddIa. The ~ '"'"' • -.. .. me ..... by Klng Seesar, the protector of OkInawa (a monster best descrbed as an over· grown cocker spiIonlel) . Revenge 0/ Muhagod.llla l.MekogoJlra No GVOkuthu, 1976) knoI.lrn In the states currently as Terror 0/ GoddIo, was given II booIt by the rerum of Honda and Hukube to the GodzIIIa team. A&ms recover the ."..-.d hhd of MechagodzUIa and rebulkI the monster with the aid of an
~ 01 tt.. original GojIr-o However, Rebfnh was quk:kly canceled In favor 01 Dellil. With the tone of the GodzIa series improving IIIilh each subMqucrn reIeaw al late, arudous fans eagerly ........ the outcome of this
color
JapaneM:-t'\me1aIn prodUCtIOn. Wl* no one is IUl8 INhat the plot wII Mltail, II: IMITIS ceui'I that the !TICMe wII reach Amer1cAn audiences much more
quiCkly than past Japanese fUm. of lhe 70s because of !he Cinema Shares In· '''....m..\I. Whatever the futwe may hold for The KIng of the Monsters, II Is sure thai GodzIIa, one of the mosI popular and prolltabI. Nm properties In the wend, will continue 10 star In Toho monster epics for years 10 Cl:IITIe. Today, as
they dkI 2S years ago, his legions of loyal fanl, boch young and old, anxIously anticipate hl5 next klmbertng lIP'" ~ on the . . «nHm ; eyes glowing and I:nath exploding far above II lentfled .kIpM, GoJiro . tM once and future king
of Japenae monster/ heroes.
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AOOR~
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~~~~~~ ''' ~~- : AMOUNT ENCLOSED S
REDMAN'S
REVENGE
or, Mother Nature Strikes Back The Parallel Paths of Two SOCially Significant Shockers Ir::An desert. Youngman and his white
girlfriend. health seMee nurse Anne
0iII0n (Kathryn Hll1TOIdl. both have cause for concem when first ca"1e and then people tum up mulilated u if attacked by some unknown beast. An English b6oIogisI:. Hayden Payne (Dllvid Wamer),1s aware IMllne beast In question Is actually a ho«Ie of rabid vampire bets that were responsible for Ihv death of hls father In Mexico some yoe.m before. Payne has been following themlgratorybeastsewrsince, Payne. who wants to gain penonal retribution against the creatures. arranges with tribal leader Walker Chee (Stephen Macht) to keep the bats' presence In the aree seaef Chee Is orudoUs to hide the
By BOB MARTIN
A
n ancient Indian legend ...
an aging and haIf-crazed Indian Sage a virgin wOdemaa daecraled by the while man's greed .. and nature's ghastly retribution, AD of these are shared elements In two recent bestselllng novtis, Martin CnQ; Smith's Nighlwlng. and Prophecy by the auttxxofThe Omen, DavidSeItzer. To stretch coInddence a bit further, hoch Me now mojor feature films, opening this summer. In Nigh/wing, Youngman Durling
(Nick MlIflCUiO) Is 1I MasktIl Indian, a trlbaJ deputy whose jurisdiCtion extends over II large stretch of New Mex-
situation from fellow bibesmen and from his white busineu assodate5 as he
works out a sensitive deal for the reser-
yadon 'J mifwral rights 1ne C(lI'15piracy
ofsilence leaves Youngman and Dillon bedng .,-a unknown tenor at the eleventh hour. Prophecv's simtIer Mory Is buttresli«i
by a stronger romanllc sub-plot and tome
pu-.sBeb
10 0 r...:ent "",ok>gk;ol
Nlghlwing', fright com~. In 1m./OFrn of b'lI" gont!' grnot os IIolh onlrng/, gnd
peopk me/ound mudloled. Left gnd belo"" 7he Bgts deK~"d &10"" Hgyd~" PQ~"e, ",hasefgtne. ",g. killed by the beg!!., I"vesllgateo the lOurc~ 01 the /lyl"g ,vii
Cblb$!roph.. (.h e mereu'Y poisoning
of a Japanese community numbering 100,000) .. I" The Chino Syndrome. BobVem (Robert Foxworth) Isayoung SCientist assigned by the Environmental Protection Agency to investigale a dispule thai has arisen betweaJ an Indian
bib.. and a lumber mill located In the forestlands of Maine. Upon their arrival in thetroublespot, Roband his pregnant wife Maggie ffalia Shire) learn of a series of mysterious deaths that the 10caI whites blame on "drunk Indians." With the aid of a young Indian rebel named Hawks (Armand Assante), Rob learns thai Ihe' plant's wastes have caused widespread mutations in the area, In· cludlng a ghastly creature responsible for the deaths. Both films depend heavUy upon me· chanical effects for their shock value, Nigh/wing's host 01 rabid bats were de· signed by Carlo Rtmbaldi, whose mechanical creatwes for King Kong and Close Encounters 0/ the Third Kind have been widely publicized. Prophecy boasts a multitude of mechanized mutants designed and built by Thomas and Ems Burma.n a.nd Edouard Henrigues 01 Burman Studios, a team whose previous aliens and grotesqueries have graced such productions as The Manitou and Close Encounters, as weD as the made·for-lV fUm Gargoyles. The most remarkable symptom of Hollywood think·allke shows up in the casting of the tribal elder In each film -in both instmces an Indian mystic who sees the strange events as the fulfillment of ancient prophecies, lind who even· tually dies, a vlctlm of his own faith . Both Nightwing's Abner and Proph· ecy's M'rai are played with austere authenticity by a Canadian Indian character actor, George Clulesi. A
In TIM She CNlatun, ~o-_t--J
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FANGORIA INTERVIEW
Alex Gordon
The Deadly "8"s Alex Gordon ~JIs that, in the days of the classic "B" horror movies, half of the shock was going on behind the camera!
ProdUCtlT
.s . .
By JOHN HOXLEY fiction .ncI f."tMy 'POD
big doIIan In todaY. Hollywood, Producers, dlr9c:lonl and studios agree thai pouring
IT'IOI'e
money Into an
SF production
during shooting Inc:rea5es the amounl of cash POUred bad! at the box office
once the film Is completed, AI a reslh, """"'" '" .. upa>mlng
films are.
SF·'.....,
soaring, with mIiom cA dollars t.Ing added to tM Idrty as the movies roI ever onward
Twenty-ftw: yean ago. however, theR was a time when moYM: studioI simply didn'l believe ~ big budgets for thU SF-fantasy efforts_ In fact , they went oul 01 theW way to wrhhold I'I'I()Oe)' &om the producdonl, 6gumg that the hom:w movie crowd would go to ' " practIcaIy anything with a .w.zy tile, DurIng this era, It was up 10 a hanclfuI 01 aeatIve producers and cbrectors to come up with K~ stories 01 imagination and terror while operating wtth mlooecoplc budgets, One 0I1he guiding ~Is dumg the .,my 50s Mrrage of fantasy ~B" movies WM A1ex Gordon, who served /IS produa:r on such varied flights of
fancy " 11>< Dov the World rOOM, The She,Ototurt, Voodoo Woman and Atomic Submarine , Surrounded by I' conlemporary film world of megamIIon-doilar epics. Gordon chlJCkles, fondly recaIIng the "bad ok! days," '11 _ a wonderful tchooI for many olu&." he says, "You would
~
to
1m an enllre sdence-fIcdon 'epic' In I' _-day period end lhe:n ' , , go onto a PredIIon timing and total ~ was required I thInlI, • Imes, tho", Iaddng In today'. w~ ,
-"
~
T
Gc:.don
_IoU
that the <*:I
.... __ hard work. they \llel'e
Prod_ II.,.. Gordon pota ..." ol 1>01/ tIM c........~ of /"" "S ·, _ tIM ,"fnlocuS. budgelltlf
also a 101: 01 fun , "Things got 10 CfIIlY al limes,· he confesses, "thai you would forget It was a job." BrItIsh·born Gordon became interested In !dencc fiction and hon-or while stili a youngster In England, haunting the Infamous Saturday-afternoon matinees. Both he and his filmmaking brother Richard anived In the States In 1947. eager to break Into stateside show tiz.. After a short stint M Gene Autry's roadshow pubktst, Alex settled In Los Angeles, seeklng W(Iri( In film fantastic.
'1 got Involved with a 1ow-budgei Western known as the l..awltsr RIder," he remembers, ~and then 1NfOIe III ICJ1pt for BeI.a Lugosi called KIng
Robot. When that didn't pan out, I wrote anothef tcript called The Atomic MonllV. Eventually, It WM filmed as The Bride of the Morukr. I had nothIng to do wtth the production, and the 5Cript was completely rt\I.II'Irten, Unfor-
tunately, the ~ WM very, very cheaply made. I think the octopus monster they uted WM a raincoat." He breaks Wlto a wide grin . " At ~ It looked lka a raincoat In tM final tim." Yet another unfUmed JCript for an .ang lugoelied ~ Gordon Inlo the den ollT'lOVNllawyer Sam Moll, a gentleman who was, together 'NIth James Nichohon and Roger Corman, In the proc:aI ol forming AmerIcan R~ Company, an outfit which
"
would eventually mushroom Into American Intematlonal PIctures. Gofdon produced several ARC pictures. Including Roger Corman's first Waaem, Apoche Woman. '1"he wcond picture fOf which I served as executive producer was another Roger Corman-drected film, . 1M Dov the World Ended. W. shot II In nine days. We tried to get a good cast
for a Iow-budget movie because,
you. see. that was a shortcut In 'B' 1TIO'.IMlI. We IriIId to get In as many weI·known proIe:ssiooaIs as possIb6e. The kind of acton that, when you. see them on the seteen. you. immediately know what they represent. In a small pIc:ttn, you rely don't he".. a lot of time f« charlIeter development. YOI.I must /mow who the hero Is and who
the villain Is. The acton make Ie In· terestng . ~
Wotidng on a next to non·exlItent ICheduJe and a shoestring budget, Gordon and Corman attempted to portray both the daIruction 01 the world via World War OJ and a poIInuclear-holocaust ElIrth "A lot
01
It
was shot on b:ation WI Bronson Canyon," Gordon states, ~a place that has been used to death In Westerns and war pictures. We had good actors and a good momter wtth Paul BIaIsdale. He', a \IE!I'Y clever builder 01 costumes and miniatures. He r.sbted on playing the mutant role himself, donning
his own costume. Now, Paul
Is not a very tal man and the mutant was very tal. ThIs caUMd .orne unique problems. Bul, line. mUUlnts are
ckm\Sy anyway .. The creation 01 a "B" moYIe back In 1M
so. WM.
ao::cordlng 10 ("..ordon. a
slap-happy affair thai had IItde or nothing 10 do with the ooncept of "cinema." "We always started wtth a II· tle, " he says, laughing. "Jim NIchoIIon woukl come up with the IItIe The Dall the WOOd Ended and lhen he'd develop lOme acIs. A s:r1pl wuuk.I .....t...quendy be written around his adver115lng campaign Of 1ItIe." At times, this big-bucks approach backfnd. "In one film {I had nothing to do wthJ cdtd The &ost wtrh (I Millon Eva. Nicholson had come up with a tremendous ad and title and pre-tOld the moYIe to exhiJlors. Then they made the moYIe. Wtwn IhIt dbotJutors ...-....d
m.
flnr.hed film.
they were disappointed because the _ _ _ 10
much men interesting.
'They actuaIy cffered to finance II 1«. ond pIcNfw ...d .-.d rno<'e ..---y on Ie_Eventually the movie was releas· ed. I think Ie COlI $23,000." Sunoundod by 01 movie mar....... Gordon has noth· Ing but Pf8IM b his "an movie col· Iugues 01 two decades ago. "Everyone -s to aeMiYe," he slates. "YOI.I had to Ihnk on your feet . FOf ex· ampa., take The She-Creature, a very populo< AlP 11m. '"The IIJOIIIMt . . was suggested by a
""""*' ......
kg,! ~ diltrbJlOr. We got
neal'a shooting " wcrted up blocked tcheduJe. Then every. ~
II
and
out
ltw'9
wenl W!OOg. II W05 0 nJne-doy
J*:Nre and _ , . couktn \ shoot ewn one e:xtn. diIy. it cost too much money. When the moYIe fInt came In· to bIIns, I thot9tt we c:ouId use Peter
L.on-. and Edw.rd Arnold In It bec.UM they were ., good IOgIIlher In Ofl"nf! to"J Pv"w,,.....; "fine. Everyone B!Jeed. Two daY' befoN the Pc:ture _ to QIi, Edward I\mo&d died quk..ldcnJy, and Pet..-
Lone, "'" INIy
He. \IOI'O\IIdn't IICt
then. I had known Cllestu Morris for quIle some time and I caIed him and Mked him to taM 0\IIn' Edward ~_
noId', role. FIne. I then got John CarratlIne to portray the Peter Lone role. The dey after his agent agreed, how· ever. CanadIne refused to do It, stating
~fr} ""dThe She ~atUN (/>cJo",). populor Sto. Creatu •• bodV go! " ~ workou,. undl'TgOlng a JaceI1jr /or Gordo,,'. Voodoo Woman (0 dlfferr.n' ~ad mast....,. wed on a slIghllp reJlUbIohed bod~) "nd 0 atnt
u.n.
....ulu"I1 combi"ado
that, from now on, he was finished u..ith monster movies and would only act in Shakespearean roles. -We were now only one day i:lway
from shooting. I called Chester Morris
and got him 10 come on the set early to take Oller the Peter Lorre-John Carradine role. Now, Tom Conwi:lY Wi:IS already on his wi:ly in for 015 role in the
film. I gave him Chester Morris' part which Wi:lS, in reallty. EdwMd Arnold's role. I then had no one to take over the part originally intended for Conway. "We were llduaDy shoollng when I somehow thought of actor Ron Randel and caUed him at home. He Wi:lS Waving the next week for England and had a week u..ith nothing 10 do. He agreed to play the part. yn you im· >On" ...u thk h"'PP"nlng durlno pr0duction? You'd expect casting pr0blems In The. Ten Commandments or Gone wIth the WInd bul In The SJu,·Creoture?" Gordon I/lughs heartily, reCllIUng some of his more bizarre experiences Iilow·budgel horrordom. ~In films like
The Ooy the World Ended, Voodoo Womon and The She·Creature we had vtrtually no special effects because we just. couldn't afford any. The effects 1IIOUld have 10 be the klnd you could Mve on the sel ltseIf using smoke bombs and trap doon. Even then. we oxasIonaIly ran Into problems. SomeIbe:s a piece
--
ot the monster's hand
wcuId aack oiI and a 11mb would have n be repaired on the spot. Blaisdale :la'IdIed
his creatures very
well,
- s....a...- ihe ~dlo In!ilbtcd on &IB:zJg eIfeds that drove me crazy, ~
he continues. "On Atomic Submarine (the story of an alien invader beneath the sea) we were given $135,000 and six days to do an invasion epic. They stuck us with this monster that we really didn't want to use. It was puppetsized and looked awfully cheap and awfully phony. But the head of AWed Artists insisted we have the monster tn the finale. So we showed this 'eyeball' puppet, which has since gone on to at· tain 'cult' joke status In SF circles. I thought It looked dreadful. H As the 50s stammered to a close, movie studios began to Increase boIh their budgets and overall quality, seemingly sealing the fate of ~B" mov\Qs. Th" public no longer wanted ~eJ cheapo" productions and. worse
yet. some of the "8" movie filmmakers were regarded wIth disdain for their past popular (but cheap) efforts. ''To this day," Gordon says, "a lot of reaUy talented people have been overlooked In film restrospectlves solely beClluse of the budgets they were fore· ed 10 deal with. Heck. It gol to be a real stigma working on 'B' pictures after a whOe. When I was engaged 10 my wife. Ruth. I really wanted to Impress her, so I look her to a sneak preview of my latest sIx-day, $65,000 wonder, Voodoo Woman. I thought it was a pretty neat little movie. When we came out, she gave me my en· gagement ring back. "She wanted to know why I couldn't make movies llke The Red Shoes or 47
Alex Gordon The Maltese Foloon . I bied to explain to he about my budget .-rntatlons. Eventually, I not only made the '8' mOllIe experience clear to her but got her 10 wrtt. a few tcrIptJ ." Gordon fInlsha thi5 story wIIh a l'NinkIII In tm eye, "I guess she finally undersaands low-budget movies." ironically, It was Mn. Gordon who
gave husband Alex II shot at tm biggesI:-budgeted SF film to date, UnderwolD CIty. "'She 5IIW an article In II newspaper about a propoMd underwater city aealed to harvest fish for
II ItarvIng worid. We look the Idee to 0NtIIe Hampton, who had 'Nritten qull. II few SF ICI1pls and then Columbia bought it. "It was a strange film 10 make. We
had cxceDent spedaI-effects aaftsman onboard, such IllS Howard Lyc\eckef, Howard Anderson Jr. and Richard AhaIn. But we shot the movie In six days. aIthoo!j'I _ had 24 weeks lor effects. The problem was that our budget didn't aDow us 10 shoot any real underwater JCeneS. We had to shoot IhiI entire sea adwnlUfe dry on a IOUOO stage. "We built II set thai was to represent the bottom ollhe ocean , It had rocks, plants and, at one potnt, a sunken ship. We shot all the undersea shots through a large fish tank , replete wtth rWIe glass and II w!ndshiekI. The .....mdshleld ~ would cause
""'*,
'waves' in the waler.
"The actOfl. dressed In underwater gur, would welt by the tank in slow motion. Once we had lhe 'dry' ocean licked, our biggest problem was air
bubbles We couldn't fIgwe out how to aut. undena air bubbles on stage. Anally, Anderson and Lydec:ker came up with the \de.!. of having an offstage hdum tank. wIIh a hoM attachment
that __ fitted onto the . . tanks 01 the scuba dlven. By pressing a little attach-
the bubbles would o:)ffie out oIa tiny telephone dial·" appararus on the actors' becks. The bubbles would then rise upward . It was ~e Lawrence W"', Champagne M~ TIme. -SO, we now had .. Ihese bubbles rising up In the air . That was fine . The only problem was that they also fIoaled beck down onto the . .' bounci1g III'OUnd on camera. Th. caused us a weal deal 01 grid In that It looked tremendously fake. W. finally decided rMflt.
.
10 have
gn;.s lying flat
Creature
I
~~pqJI!4}
I
office smash. The movie provided ~ momentum for the cast and crew to launch wveraI sucteSSfuI ca-
on their SIOmaChs In the raftm above the stage wah U machines 10 chase the bubbles 011 10 the skie of !he scene." After all his planning and ingenious problem soM1g on this technlcolor adventwe. Gc.don had to sit by and
produce ThiSliIand Earth, The IrtcTedl· hie Shnnldng Man and T~tula:. AInokI became a major diredOf In the
"""" CoIumbiolnlliolly.- tho I\lm
genre, with alistofaedltsindudlng The
In block end white. "It looked Ike mud," he SJImaces AI that point he drifted away from fantasy, embarking on a career of produmg Holywood Westerns and returehing TV docunwntartes. Today, however, he', anxious 10 dive Into the !dence-fIctIon swim of things once more. "rm tryng 10 launch a movie called The Datroym, ~ he conftdes
enthusiMtleally. "It', 1NOnderful. It', based on a story by Stewart Bwn, a book. caDed Monster In Mv Blood. It was written before Cbe Encount.eTI and The Man Who Ffillio Earth, bul I think II: has certain elements of both "An alien arrives on Earth seeking other aliens who have already landed and assumed the identities of businessmen and respected dIiams. They have fCln1"lfld tort 01 a humanildc: a»en FIfth Column and ere only waiting for the order to take over Earth. An Earth girl, however, falls In love with the JIIen commander, never realizing his f4IMOfl fOf existing 1nere's quite an In·
--.
'" also have this pro:Ied: I've been
planning for 10 yeAfS eoncemll19 an underwater tunnellinklng the U.S. and Ewope. It',.uwd by a Ieries of underwafer dtIa. When an undeQea vol-
cano explodes, the polar Ice caps begin 10 melt, threalening 10 Rood EMh. It's up to the u.ncIenea c:ItizIens 10 rac;ue the dry world." Gordon relaxes for a momenl, CUItIng short ha breathless spiel coocem!rig thJngs to come. "rd re.aly Ilk. toge! back Into ICImce fIctson ," he IlIYS. '" en,loyed filmmilklng back In the late SOl. TheN ~ so many lenfic crafts· men III work back then . They've been neglected for the most part. I," he says modestly, "was only a tiny, tiny part of did learn my Je.on, however." Referrlng 10 his planned futuristic fantaMs , he points 10 a wall fUIed with posters 01 past hks and laughs, "None of my pictures ha.... ever been over budget. Imagine how thai willmpress
1 : ".'
IhJdlas lodayr'
R
reen; 11'1 celluloid SF. I"IlI4nd
~ It
on
I
10
I
Inc::rediI:Ma Shrinking Man and ThfI
Mouse That Roared. Browntng went on to create FIppeT and directed the ac-
I
lion sequences for Thunderboll. And of course the Creature became II I'l1OVIIc Idol. wcb-footing hi. _ :.through two sequels, In 1955's Reuenge 0/ the C'reoture, the !jO-man
I
found '*'-If"-
MOqUCW .... m
wl-_
In~._
Iota..-
_
conducted on his undng brain. He hlo high IQ by """"",,, and ~tIY taking quite a bit of local lien and fauna along for the trip. 1956 marked the fareweD appearanc:e of the Creature In The QeGftft Walks Among Us. In th1s poI-
I
\IIefe
bolo< .,. ......_
"""""-_
was surgic:aIIy altered to resemble a parody of a humon being; Xlrt of ill ~ Arnold Sch~ J)I"I'lto.
type. DevoId. of gil and boast!ng an uncomfortable set of man-made lungs, the Ceatwe smashed a few evil heads together btJIore wakIlg IntO tile SURSeL IJapite hiI fM1v base demIM, The Crecm.lre from rJw. Bbck lAgoon 5Umds as being coeof SF fantasy'l finest hontt creatioN Chanlmallc, Creepy. CarnIYorout The Creotwe lIIIrted an SF monster trend thai. d
highly ViStie ...
mDYIe. tt...o.r. th. Qwogho..t the -Y io-
day.
R
I
I I
I I
1 I I I
I I I
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Galactica's Lost Aliens Attempting to cope with the dizzying whirl of weekly 1V, Battleslar GaIactica was force
010CliCO
G
publicity thaI engulfed every science·
fichOnifllnlllSY fanatic In the nation.
Although the show's much·touted elleds and allen encounters
s~1
momentarily brightened up an otherwise banal TV season, some of the show's most Spe<:I3CUlllT makeups
were never viewed by man nor Ian due 10 bolh budgetIng problems lind kolmika~e editing.
Take the mitial Ga/octico lelefi!m, for 1n5lance. Thus far, It has been edited for relea$e fhree different ways. with
several
.s«neS appearing and dlsap-
pearb'Ig from view depending on where you actually .see the film. As broDduIst on TV. the moW Rln 148 minutes lind featured a hastily rahoI endtng whemn vIIainous &liar .. """" by ... Cylom. .horeby gMng GaIoeoco II resident nasty to hils week
aher week As orIgI~1Iy shot. however, Baltar Is slaughtered by the minions of the untrustworthy Imperious Leader, II Carlo RlUTlboldlalkm ftrst sleted as the senes' recurring mean\e. In the final TV edit,
the teader ella, sjWlg BaItar II chance for power mongertng. In thI Canadian venion of the film, released t1watncaly ills 5UfTImer and running a Jr.ant 120 minutes, BaJtar II killed and the leader trtumphs A third edit, releued theatrlcillly In the United States 1M: November (wrth Sensur· round effects), also had Baltar biting the dust, although an extra five min· utes of ceUuloicl coherency was added,
bringing the overaD running time to
125 minutes Completely done-In by the editor's scIsIors In all three version, was the Imperious Leader himself, a trIlInguw· faced chap never really shoum cle.ariy Not only did the 0flginiII version of the fibn feature dose-ups of the aafry CyIon, but an ABC-lV comlng~ liOnS trailer shown dwing the summer of 78 featured a mug shot as well A number of other aliens have also disappeared In the confusion of weekly series life. QUHn Lotay, leader of the lnsect·1lke OvIons, was lnitiaUy spot· lighted In the debut episode, only to be CUI out ahogether from the show. A slew of aliens designed for use on _ seml·weekIy basis by Craig Reardon were eho taapped. 5OI"T"Ie even before they had a chance to be bulk, because of budget ,eslrldioIl5. Other creatures ......ere designed. !CUlpted and completed but were squeezed out of the senes anyway, leaving a ,man grawyard of head masks lying In ttw Unlvenal prop department A few creatures, however, managed to survtve _ One pig-faced monster, a highlight of the premier episode's "CasIno" scene and subsequently
edited Into a
Mill"
nonexlstent Slale,
was !jWn a new hairline <100 resurrected for a later episode as part of a hostile alien horde. AI things considered. Starbuck and ApoIo should thank their 1uc:Ky stan that thn allen rok!s didn', wind up on standby
-.--" _ .... ---
...... '
0, •• -
J"u. ..... ua. riw."l¥r .. _ t ....
tdt Brb ...; nr»
",--,
-""", .-"''' ..tWdWOIW
•
Alien Alien, a $10 million motion picture directed by Ridley Scott and scripted
by Dan O'Bannon, concerns the voyage 0/ the starship Nostromo and its crew 's encounter with galactic horror.
no. ..... Tech. . . ~ 8rd Itbr)I StanIon). .sewne. ~ AlII 0- Holm). ~ £W"... K- /.w. .. H"o No..... tv-*"~. ~ Dab (Tom SUntIIJ. ~ otIk~ ~ W-.I. all ond fntIneerParbr (Y,.,M KoItoj.
,-m..t
. . _n.J.4;~rnc
~q."andm:
~-'ondm.
..........b\I ~
H. R. GIgo!r'
--""'". -"""-
A./I
....... _.....w.q
_ _ _ _ _ _ hON remain!: WI ""''''''~_'*-_''''''''1ItoI
.......... CoWl,
~·-olyprol........,.a ~ ~ __ daIgned ~ ROI'I
...... _ _ ..fol... ...... _/
L..ft ond t..Iow rapoondfljj 10 0 . . . . . . . . .-.~Dab; K_ond~ till of /n-.dt cf~.......- WhoI riwyJwl~I(~~•
he four quotes have tometting, In common. They were
ell unered by the Ivefy denllens of the ultimate /MtMy world-the cartoons They reprewf11 II cobful, fast-moving realm 01 fairy IaIes gIYen life by long hours 01 ~, exacting work and greal visual and ortiStlc talent, where Bugt Bunny, Snow White'. Seven
Dwarts.
Sylvester the Cat. Mighty Mouse and many 0lheTs have reigned Bul there 15 something else !hoM cartoon characters haVI in common.
ElKh was created and released in II Ume when there was II great demand for both short and feature-length animation and the cost of replicaUng the technically Intricate aciventtJres wasn', prohibitive to the producer People like Walt Disney, Warner Br0thers' Leon SchlesInger, Tmylooos' Paul Terry, Max Fldlcher (Popeye, Betty Boop) and MGM's Freel Quimby (Tom and Jeny) couki afford to pmduee cartoons and made mlllons off their animated pals Unfortunately,
today,
thanks 10
skyrocketing animation COltS and the $HITIingIy lmud audience IOf animalion, the challmge fOf filmmakers
"
teems 10 be how cheaply they can make II successful cartoon 01 any length. ~y animated television com· merdaIs are still rich in quality, but the usual televised lind thealrlc:ldy d1J.. trbuted fare Is paltry at very best, and deddedIy \ess pleasing 10 the eye However, two recent movIeI The Lon1 of 1M RIngs and W~ Down - seem to be buddng that trend, presenting the possiJil!ty 01 a new Intaest, both pubidy and proia~. in animation. Both are based on besl-sellng books, both are bMicaIy the bra1nchiId of one Intrepid creator and both have garnered their share of favorable attention and box-office
-.
The most audacious and controversial of the two Is Ralph Bakshl's \IeI'Sk>o of J HR. Tolklen's The Lord 0/ the Rings. The oontroversy stems not only from Bakshl's animation technique (his prevIoUs fUms, such as Wl&ords and FrftI !he Cal, are constant targets lor all typeS 01 crltIdsm), but the somewhat reverent appro«h he took 10'NWd The RlnIP, a cult cIasek: with thousands of lelVant followers sure 10 scoff at any attempt to make a movie from the fantasy tale. ~Someone first gave The Lord of the Rings to me about 20 years Bakshi recalls. "When I was an animator with T enytoons In New Yorio;, I told the people there, right away, lh.at they ought to make a movie oot olll. I guess fve been Iryk'Ig
ago:
to
find a way to make the picture. ever
~-"
Adding to the complexity d Bakshi's effort, The Lord o/!he RIfIgI is not Just one work, but a 1Iiogy; The Fellowshipof the Ring, The Two Towers and The Return of 1M KIng, with a book·1ength fltrodudk)n and '"prequid," The Hob· bit, to top It aI off. Even as BekshI was taIklng to his Tenytoon superiors, the
Disney Production people, who owned the producnons' rights, were trying to figure. out a way to handle the 1600-plus-pq epic,
or1gInaIIy
After a decade, Disney fnaIy Il!I his option lapse right Into the hands of
Unlted Arti5ts, which was hot on the 10.1_ 04 • Iarga. II... .aion op... ""' b.. directed by either StlInley Kubrick or John BOUfTnell, rrom 1968 to 1971, they struggled to get things roIilog, but
the huge scope of the scholarly \I.IOrk nearly IInlshed on several
"",,,,.
$Cfe1m-
By then, more thon 20 ",1!Ik.o of the trilogy had been told and Ralph Sallsht was more interested than ..,... with what ... might" abIo to do copies
will> •. "When I I'I'IO\o'ed to made what wemed
u. Angeles, to
I
be: annual
P'9fmageS to the top eMaltIYeS
"leans
4'
UA," says Baksht, them why it shoWd be animated and the Ideas I had for making iI. When they findy tumed it over to me, I kk:ked up my
heck In wdd .loY," Afta tM heel kicking came the head
"
kicking and lhe handwriting on the
wall: how would he recreale the monsters, the wars alld the wonder of Tolklen's world any better In the outlalldlshly expensive form of anima· tIon? Oddly enough, the answer came In a device palenled In 1915 by Max Fleischer : the roloscope , The rotoscope enables an artist 10 trace the movements of a previously fUmed hveaction figure 10 that an amazingly lifelike feeling can be recreated. Fle!scher u,oo the devW:.e extensively for his early Koko the CJown cartoons, The lecimlque was further developed In the Intervening years and Bak$hl finally went ahead with a Hveaction version oflhe worlt, later roto.coped by 200 anlmalors. ~AIthoogh I decided from the beglnnlng Ihat !he entire fUm would bit made In Iw action and lhen transformed Into animation, I dldn', actually know whether I could do it ,~ Bakshl admits. MAs lale as last spring, I wasn'l sure I oouId puB It off, alld we already had been In production for two years al lhat point.-
By tha! poinl. 100. another major problem had reared its ugly head. The
production company of Rankin-Bass had secured rights to Tolklen's The Hobbit as weD as The Return of !he
,.
King, around wtuch they were jlJOO\lC' lng two anlmaled lelevlsion spedaIs-
The Hobbit, f'grt$ I (lnd 11. This left Bakshl with Ihe possibility of dupllcabon . How was he to be fair to the 1riI· .-ogy wilhoul confU$ing the audiornao? It Is a queslSon thai the fUmmaker has yet 10 answer, for his The Lord oJ the Rings abrl.lpdy ends near the con· duslon of Ihe second book, The Fel· Iowshlp oJ the Ring, with II narrating 'o'Oice Informing the audience tMl the rest of the story is yet to come. Saul Zaentz. the film's producer II quick to assure crttIes that the sequel is ab-eady
being scripted. As to when audiences should expect the faDow·up, Bakshl has five 1NOfds. ~11'D come when It
comes,- he says. A more complete and consistent
sucxeu can be fOl.lnd In Manin Roeen'. production of Rk:hard Adems' WotershIp Down. Rosen discovered the wonders of AdefnS' lIdulr fairy tale when his production manager spent every free moment Im!J'OS5ed In the book "We kidded him, ~ Rosen rememben. ~How could ill grown man be 10 Involved with a book about ill bunch of rabbits? He told me, 'Read It and you'D find out.' 1 read It on along plane ride,
and IIIIlhIn hours of antvIng bDck In London, I \AIM on the phone negotIM.Ing the screen rights. I didn't know how we couJd make the movie ."
Thankfully, this challenge was a little
to d..al .....-h then Tolkien'. tentasIes. Waterlhlp Down's manUJCripl ~
averaged aboul 500 pages and concerned a warren of very humanh rebblts rryIng to And a home away from the evils of cMllzation. By the lime ROHn bo:gcon ...... !. un t1 ... (d,,, v--.lQ,.,
the book had sold more than Olhl mUlion copies enel WM deemed e
~
on both sides ~ the AtlantIC. Driven by Adams' iI<'
studio and Illred some of the ~ car· toonlng ,.,., El"Igbond I\ad to oIfM
"I didn't know
u.. rur.. ... I dldn',
feel guilty when I broke them," the fitmmeka relates. ~1 got bitcking from five 8ritish merchant blinks, installed a studio In a derelict lot! of ill poorhOU5e and WI: up ill two-and-e·Mlf yotar schedule. A$ II turned out. from the day J optioned the book. unlil the American premiere, It took more than
four yean." NooetheIess, In all the work durk"lg
Iha! time, there were no shortcuts or compromises. Rosen and his director ct. anImatl:ln, Tony Guy, settled on a style and stuck with II. Then the ani· rIWIdon supervisor, PhilIp DuncAn, made: sure that aD the action would be IrMl5IiIted Into "fuD anlmaOon." '"To do II any other way would ~,~
be
says Rosen . '" would
......n- h...... jun...... the proJect .~ Rosen's integrity Infused the entire produtbon, Inch.Idlng the soundtrack. Among the &dors signed to recreate +w c:Mr8d.ImI' IIOic:a u.oere John H urt ,
Harry Andrews, Roy Klnnem , Mkhael ~dem , Sir Ralph Richardson and , !n .. last performllnce before his dellth, lao MOSIe! . But even after lID the effort Invesred, stiI had doubts as to the com· ""IGOlIIiIy ol the finished product. "[ c.·t lei you how mlIny times I IItIU ..ged to tum II Into a cute, coy chll2'I'n·s fllble-50mewhere between ~ and Bugs Bunny ,~ he relates. '&a MIItIU the same advice 19 pubiInIn 911.... Adams. And didn't they
Wtoomh when the book became OM d b ....umc bat·sellers In the EnglIsh
-~ ~'. ~ a:a::al
~
pDid crIf The IItIU nothing short ol
ecstatic: lind Avco-Embassy, the comPlIny releasing the movie, instituled 1I huge promotional ClImpaign IIIhIch included II Wote7ship Down 80001 In the MlICy's ThlIn~ Day Parade, II soundlrllck IIlbum on Co[umblll Records lind extensive radio lind television tie-Ins. Rosen was so delighted with the response that he plans II sequel , 01 II 1OI't. CWTentiy, Adoms' 1lI1est novel , The Pbgue Dogs, is In the storybollrding phase, with II projected budget ol six million dollllrs- almost double that of Watershlp Down. The success of these two pictures has r'IOI been lost on the studios thlll have been mllking a living 'Nith lInlmlllion all along. WlIIt Disney Productions still remains the premiere proponent of hlgh-quality cartooning: the heliithy boK-office returns ol their Last effort, The Rt'!3C1.IeI'$, bears testimony to that. HQIItIeVer, their future koIds even greater cMlIenges. Now !iO'!t f(W 1I 1984
.w.,r- 2Ir~ W ......,., IfttJ and ......... ItIdo .. Tlw: Thil:t-.llfw: CabI:*~
the future of lInlmatioo looks eq~ bright. Chuck Jones, one of the most famous from WarTleI'" Brothers' old eMloon subIe, hM In the pIlInnlng sllIges ill Thoti Enlel1olnment-1ike compia.lion of the best of hiS Warner work, lind II theatriClll sequel to his famous !dence-fIctIon cartoon, Duck Dodgers In the 24'11 Century, stal'11ng the Indomitllble D.affy Duck. On the other side of the ocean. BrItIsher Richard WlDllIms, fllmous for hiS Oscar-winning \Ier$Ion of A Christmas Carol and the two best PInk Panther movies, hl!! been working on the JT\lIgnum opus ofllll recent lInlmalion movies for the illS! 10 ~. EntItled The Thief and the Cobbler, II is II
Mnd-PlIlnled Arllbian Nights lIdven-
tlIsy project:
lure done In II highly chorllderized style, featuring a cast of thousands, Although W\IkIIT\$ professes thai the film should be the cartoon to end 01
FantasMJ III up thealer screens. On other fronts , the prognosis for
cartoons (Deady several million dollars of laborious work have gone Into its making), the ma n 1sn'1 sure tMt he really wants to finish II "WMt will I do then?" he lISks Oh, wei, thai's cartoon biz. 9
release Is The Block Cauldron, a fanwlUch the studio has been developing lor more than five years. FIlled With magic, sorcery and wonder, II promises to send its lIudlence blIdt to the magnificent &ys when the likes of
57
, j I
- -FANTASTICARTDon Maitz Bringer of Wonder
D
Maltz, a 25year-old artist living
00
In
Connecticut.
finds himself In tho
sttange posiIIon of betng II
"post_Frazettan fantasy paint·
er. It we rrank rlCll~uo., ho::
feels. who open«!
up
the
commerc::lallluslration fIekllO
young, inventive talents. But that Is where the comparison between the young man and the masler 01 sensuous exagemtion
ends Mart2. aJ.
though knoINn for his renderings on moro than 40 papor_
bock
coYenI
used by DAW:
Fawcett Crest, Dell and other pub/bhers, flo" dooc ......,.. 01
his bot .......ork on penonal fan tasy viAons ~ lWI$ aI 01 his
talent and education at tM
Paler School of Art In HlImden. Connecticut, to bring out the textures In the four fantllSy paintings F....'
kas
!lIM!!"
before.
"Ch.eck Out The Sunset"
"
been published
g
"Lady and Her Pet"
More Fcmlc:l5licort on /oIowing pages
''The Dragon (Another Dragon Bites the Dust)"
I
j
'1'h..e. Wizard II
"
A regular FANGORIA sneak preuie of the newest and hottest
horrors to arise from Hollywood and TV.
A J«y _
/rom tfw Jor;hconq.loM
0...... 11_.. r ......... Iu.hIon " " - - -
Bdow Ir/I III nelll. IOOIh.orne v~
PHANTASM : Modest. butllery effec-
tive SFX are lhe tu:lh points of the third feature mm from :.!!)-yellr-ok! (lU-e<;IQr
. insane
supermen. ever-lusting v"mpires of either :sex. murder viCtIms who rduS/i! to stllY delld lind IIVengJl19 venlliloquist dummies. AHllrePllr1 ofthehor rot' army be crawling. leaping, f1Yin stalking. materialIzing. IMrch M~ ripping their way Into local movk! !hellier'S during the rest of 1979, Ellen the devil himSelf is currently vying for attenlion In the CUTTent horror express,
thaiwi1l
pttnng his own charismalic: ~ "'9IIlnst lelepathlc lots in competitive productions. Among lhe more noteworthy fright fi. ,s currently In Tl.'lease or on lher Wllo/ to dnema status~
Don
CoscareIIi,
F'dteen-year-old
Mlchltel &ldwin 1eont5 that his local cemetery has been taken over by IIIMIO:iou, glbnl .. ....d somo V/I'I'Y nxtv
tmIk
Leamil'l(1 the surprislng orIcIlns and purposes of th~ creatures involves so
much bloodletting (usually the thiCk yeIow blood 01 the aeatures) that some scenes were CUI 10 aVOId
THE WICKER MAN : At IasI: In the U.S.lIlll5ruD,l02·mltluteverslon, The W""A"r 101,.", dlro;(.t.:d by Robin Ha.rdy, was adapled by screenwriter Anthony Shaffer (5/eUlh. FrentyJlrom Hardy·s novel. The SlOI)' concerns e Sc:ott!sh police 5efgeanfs search for il missing young girl which leads him to the iso· lated community of Summer!sle, Iocat eel off the coast 01 Scotland. In the course of his Investigation, he learns tMt the Island's inheblta.nts heve abandoned Chnstianlty In laVOf' of prQ·Chmtl1ln religious rites-practICeS usulIny coo·
"nd
~nl:im
Though ongIIlaily ffimed " 1973. the
film ..... built a eonlidenlble under !JOUnd reputation prior to Its recent American premieT In speaking 01 his performance lIS Lord Summeri5le, ChnsI:opher Lee ha.scllled this one Mmy
him 10 date
~
M
Also leatured In !he
are 'rVod Pitt. Edward Woodward 8nn EIdond
AN ARABIAN ADVENTURE: h _ only a TTWler oll!me ~ tome na--epid filmmaker ootic:ed the suc:ce. . Ray Hanyhausen's Sinbad and AraNIghI f.nl~ and doAdc\Qd 10
low suit. In this case, John Dark and IWVII'I Connor. 01 The Lond and The F'eor* Thot TIme Forgot fame, are InIn
who theorile thet the lime of the
-4Shbuc:kk!r Is at hand. UsIng much tw !IoImlOil 10000m thol made their ~ 0/ Al1clntiJ a 1lICCe55, 1t\Q duo
--egan filming An Arobion Aduenture. &an Hayles ha.s written the fanctful -I'Tttf'lpllly, brimmlng with nllsty .Iff,",. sword-swinging heroes, young princesses, horrible 1:IQnSI:ers and flying carpetS. leaving ~ 10 chance. Dark and ConI'lOfS ogned two of the bigg
th*Jlha
Lee and ~er Cushing. addiIionaI act!ng ck>ut to the ;p:.duaion are famed &ish ac!0I' Milo .."..,. ~ Shane Rimmer and A=oe-1c." Mick.y Roo".y. Th. ~
brawny hero Is played by Oliver TobiM and the prInCess-in-peril by newcomer
Emlml Samms. Director of photography Alan Hume, production designer ElIot Scott, art director Jack ~ed and SFX supervisor George Gibbs lire aD trying their hardest to make An Arabian Ad .....nwl1I the ultimate flying-carpet movie . .. launching an enllfe
squadron of airborne RIgs during the course of the adventure. And If flying CIlI'J)etS aren't enough to keep stateside audiences enthralled, there's enough supematwal skuDduggery hIiIppenlng 10 fIB two fantasy pIotIines. Producer Dark expects the movie to be released
this !Ummel". BLUE SUNSHINE: F'~med two years ago by the people who broughl you squirm, BIIJe Sunshine k just now making its way 10 some theaters In the nation. spurred on by Cinema Shares Releasing. A tlIIe: of psychedelic terTOI', the movie traceS the development of a group of e:x,-studenlS who. 10 yean ago at SWlfOKl University, were sold a race SCrain of a haJlucnogenlc: drug The lethal LSD hM caused massIVe chrDm050fTle damage and, In a bizarre
l()..yur deloyed.re.act)on effect. Is translonntng the peaceful cIlizenlJ Into crued kks The Blue Sunshine murderers first lose their hat, then thetr sanity as they erupt Into violence In nearly every state In the nation. No one Is exempt: a police lieutenant, a photographer, a congressional candidate's campelgn manager all tum rCJg1Je. One Ion. avenger Is aWIIn! of the situation and, wlthoul any help law enforcement agencies, aItempts to track down and capture alive one of the Blue Sunshine army In order to find a solution to the amazing epidemic. Produced by George Manas.se and wrften and dlrected by Jeff l.eIbmnan, the movie stars Zalman KIng, Deborah Winters and Marie Goddard. THE DARK: A seven-foot-taD muIlInt mantee: speods his nights ~ up a variety oIlnnoccnts In the streets of Loe Angeles, much to the dismay of stars Wlllam Devane, Richard Jaekel, Keenan Wynn (SIIII recoYering &om his foodeu demise In PIronho) and Cathy .... Qooby. IT
~
FROM THE SKY: When a
houseboat Is strock dead-on by a meteor. Its occupants rise from the river liS a leam of aquatic: ghouls. The highlights here promise to be the perlormana!S of BuSler Crabbe as Sheriff Kowalski and former DIsney heilVY Dennis Under· wood lIS his deputy. Producer-director Fred Ray, an admlned Roger Corman Idolator. has derived the nemed of all the cheracters from Corman's films. DRACUlA: Vampirism In a most serious vein Is about 10 be ushered In by actOl' Frank LangelLe who reautes his award-winning Broadway role as king of the undead In DroruJa. The film. directed by John Badhem (Nigh, GoIJery, SaIlIrdoy Night Feuer), also stars Laurence 0IMer lIS the vampire count's uiblmlle nemesis, Dr. Van
H.....
DRACULA'S GREAT LOVE: Cinema Shares' new vampire epic is a European affair starring German actor Paul Nasc:hy, an actor weD known for his jitterbugging werewolf roles on late· night 1V film fests. In this bittersweet tale, he portrays Dr. Wendell (aka Dracula), the operator of a nuI"!ilng home. Dr. WendeU takes four travelers into his home after they become stranded on the roadside. F~Ung in love with beautiful Karin, Wendell! Dracula tends to her needs while tum· tng her three companions into vam· pires. Karin eventuaUy confronts the Count wtth her suspicions about his nursing home. He confesses everything, Including his great tove for her. He then Imprisons the girl in a ceO, revealing the presence of the skeletal remains of Dracula's daughter. In order to bring his daughter back to life, Droc needs the blood of a village gtrl and the free consent of a beautiful woman to become his vampire bride. Karin doesn't go for the idea. Dracula has a change of heart and decides that he doesn't go for the idea, ehher. His vampire status becomes so distasteful that he strives to put an end to hlmseH, his daughter and Karin's three recently fanged friends. Co·starring Haydee Politoff and Rossana Yanni, the rum Is directed by J. Aguirre. THE EVU.: The devil himself is the star of The £ull, although, in the final cut of the movie, he never actuaUy appears. In the original version of this
tingler, the devil (as portrayed by Vic· tor Buono) was the culprit responsible for the killing of psychologist Richard Crenna's patients, trapped In a gothic monslon. In the final New World Pk. lures cui, the devil Is sti1I doing ii, but you'D never see his face much to the dismay of director Gus Trlkonls, who loved the idea of a portly evil. The Ptcturemedla production also stars An· drew Prine and Joanna Pettet. HUMAN EXPERIMENTS: Look out for Human Experiments, a dnematic tale of medical speculation deaUng with psychiatry gone wild. Set in a women's penal instltution, the movie traces the rather unorthodox experiments of a young psychiatrist (Geoffrey Lewis) who believes that oiminal tendencies C
doctor have a change of heart . . . or at least Id? Only screenwriter Richard Rothstein knows for sure. Directed by J. Gregory GoodeD, Human Ex·
,,:;;:::;~".~""~.~:ars Ja!:ki" Cooglln, Q AIda Ray and EDen
PATRICK: Rendered comatose by the electrical accident that killed hiS mother, Patrick has lain Inantmale In hIS ho~pllal bed for four yellrs, with the grudging tolerance of an unsympathetic hospital ..taff_ A nCI"W nu ...... "~ign"d 10 P"mck's word begin~ to $uSpeCllhal Patrick has the power to affect the lives of those lItound him_and that Patrick's power is growing. The film is produced by Australians Anthony J. Glnnane and Richard Franklin and directed by Franklin, both already at work on their next fright film. a vampire take entitled Thirst.
NOCTURNA: Beginning in Transly·
venill end winding up In New Vorit City. NOdumo Drot;ula'. Granddaughlv II the workl',flrsI:di!covamplrefilm. Star· ring Nil! Bonet u NoctuITllll and John DU'Tltdlne as Dracula, the movie tells the bump 'n' !Jinding We of a lovely vampire who fah for e rock 'n' roI per. fOfTT1el', following him to the BIg Apple &gIIirW gnr.nddad Drat', wishes. Drat tracks her dooNn and attempts to dispIIlCh the lad qulckIy. An old flameof the vampire king, (Yvonne DeCarlo) intervena, 1'Iowewr, and NoctuITllll and her beau (Tony Hemiltonl attempt 10 find ~ In the sunllghl THE SHINING: MOIl: 01 !he breathIesa antidpatSon In Hollywood honor drda II being reserved for Stanley Kubrick', production of Stephen KIng', The Shining. KIng II the IIUthor 01 such weB·receIYed books as Carrie. Solem~ Loc and NIght Shiff.. Kubrick II unlverseDy regarded u one of the greatest fIImrnekm In cInefM Iodey. with Paths of G/otv, 2001 , A Space Odyuev and A Oockworlc Orange to his c:redtI:. The p!I!rtng of thew two talents In The ShinIng ITIIIIY produce one of the most·taD
C""'""'" SHOCK
WAVES: Ao:on:Ing 10 !he ad posters. Shodc Waua II the "deep end of honor. However deep M
When a WOUp of modem-day ~
land on the IIIland ... the badly deterioR.lted death squad thembles to life. And. after three decades 01 iIoIetion, theM fclaws we hun{Vy for human componloNhip ... very hun
",,-
THE TEMPTER: Made In Europe by the Itdan team who brought !he worid The ChoNn, this Edmondo Amad·produced, Aba10 De MartInodIrecIed opus lells of II paralyzed beauty named Ippolite (Carle GravIna) pon_cd by e Y?ngIlful damon. The
Ii I• I
demon , It seems, had ~ taken pcs.usdm 01 one of her ancestors MfNI 400 Yft'N -so M 10.1 lao hold ... the last moment ... much to Ib
It'. pulling no punches, sending Ippolita out to wduc:cr Nrr I:wother lind kID tw.r fath.n(Mel Ferm) . After II shrink, II faith healer and even her uncle. II Roman Cetholk: bishop (Arthur Kennedy) fed to kelp $/We her soul, the scrlptwrfter call. In Father Mlttner (George CouJoris) . _ _ a demon fighter weD chagrin . Thls time out.
known for h. fuI-b1own ex""""". By
the time lhr Innpld Mlttm!r drtYa OUI
1M demon, Ippob has degenerated InIO a aIIIer·faced wrD. Oh wei, at
least she gets her IOuI beck. VAMPYR£: Detot:Ied by makeup
Its fright. It's safe to say that this film has had one of the m~ fitXkfenca of any fright Nm 01 recent years. l..eNed In 1977, the InOIIIe recetved an aborted release thai same year, resurfadng strong one year later thanks 10
the efforts of Cinema SIwes. 1979 finds Shock Waua stili m..king the local theater rounds 'NiIh TV sho>.t.ing5 taking place across the country_ John Harrison and Ken W\derhom', scrlpt caDs for such vetenm horror oc' tors as John Carradlne end Peter Cushing to join forces with frightened newcomers such as Brooke Adenu (InllOlion of the Body Snotchers) and Luke Halprin In Ilr'I attempt to w.vd 011 an !Imly of resurrected NIIlI super-
weapons _ . . aqua-XlkIiers! Cauhlng plays Scar, a fanner SS 01· fIcer responsilIe for deIieIopb'Ig a groupof mutant sokHers,designed for unlimited underwater manuevers (hence the film', tldeJ .Three decades ago, CwNng sc:uttIecI. his mission , marooning himself and his water· logged Iegon on a remote 1sIend.
whiz BI (Robby the Robot) Mak:Jne as "Romeo CII'Id Juliet with fangs ," Vampyre is an American film "that tries to aoptuN 1M GoIhIc ' - ' rtw oK! HAm .........
films used to gerM!I'lIle,~ According to MIlIone, who 15 alto 5eI'V!ng as lIoIftter and ~ of !he opus, the II'IOYIe II "prirnariy a low 5IOI\t ~ A vempire II beIng PUBUed by two people who are IIlm.do.r 10
u..
ch.u-......... ""• • d ..
~
Avengers TV show_The pW"SUefS, Mrs_ Endicott and Spuky. have a grudge ageInsI vampire Jeremy GrIf1en In thai
he klDed EndlcoIt', hwbond. AddinQ 10
Grtffen's problems 15 a love affair with a normal human girl. Our vllmplre Is pillyed by [){Io!el PIlon who played one 01 the aliens In
SIo ..hlp 1..0x»/0n, H .. .....ant . Tn.h . " played by OIorwo Devkbon . Mr •. El>dlcott Is Ton! Janl'lOUl . WMt makes our horn. -..y dlff-1t .. that II'•• tot.Dy
numanlstlc approach to the legend. Our vampire doesn 't tum into mist or a bet Of anything lan~ , H. .. . hum.n being caught In a twIIghl worid over which hehasnoconlrOl Vampyre ihoukl be In producllon this 1PR'Ig. 8
Tho T__ ollho Torogo"..,.... Ioio "'"-Y _
~
_ _ "",*011
rill . .
Iy, I think 1hot'3 what I do bes." The castIog retpOOM was immediate and gratifying. After L..ee did a guest staf spoc on the ABC series HoUl the WI!Jt Wm Won and completed his role as a coldly dvfIzed mad 1CIents. opposite Bette Devil In Walt DIsney
Return /tom WllCh Mountoln, he started on a stJ1ng of challenging roks 01 aI klnds, aI OYer
Productions' 415".. kA _ _ Soulh
8th Root Sun. ~Yorll ,
....
KIN. KON.
THE THIN. plul $1 .00 CAT PEOPLE lhlppln9 I WAlKED WITH A ZOMDIE SON OF KON. SlNDAD THE SAILOR MI.HTY JOE YOUN. BODY SNATCHIR HUNCHDACK OF NOTRE DAME AND MANY MOR. NOW AVAILADLI LlOAU.Y ON VIDEO CASS£m1
"
_H
Even though his lowering presence had departed the dressing room. I couldn'l help but finger my neck .. .searching for any leI·tAIe punctureS before padmg up my gear. R
In 1922. dINdor F. W. Mwnau ~ the dIIIIIc ~
~
1m. drecIr:r Wtnw IiImlg Iw fNWIlp8d the
weD-wc-n vampire Imagiay fe. ... 81--. cob
NexI-... FANGORIA pmews_
1cw!two:Oi'1IIi IIIJ tale d romance among It. un-dead.
u n SUMSIT .\ova .I 'VITI " ••
c ....
......~
1:ltaoa!I91d1o" ICJII8'III'Id caIIId I venIon.
£XC[lL£NT ou.wrr
.... U.YWOOD.
tho """'" "I went on to dw Uw!s of Canwol'lS. playing the ruler ol an ArabIan kingdom, to The SHenl Aute. as a master 01 the martial arts , 10 The Pcaaoge , as the head 01 a gypsy family, 10 The Ptote on CBS teIeWIon. to The.ktguor LIues. as a drug runner In Madrkl, and now the Arobfan Aduenlure. It )ust shows that since I came to America I heven't done one thing that rm .supposedly famous for and rm on my
eleventh ~ . Now, you tel me, where's the typeCaStingr At the moment. ChrisI:ophet Lee II once again enmeshed In evtI In his newest role as a schlzophrenk sorcerer. one who keeps the kind side ol his persclI'dy capdve In a magic mirror. It's yet another vIIlainou! charilcterlzatlon for him, but, like 311 his other villains, one of a different stripe A:> he PfepMe5 to go back onto the Arabian set, he turns beck one last time "Remember," he says. "there's no such thing as a 'totaJIy evil' onyihlng. Boris Karlotf and I used to hew long COtIWl'5ar\ons abour this. Lon Chaney had loid hun and he was passing II: on to me ~ 'Leave II: to the audience. Don'1 show them everythIng. Let them Im~ II: for themselves. And theyl be way ahead ol you.' And !hey usuaIy are r.... never fc:wgonen that." ThaI Chriaopher LH II gone. back ~ hont ol the cameras, creating more ol his special magic; magic that Is fast disappuring kl this age 01 the antihero and and-vIIUI . Almost aI of L..ee's portrayals Involve men of IncrecWe power and capability but, somehow. they I'ICVef lose the sense 01 humanl!y needed to make the roles
(~IJ)
..., 2111
Plus Proph£CV"s mulanlln4lwup magK: a nostaIgK: look at one 01 horrordom's IIn·tlme masterpIeCes, Dr J£/ey" and 1tfr Hyde. Itarrlng Frederic March lind featurli1g never-before-Men pholos Dr Who'. rogue3 gallery of aliens . an 'nt~w wllh RobftI (P~ho) Bloch FanlestlCAJ1 lUgOffs lost Franken.'n The HumanOid felllunng RiChard "JlIws" KiIIl Moniter Inva Slons . and more'
ON SALE: AUGUST 16. 1979
Add~tolfOla'....w:
Sf'ACESHIPS. ••.....•••••• IU6 _ _:)110... $ .~" _ _ I.
<:; HAPPE~ ~o EACH RJU,COLOR ISSUE INCLUDES: • SPECIAL EfFECTS-ExduIIYe phoIot;, ~1IFYIewI-' dlagramsol bfhlnd-m.·
rrnogkl • MOVIE PREVIEWS &. REV1£WS- The urbat niClf1Mtlon on new Sf &. Fanwy f'«I"""'-". pIUI u... lui ..... ." on u... '""""'II ut ...:h 111m
IClna
I!IO\III
• DAVID G£RflOl.O-Sdtr« fIctk>n', umn ~1!IIed "Rumblngl"
ou~
iT ""llOG fI...l '15""""" btn- OlI"!.'A2 "-* V...... NY 100"
_ I _ 10101 10 ..... _ _ "' _ _ )
young.uthor wrIIQ ... regular col·
. .." ........... __._JOWI_ .... _ ... ~
• INTERPlANETARY EXOJRSIONS,INC.-Joumrv 10 I diflweru INI!I elm.. solar
_
~m
with...........,. , _ Jonathan a..n.t.lllu.cralrd wIIh fuI.coIar Jpeot 0It'
• TV EPISODE GUlDES-c.. _. pklb, CNdb, Inteviewt, pho:wot &. man data on and d-* Sf-TV""'" • MOVI£ ~-~ ~ on the popu&. 01 SF films, ....... ............. &. ful-eob pho:l(ot! • STAR TREK" SPAO?:, 1999-s..... s.dwa'.1tIetI upo:\aN from theM! 01 the s... T""k I!IO\III. pM ~ G-y Andomon', UP-IO-the-...... _ <;:OntrnaltIon Spooo 1999 and his IuI\IN ~ • LOG ENTIUES-lo-. _!tom the ClIdtirIi wor\do 01 SF. f...-y...d.amc.1.Ic:!! • CONVENllONS. COMPUfERS & COMJCS-~JUbse:t 1M! r.oen ~ ~ the SF ~ II~ In STNtl.OO! • Vo..~IOSfNtLOObnngtyou 12~ _ _ ~.spedII CIIINfII
The making 01 this hgh-5pirlted homw tale is dNaIed by fUmmaker Don """""".
26 Ric h&rd Mathelton.:
43 Robut &loch
Ma. ter of Fan.u.y Pan one 01 an .,-depth intI!\"-
The Emperor 01 Terror com· ments on the value 01 shock
view wtth the renowned crealor of fantastic rum
In films end lelevision-and
(InaedJbJ. Shrinking Mon, Somewhere in TIme) and
television (The Night Stolker. The Mortkm Chronlc/a).
questions If loday's movies have gone too far.
48 "Prophecy": The l"Iew &reed of Mon..ten If you go out to the woods today. be prepared for
mutant menace. Dr, Who's ROlue'. G....", The most menKlng monsters, aliens and crealUres. cuBed from
the f\Ies 01 the TIme
~ ManAt...,..
5U
the Wortd The behind·the·scenes Slaty 01 the George Pal dMIIcThe War of /he \M:Jrid.t:.
Loroo. FWl Color Dr, Who Pos t u
12 ""The Humanoid" when you thought it was 5afe to return 10 the stars'1Ii! newest 1t4Ban sp«e
.rusI
--
14 Dr• .lekyU ..n.d MT. Hyde: Two I"aces 01 I"rtaI\t
Veteran director Rouben Mamouhan recalls the mak· ng oflhe 1931 film based on the Stevenson frlghl
""'"
38 The Foreotten Fnnke n.stein. Frankenstein saeenwrlter Robert rlorey recalls Unlver$&l Stuaio's first plan for the monster
58 Fan.t&sticArt The fantastic creatures 01 coYer
62
artist Carl
Lunc:lsJen.
Mon.stu In.vaslon.s Monsters In the medLaread II here first.
18 " Drac ula" Fevu The men behind the making 01 the newest terror
-~.
20 "No sfu ..tu" Arrives A new-oId Image for the King 01 the Vamplr2S In the! larea from Werner Henog, director 01 Heorr 0/ Gloss.
,
Imaginafit)n OCJOBEIt 1979"11
BWliDn. aDd Edllor-t.!. 0I'Dtte: , ....'4(lORlA l'oUrguine 475 Pwk ""~nue South New York, New York 10016
........
~
NORMAN JACOBS KERRY O'QUiNN Edl,~
BOB HARTIN EdlIOr Emerttu. JOE BONHAM
I.ll.(;.
B
Studios received ;II mounU&ln oi ...... ~ Moou:I It,. ~ oed orrlvol 01 subscrlptioll and newssIand copia. s.c- aI !ha sItee- volume, these let· ters had to mMln onM5Wllfed. ~ lit 1M p.-clsr-.oo. We hereby offer our sInc::ere apologies 10 at C:QI~ and our MIUrance that f~ will continue making lis regulllrly tdwdIJIed bWaI~ appNriInat In thG fuMe.
• •
M....... EdI... DOB' wOODS Contrlbudnll EditO'l'
""At TAYLOR
-.
e l lEl l LOW
""ft'
Senior De.. ELAINE ASHBURN.$n.va
~ BOBSEFClK lAURA O'BRIEN
efore the release cI F~ "1 . .. a 01 events far beyond our coolrol3lld so hontit _10 t. anfi b pubk cltiulprlon caused an extended deRty In pubkaoon, as -wi _ ow change cI name from Fantostiar to FNQ;IM. Oumg the mantbI of delay, O'Qubln
FilmmakeT ~ Rorrwro I.N.ghJ cI tN ~ ~ no. c ...... u ..... tin) recently gllve a talk before the Nanooai Aw ....... , cll'heloter Owners in whkh he critidted the Motion Pk:ture A.odiO:::a cl Ammca's PJSIem of rating theatrlc.al films. Romero's bMic: ~ II tbIt. under the current ratb'lg system, films like his own Down 0{ the o-Ilwhch _ not submitted for a rating because of Romero's certaJnty N ' wcdd re:e:Mt an X} ere being unfairly classified with films ~ the __ Ab9 b rusons of sexual content. Theater owners and fIImgoers cten 3ft oS! XRIlIng as a sign that a film contains obscene language and portrayS tenJiIIldIVIy to fact. films like Romero's Down are ohen IOIaIly ¥.lthout..xual c:ont8'Il. buI are subject to the same prob'ems of dislrbuoon _ ou~ porT'It9~ Romero has pr0.posed that a new category be atabIIhed for fImIlhM _ ~~ for chiidren but without 5e)I;ua1 COIltalt. ~s dbtrtIUIm Ur.: Ed Artbb. recently echoed Romeros's $0'99""""1 when dwy ~ d,d the X rating recently given to the Italian film Arabian .... igMa.. dncted ~ Pier PasoIino, who also directed The Go5pe/ Accordlr1g 110 &.¥ M~' The oppeaJ falled, bul the compllign 101" I'iIlInQ rvIorrn cen ~ *"q:I"'Wd 10 ctJr1G"Iue, If reform Is to come, there is a furthef duowbfIck ~ttM cun-mt rating system that none of its crlIics have menDooed . ThM It the v.'ode gap between the PG rating, which allows acfrnmance of every age WOUP. end the R rattng , whkh disCrtmlnates equaly ~ the fk.oe.year-old chid and the teenage fUm fan. Under the present syMem. a younger teenager mUll PftSUllde his p;!Irenls to accompany him 01" hoi' 10 a film Itoat tnov oIt_ would rathor 1'101 see themselves. If the rating board deddes that the sight of stege blood Is too frightening for the flw·year-old, the lS-year-old II effectively bomed from the M
c...........
D.A. C05CARELU
HOWARD CRUSE JEFFERY EUJOT
DA\10 HIRSCH CARL LtD.1XiRE,N PAUL M SAMMO:-;
AMOdak PubUIhn lR..t" FRlEmlAN AM£lIt&Dt PublJth~
RITA EISE....STEIN
thealeT. Teens are old enough to distinguish fantasy from reality. MoYleslike Phon· tasm and A /len are essent\ally oId·fashlOned monSleT fare , the aort thDt pM( generDtions have been able to enjoy on Satu~y oftemoon5 wllhout intt!"rfeTet"OCe from Dny regulatory agency. [f th. C1.ln-ent ___ TeIIrietlon. on th .. Saturday matinee trade had been established In the 50s, many ftlms now thoughl 01 as cIassIc:5-partlcularty Haml110 FIbn,' Dmo:ulo somu-mlght never haw been made. It's unlikely that a rating system will be devised to oonect this situation: teenagers are seJdom considered II ~ minority BUIlt would b. refreshing to see the rating board acknowledge lhe rights 01 adolescentS a system that takes Into account their reIat1w matumy
•
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I have ht«d m..kwls mIs ~be &comic spoof oIlh1 h two ..... wI* I hIMI_ heerd thai It .. to be egory ~ toJowa. I.I.Ihkh .It 10 bot1 .... T........ a-..fioId, SC
_ IIIideIV ~, and !he cort.-.n II regankd 11111 rua;essfuI one ~ bod! /he od finn and fhereknt. And yes, .h ~ _/he ereakx" of the "rot ~ •
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Id 10m GIIdruh-they'N from o..q AI .~-Ihe saJne and that God6 ~ _~. Vow 34 _
,...,. ...., ~ to. - - . : I to know thai God:6 __ 01 9IM oIJIPArilllCol ... T000',
The fhrd film wII corry the Millie ~ I..ampoon'• .kiW5 01, People NothIng. MOIIJI SimI'l'lO<1$, !he produon of Animal Hou58, " CiO'prodl.tdng wUh Zonuck and BrowI'!, /he prodUC'DS 0/ the jr« two JIIW$ /11m.,
~
"AUEN": MISSING SOMETHING1 . . 1 would like to know t A/lrn II beklg thown Inact In thllJnhd Sc.ara. ApparenI:-
GO&UI'f TRACKS mtaboutlheGobln$? lid _ -=dent music for the .,. ......... d .s....,-,a (01 Gennan fIIrnl and
/y, !he verDI In Canada 15 wtIhout!he IICeI'le wi-.- crewman ~ lturnblet IOOtI !he aIIm's I'd end hb dw MIg mnainlol her
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Mr FOItffF ~ him III IW OOI~ 0/ 0I.nev'l The Black Hok, iliff CI/cIrlQ wtIh .. new ~ novel, Spelsr.gel, /or IM:rner Boob}. IW ~the _In lhelhool· /ng safpL When he Inquhd ciIout /he
ehedced
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Sch.-rt injorrrwd him ~ /he .teerN!, Ihough j/lrMd, was dNted b«ouse /I In· ~ with the ptIC8 0/ AIien'.oWrdt:otlng ~~,
, A OCMJpIe cI years ego •• produd caIed Armor AI Protectaol was lIdWfllMd In a cornrnII'deIlhat Iearur.d • "lot montier: I heerd runv::n N It __ taken elf the air becauR It was too ~~ .00 !hal .1m Oenlonh had won..d on ... 1reaIy 10ved !his
-...
Rob ...... San~,CA
MORE FANTASY In hiI edIIcr's noIe In the pml1im! .... Kerry aQulnn SII~!haI FANGORIAwft.ou. the fantasy thaI doesn't lit Into STNIlOG 01' R1T1.H I..ft. Yet the ~ ~ .u:Ia only on honor IiImI S and Fl coo.o. boob and rnoo.oie5 and haw Intel'll'iews wIIh SlIver· burg, Elison, PohI, elC. Wall there be more fantasy In FANGORIA? WI .... wtth L.eGuln. ~, etc.' ADm Malmquist
_In_
We 'ut! oIreody added
boo.\;
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MORE GODZlLLA Vow .ude on God6 was; WM. thoughl_"'to~_~
Wor ...- kh1 0/fond 0( the ~ C>'tIeJ" ~. We dteded ~/ '*'-I, the L,A. odJrm /hot ~ the
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&ows. In GodziIIo lOS. the Smog ~, Hedorah origirWIIy hid three shIpeJ. not two-he began asa sludgeadpoll! In God· lila IlL ~ (the wonI of allhe GociA
~
~ Morongolo and ."faurmo GuoriIlI ~ ..d ~ /IwiI how IIOurftJ fnP-J _ and __ tet'Ofds haue
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NO 5I"ERATUf l - . d ~ _ ' - .... lIwtANCMIA "2 . . te.rur. ... .-tide on m. new .~
NEW FROM tHE PUBLISHERS OF STARLOG If you are a )'ottna Glmmnker with a special interest in science fiction, special effects and the limitless magic of the cinema . ••
TlDS IS YOUR 1IIAGAZOE
Between the pit of Man's feor and the summit
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!lOfmBfly FANTASTICA)
t'. U\tIIVI(;oIC. now pubU"hed by STARLOO PfU:SS. IIP4Nrn fuJI...cob photos, dlllgrllms lind detailed MIhal guides you. Slep·by-step, through the dlllnenging ~ of backyad movleTMking Written for fdmm*n by filmmaker5. C1NEMAGIC is custom-tailored to ~!(T1'I)n)\Ie your 8mm / SupeT.8/ 16mm filmmaking <:r h a ml..lA for ""''''}'Of1u .....ho 'mjoys behind-the· _ ........... magic and ......he is looking for II profes· sicmI career in the f~m world.
A Phantasmagoric Flight Into Sheer Imagination Here . at last. Is a magazine that will explore the outeT limits of imaginatiOn, offering glimpses of both far·out science fiction and out-and·out fantasy. Hobbits, honors and hideouS Invaders from outer space will ;oln forces each issue with the real-life artists who aeate them to bring you the BEST of movie and TV aeatu re features.
sho1NS you the techniques of aeating your JpedaI effects! • M.- box effects . Homemade animation Sli!lnds
~.IC Q\to
• "4oc
Props ' Titles
ronstruction and animMon • ~peclaJ
•
. . up •
•
m latex models ' Lighting effects and much more! oIe'5 regular departments Include reviews 01 new
equipment. II
.....
lenses • !)Qund effects
bunetln board for films in· the-works, film. and much
meI.n Q & A forum , classified notices
r .~ ~c.ty (4 lim. . . )"'1'_), CIN£MAGJC .. iMIIiabIe only by subscription and in limited local stores.
Each Issue incIudes-
To be Certain thai you do nOi mis.5 out on II single &111...dIed aue of ONEMAGIC , we suggest that you send In ~ ~ ord0 TODAY'"
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• Pages of FUL L-COLOR photos!!! • Original horrific art!!! • Exclusive interviews!!! • Behind the scenes In Hollywood!!! • Monster makeup secrets!!! • Animation and special effects!!! • Fright film updates!!! • ... plus MUCH MO RE!!!
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I CINEMAGIC
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Phantasm An interview with Director-Writer-Cinematographer Don Coscarefli.
READER WARNING-Do not twad
this .mae r'
)'OtI
have not yet seen
Phantasm MIICII 01 the Information to fo//ow t:oncfIITIlI'IO thf! f'lm'~ WOf :md Its specla! ellk(., could diminIsh the pINSU,. 01 • first ~i.w/n" 01 this unfQue film
By ROR
D
\1'\RTI~
on CoscArelll, the young dire" .... WIlt ... .;Ill""'''
togrepher of Phantasm, llus
'umm.... ••
ourp.lc.,
screen succeu, has been Involved w1th the film for nearly as long liS he
c:.n romombe1' ·,It b.g.Ion ....,!h • Iou ..
for still
photography.~
he says, "then
on to /.:imm hlms One 01 my firsl
films was a short documentanl I
·.co••
M .... t.To_iIIIy(BIII Co_)~ for an ... oUe ..coOl.. _1Mn h. Hc:o..a •••lIlaled , pdlo_blood
made lor Science cl;:lss. But ;:IlwIIYS dwN _ the desire to go on to ~m«""!'Ig bigger sound films, 16mm fpture films." Tlw filmmaker WIIS only 18 when ~ com led hIS first fealure . JIM, W ~orlc1s GreClleSl, B straight nwlodr41TW1 "' sort of 'conned' my fat.'wr ,mvestment counselor O. A. COJCar Into financing Ihe first future by conVincing him he could maJ(~ mCIrIey on tt I laid him we could bring It in for under $3S.()(x). The 4Clu41 costs r;:ln up to SIOO me) r-;ev~less. the profits promised by
the
youn~1
CUM-'''Iltr! ..... ",'"
Ih.nlloh The Co<;{"arellis were able to convince Chllrles Champlin, the noted flIm crtbc of the L. A n~, to view the Mm; he recommended a screening 10 the president of Universal. Universal bought the fUm for $;&IU,UI}I), lind commlSSlOlled ;:I
score by Fred Myrow, whose fUm musiC Includes Soylent Green, Scarecrow and CoscareJli's subsequenl films, including the CUrTent Phonta$m. But JIM did little at the box office, which Coscarelli attributes to the Universal soles deptartment's reluctllnce 10 get behind the film. A slm!!lIr fllte lIlmost befell the second CoscliTelll film. a comedy clliled Kenny and Co. S!lys CoscllrellL "20th Century I-Fox] bought It becllUse they thought It might be another BenJ!. But it Isn't Iknjl lit lIll It concerns a group of kids who are preparing for a Holloween celem-.:oTion. AU through Ihe film, Ihe kids are pretty sane, while the lIdults act kind of crazy-and the humor grows 01011 of thllt situlltion. Fox didn't know how 10 apprOACh It, and the approach they did use didn·' work . Ifs been turntoq up all Cdble TV lately, so
people ;:Ire finally getting a chance to see It" u.st year, Kenny and Co. surprised everyone by becoming a big success In Japan. Michael &Idwln, who stars as Mike Pearson In Phantasm. makes hiS film debut In Kenny ond Co. as an undisciplined youngSTer who habltu80lly lells off the IIdult cha.ra.cters in the film. This sort of thing 15 unheard of In Japan. where a tradition of fllmUy honor still hlls II powerful hold. JlIpanese au· diences Ioued Baldwin's sassiness and made the picture a big SUCCeH. In a. recent poll, Baldwin was voted one of the 10 most popular stars In Japan! While wailing for Kenni/ 10 be released, CosclireUi began worlc on the Phantasm script. Several fa.ctors contributed to the uniqueness of the plot A lifelong love for hOTTor films-p.:orticularly fnuaders from Mars -and i!I blIckground of much reading In the science-fictIon field (Robert Heinlein and Frank Herbert are among the director's favorite authors) bred In COSC;:lre111 a desire to make a hOrTor film with sclencefiction overtones Pa5t experience In workIng wilh actors Baldwin and Angus Scrfmm (In JIM. the World', Greatest) persuaded Cosetlre"l to shllpe the PhanlO$m roles with these actors In mind-with Baldwin 805 Mike. the energetic and likeable young victim of Scnmm's malevolent allen gl.:ont. It Is the ending of Ihe fUm. which pUlS all the evenls in a compknely different context, that makes seeIng the film a second lime such a unique pleasure. Suddenly. PIIrtS of the script that seem strangely disconnecled or 100 PIli are given their own unearthly logic. For .:on Independent production made on a distinctly limited budget. Phantasm boasts lin lIbundlloce of fir5t-rate special effects. Co-producer .:ond specillJ-effects designer Paul Pepperman, with the help of produc+ rion deslgneT S Tyler lind Cosaorelli. offen had 10 provide ingenuity In pilice of the big bucks that would have been provided by a malor studio budget "Many people find the most remarkllble effect to be Ihe silver sphere:' says C05Ca.relll, "and that was designed by II mechanlc.lll engl-
,
neer named W~lard Green. Green was quite an inventive old fellow, and had worked for one other film-Alligator, which has never been released , He built a 25-foot mechanical alligator suit designed 10 be worn by two men, a great lookIng thing Unfortunately, W~lard died before Phontosm was completed, and never got to see lhe sphere on film" Green actually built selleraJ spheres that were used In the film : one that mechanlcany ejects the sharp-looking metal prongs by which it attaches itself to Its IIlctlms; a second that produces the drill that seemIngly bores through skIn and bone; and a third that seems to drain Its livIng IIIctlm of blood with a pump.like /lcllon, It was this scene that threatened to bring an X rating to the film .
"What hllPpened was. In the Inllllli screening before the six·man ratings board, the decision came down 6·0 for lin X. Subsequently. the pre5i· dent of the ratings board was con· llinced to see it, and he overturned the bOllrd's rllllng:' expilltns Coscarelli. As he points out. this partx;ular lCene would hlllle been much more gruesome if it were portrayed in II series of quick cuts. with Ie~ bIouJ di5played. The scene as it now lip' peaTS-lotaUy uncut-has II certllin macabre humor because of the abo surd amount of blood pumped from Ihe sphere's IIIctlm-lhe audlence's shrieks li re followed by laughter Also notable in the film are Ihe space-gate (produced by II simple stlilionary ma tte effect) lind th4 viow
n.. _ e e l " ..... 1...1throb. ..llh .tlf. of It. 0 ..... eo-.III ........plr" ..Ith 1101. effect aft,.. .llc ...... hh n ..... thIO.... the bonom of. atyrof..... c.p. 10
MEET THE MONSTER
Angus Scrimm-
The Tall Man K... loW. •...1
n.......
w;u
B William Pr.!llt Bela Lugosi's was BeI.!J Bklsko. Peter Lorre's W.!lS >n
--TloetaU ...... -
.....-...-dto 1M ,*,,"-1 of
L-o<71c, I.o:>ewenstein. With the screen ~ucc~s of Phantasm. there is II new candidate for this pantheon of pseudonymous screen malevolence - LIIWTC!ncC! Rorv Guy. ~ner known tl~ Angu3 Scrimm. The ominous "screen presence" that Scrimm dellver5 on fllm is In no wall diminish12d by an in-person 12ncounler ThIS was especially so SlOce FA.... VOKIA·s brief Interview with the 6' 3- actor took place just prior to a p!lOlo snsion for which Scnmm had donned his Phgntgsm makeup and COSlume The name ··Angus Scrimm" hlld its ongm In Angus' college day,. "When I was studying dramll al the University of Southern Ctllifomla. undel" W Jam C. de Mille. the students .....re n.~t o!lowed to appetlr In films :nadc -c;ampus I had a few offers, ~ and 1!"'I:nned the name to d::-s:1lSoe nw actlV lies " Laler. Scrimm appeaNd n MWl"al f1lms under his own nanw Mfore aqain becoming
h .. ho ....
........
..tvtl"Mtylo
Ir_R.... ........,. a
.,...",trvd.,
Angus Scrimm An early char;JCler role for Scnmm was that of the caretaker in Roger Cormlln's Swee t Kill. which slars Tab Hunter tiS a homicidal romllntJc. His first featured role-tlnd his first parIraY1lo1 of evil-was In JIM. the World's Greotest, In which he plays an akoholk father who nearly destroys the lives of his two sons Preparing for the role of the TaD Man Involved a bit of rehea rsal Ilme wilh a tape recorder, as Scrlmm lowered and thickened the normally cultured and gentle tenor of hiS Yoice. and a greater span of time before a mirror. as he perfected the grlmadous scowls and loping wlIlk
that convey the wickedness of his character in the film's early Teels The result of Scrlmm's effort i3 lin effectlye portrayal of unredeemed evil-so much so that, in some Eurepeeln countries, Phonlasm's title has been changed 10 The Evil One. mak· ing Scrimm's part the title role Scrimm dedllres an affinlly for horror films Ihat dales back to childhood, lind expects 10 rise again In one or another mllcabre [ncllmation. Avco-Emhtlssy hlls already approached him on the subject of a Phantasm sequel. a project that he anticipates with relish-along with hundreds of thousands of screen \ol horror fans
I
n the wake of the fantastic suc-
cess of Moonroker, Ihal film's co-stars. Richard "Jaws" Klel and CorInne CIery (who played hdcopcer pilot Corinne DuFour in the Bond p!dl.Ire) wID be s:pacebound once again in The Humanoid. an Italian·
made space opera concerning the at01 a lanky alien named Golob (KleQ to lake control of Earth. Also star· ring in the film ore Barbara &eh templS
wtQrlloI'l, !Tom ~ Sw Who LooN Me~ and Arthur Kennedy. Elf"". to be ho..n.d by A"",ndo (SurmushJ Valcauda. include II lengthy Ia5eI" battle, spau flight sequences and the rapid ~ ci Barbara Bach In the movie's chDng sequences 9
{another Bond
8f:IUltoUI bimbo Batller. 61eh 11mb
thaI 'PK. " _ ,II II. cracked up to bet' 81 ..•.....
The -d H umanOl
American International Pictures is currently negotlotlng for ,he
U.S . release of the newest Italian space opera.
•
I I I
I
A Hmple of tIoe ".nnlng p..,p.od"ctloJl.rt for n . H ........,.,. Wltl! .. J 7 ·.1111000 bu~t. 11', 11,,1(_ blnnt Sf film e¥ftY. Kle' .. -.......-1. M_......r • .nth hi' " • • till , RGgft Moor•. KI .. I wUlaN hi, no ..... I ...1of ehompe.,ln H ......
o'''.
R.hl; A .. I... nd, ddlhHiaof Earth H.e- ... by h...1 duth at the
flendlsb·but ·llk1!'.blelnw..:ler, Golob.
Dr. Jekyll and Mr. Hyde:
1\vo Faces of Fright
Director Rouben Mamoulian recalls the intricacies of creating Fredric March 's horrific quality during the filming of 1932's screen classic.
""""'louio_
ByAL TAYLOR
. . . _ . A VlctoMn doctor lIt-
and in 1941 , directed and produced by Vicor fleming and starring Spencer Trocy. In addition, variations on the cherne ha.... appeared In many shapes and forms; Hammer films In 1960 pr0duced 1M Two Faca of Dr. ktyr. Jean Renoir did U TeslDment de Dr. Cordelier In 1961, Jeny Lewis lampooned It In his 1963 film The Nutty Professor, and Hammer added an addirionaI twist In Dr. JekyJ ond S&ter Hyde . But, out of aI these, one stands out tIS the authoritative and best-known
a:::;a. dvough lhe use of a chemical
version: Rouben Mamoullan's 1932
W '"
hon son composed his 19th c.nlufY p.~ho1ogIc:ol
novel. Dr. Jekyl and ....". InW did n. ,.aIIM me prob. bllIQIkI be causang funue rmm-
pen poducers. Steveo.on died WI ~ before
the first
DttemptS
....s be tMde to transform lhe gentle Dr
~ to .. ~ ...
Mr Hydo
t.be '!he movie cameras. The er..: plot of Sl:ewnson'sdasslc Is
. . . . . which he has oonooaed, to ~ separate human nature's ............ -..II s/dQs TlwI ~11s ~: The doctor's evil side
-
~ II)
men and more dJfficuk for anroI. and eventually takes
Tht l:Nf1 Y posdJiIrIes of this type of attracted the deve~ :!.:MI Mustry. Many movie versions of D- Ju,: trd Mr. Hyde have been prodr.ad b !he ~ 1CI'eeI'I . Among ftc at: ItW: first 19Q:J production by . . , SOQI",
Sdg Po¥cope. /I 1910 Danish version by ~ .. U 5
version directed by
Luous Henoenon, II 1913 British
1Ief-
tion by Kmfto.-Kmemacolor, Dnd the
1oIoI.o.T19 U 5 fhs in 1913 by IMP, ....'IIh K.ng Baggot and Jane Gad; In
1920 by me Pklneer F1lm Corp., pr0duced by Loua B Mayer and starring
I
I '
Sheldon 1...ewts.1n 1920byParamoum, directed byJohnS Robertsoo and $1M. mgJonn 8anymon!; In 1932 by Para· moun!. 1'Us time directed by Kooben MamouIIan and starring Fredric March;
thai the originaIlmpu\se of JekyD is II nobl.,: one. He Slarb out by tlghtly....l>.l
llng againsI:the narrowconventions, and especially the sexual repression, ollhe VICtorian period. He's deeply in love: with Murial, for instance, and yet that old fuddy-duddy Colonel won't let them marry on time. And, smarting under aD this, Jekyll's Idea Is that If he can SOfTfI:!OOw separate the animal from his nature, he will become all one _ toolIIy spiritual and good. So you .'lee, his mofive was klfty. In fact, that's what rnokoathis filin,
r.... ...e,
rnOO'O
tople
day than iiwas47 yearsago - because that's the dilemma of today's young genenMion. Ithink most of them indulge in ~ and retreat from life only because they want to expand their con-
..c.o....-, as they say ~ to aequil'o thle
goodness. and freedom, and to have low triUmph_ WeD, the results are very sad because drugs have the oPPOSite effea. And this Is exactly what happens to Jok;4." "When Paramount asked me to ~ Dr JelvR and Mr. Hvde. they had the sm already picked out. They wanted to use Irving Plchel, a fine AcconIt. . toMamouUan,HidebeelM~h"anImal"'noceace ... b"b......... bo-
telIlgatce _ _ to "teflne h .. llftOrthod""p ......._-tnto cruettv, ...... m and murder_·
classic Or. Jekyll and Mr. Hyde. What did Mzlmoul!an do to make his film such a critically acclaimed piece of filmmaking? One major reason for the film's success Is MlImoulian'slnSights into the character of the young Mr. Hyde. "I like his looks, Mamoulian says. '"You have the right feeling for the character. You know, the nlc:estf!\Jlletter I received after the film appeared was this one from Stevenson's niece: 'Dear Sir: As a member of Mr. Stevenson's family I went 10 see your picture of Jekyll and Hyde with some apprehension, for I knew that it needed real genius to do that great work fun justice. That you have shown, Mr. Mamoulian, for it Is a magnificent production, and my only regret on seeing it was that Mr. Stevenson had not lived to see It. Please accept my sincere congratulations. Most gratefully yours, Mrs. Salisbury FJelds.' "She evidently liked the changes from the novel," he continues. "In Stevenson's original work, which mIght be called a horror story, Dr. Jekyll Is a florid man of 55 - a big, plump guy who Is Irked by the restrictions of morality. He'd like to Indulge In an sorts of sexual excess and debauchery but can't do II as Dr. Jekyll without losing face. His aim Is to separate the two partS of his H
"
nature so he can have one hell of a good time and stID keep up his hypox:rltic4l, virtuous facade.
"I thought that this interpretation was not pertinent enough to the spectators who were going to see the film. A more Interesting dilemma would be notthat of good versus evil or moral versus 1m. moral, l:H.Jt that of the spiritual versus the animalistic side which is present in aD of us. That is our common dUemma. God knows, we struggle lind bettie c:onstantIy with ourselves about which instinct to follow. ""Therefore, asa prototypefOl" Hyde, I didn't take a monster, but OUfCOmmon ancestor, the Neanderthal man. Mr. Hyde Is not a monster but a primeval mlln - cJosest to the Earth, the soli. When the fbst transformation takes place, JekyU turns into Hyde, who Is not the evU but the animal in him. Animals know no evU; they're completely innocent and much better rnOTaIly tt..n we are; they don't torture each other and never kill exceptio eat. The first Hyde Is this young i!lnlmal released from the stifling manners and conventions ol the Victotia.n period. He Is like a kitten, a pup, full of vim and energy. He knows no evU, he sImply gives vent to all his
--.
kBut what gives it more meaning is
middle-aged character actor who later
bec:ame a director. I thought the Idea was atrodous, and I said that I wouldn't be inmesI:ed in doing the film with him . 1hey said that he \OIOuld make such a --Ia£uI Hyde, 'Pm not worried abou:I: Hyde: I saki. 'fm worried about JekyI. I want JekyU to be young and handsome, and Mr. Pldn::lwn't play chaL' I wanted to use Freddy ~h, who was at that lime a light comedian. He has ~ done II film called Laughter. They said" 'You're O".u:y. How can MaIth piay this part?' I told them that If I couldn't use Freddy March, I wouldn't do tIw film. rcI nOV
tended to be more powerful
when playing Hyde. Mamoullan comments, "'Y~
Ma.d-.'s perfonnonc<> loo
su;N!Ib, but Hyde is C!asim to play than Jczkyl. ~ you can unleash th\ng$ as a performer, its always easi ... .
But illotof peopIe:don'l realize this. For instanee, you should
N>\IC!I"
glue an ad-
ing award to an actor or actress for playing an insane person. There has never been an Ophelia who was bad in the made scene. You can't play mad badly
because madness ha5 no logic, and anything you do in a mad scene Is good." A great deal of effort and experimentatlon.....ent into the special effects forthe
film . For oampM, the scene In which JekyI tnt turns Into Mr. Hyde Involved
one of the mosI unusual and famous uses d sound.. Rouben MamouIIan expIaIns~ "tien you. have a totally urn-
_ w.. ~1Iv I knew how to do t . To capture the feeling of ~
J.d.yI'.
-..,..1 '"-I the c:a......., ro the
...... ........ 01 Karl
s.u... """"'"
around on n axis 360 degrees, the first tImr tha _ done on the screen. One
~ had 10 III 00 the 600r, and !he nan ~ the focus -1udUIy a
""" .... guy who i00i<00 Ike • Jod
"""" "'"
'Wih such a fantastic: transforma·
lion. what sound do you use? Do you put mU!ic in here" God, its coming out
of your ems, the scoring. I thought the only way to match the event and create th1s r.c:redilk reality wou.Id be 10 conoxta melange 01 sounds that do not exId .. naN. . . that II hUrnlIn eMr amnot
hear I said, 'le!'sphotograph1lght ' We ~aphed
the bghl of a candle In
""""" """'endes 01",...... din!dIy ......Jonnr.g light rotc KlUnd 1lwm I
said, 'Let's record the beat of a9OO9, CUI off the Impact, run It bockwards: and OCher things like that. "But when we ml It, the whcMe thing
So they brought In aD sorts of drums: a snare drum, a Hawaiian drum, Indian tom·toms. But no maner what we used, It always
lacked rhythm.
JOUnded like what It was "AnaJIy, In
e~don ,
II
drum
I goc this
'NOOderful Idea. I ran up and down the aalrway 'OI' II few mlnutes. and then put a microphone to my heart and said, 'Record It: And that'. what Is used as the bask; rythm In the scene - the thumping noise which Is Ike no drum
on Earth: my own heartbeat. So when I Sily my heart Is in Dr. ~ky' and Mr Hyde, I mean it Iilerally." Rouben Mamou.llan, Russian·born mcm of the thea!er, WO$ rnetIcuAous In preparing for the ful..vIew transformation xene. Wally Westmore, director 01
makeup at Paramount, helped design Jekyl's primal makeup, to be applied In
......
At the beginning 01 the kene, they hned Fredric March's face with red srease paint whkh, when the transfor· matIon began, wou.Id make it seem _ f these bos were!OPdu.aly appeartng. In order no( to have them show beforehand, a red fUter was placed on the camera, which prevenled. the red Ina from regi:Slertng on the film. Then Marth hekl his pose, A still Gra· flex camera was placed beside the regu. Iar camera and an artist sketched the outline of his bodyon the frosted glass 01.
... ""'flox
March proceeded to his dressing
room where Wally Westmore applied I1'IOf"2 makeup for his role as the SJt1e. 5()ITle Mr, Hyde. Bock on the set, he took the pose he had hekl before -
guided exactly by the sketch on the Gra· flex camera. After a few /'I'IOI'I1ents 0I~· madng and """"'" - " " - from
Dr. JekyD 10 Mr. Hyde - Man:h again rqtjred to his dressing room fOf yet more makeup. 1here had 10 be four dltferent appIicatklns before the transformarlon was complete. In addition 10 the lining of his face and the itCtualappllcallon 01 the srease·palnt, there were four dltfer· ent sizes of teeth to be Inserted Into his mouth to show the !JOWlh of IUs tusks. His nose was buUt up with nose puttyaltttle men: each lime the camera stopped. March recaIIi the !iring makeup caDs In a 1932 1n1eMew: "For six weeks I had to amve at the Paramount studios each morning at 6 50 that Wally Westmore coukl spend four hours bulIding pieces on my
a.m,
_...
_----_
..........
........ _of ......................
nose and cheeks, .sticklng fangs In my mouth and pushing cotton wool up my " For the ,,*-""up of JekyI's hands, whkh "'" ri!jnalIy """'
.......
GH.llM la....terecloo.~tH
t....so._ofDr·hIrJII .... .,'·~·
was a set 01 spedaIIy built gloves to be utibed. These ........ palntedttMtcolorof skin with hoW SJ"OWk'I9 through , and each pair of gloves was saghrly larger than the other. NalIsm!ldeoflvorywere glued onto the rips 01 the ftngen, gow. ins longer with each set. They actually curved over the ends of the fingers on the last pair - but the glove-hands were too gruesome and were eventually discarded. In thn P'oce, March's own han
appearance, March's Increased girth and stature
was achleved by means of show lifts and """"" bulIt. ....""" padded ....... jackets. These ga..... him additional dlscomfort under the hot lights 01 the set,
........
reaching temperatures upwards 01100
In today's world of modoo pIdures, spedaIIy trained teclmlclollns can pr0duce, through the use of highly developed special-effects machinery, anything from a hontIIy pesque allen to the awesome vistas of .space. Vet, through the simple use 01 cosmetlcs, 1m· aglnadon and his own heartbeat, dm;. tor Reuben Mamoullan held audiences speb>und with the tragic and timeless taJe of Dr. Jekyll and his alter.ego, Mr. Hyde . , , a rnc:nItty taJe _ frightening
1979 as It was more than foor decades ago. R
In
Dracula Fever The biggest Dracula film euer - thonks to a
solid array of talent.
U
nIYersaI Studios did It once in 1931 with Todd Browntlg's Dracula, Introducing '0 th. ......n o.la L~'. ~ performance as the ever-
dmtng Count. They did iI again in 1958 when they pidc.d up • 9ri&h .....
released OM Drocu/a In EngIand_ it was. nrtitl.rd n.. Ho....... oj Drocu.b FarOvislopherLee,ltwasthe first d many appearances as the King of the Vampns that were to come In the tion_ Though
next IWO decades. l.IrnuoruI sot oul to malt .. 8
"""*'
dwd ddrunw: version of lhe Bram
Sroka dassie, dwy knew the rum wouJd inevitably be measured ~
m.
fIblf competition of lb
own hisIory. So It was that cast and aew were sdected with maximum
1978S1agG: Druculo has been In·
by many as the starting the current
Wll~
of
... _-- mania sweeping the
\VhQn
Unlv(!T'Sa1
10 adlIpt the play to
once more,
was already chosen to< "',,""
presence of lau-
rence OlIvIer needs no oth£r justlfUllon than the man-s indisputable gift for maIcing Qa.:h 01 hi. ....10.
unique In ItSelf and uniquely hb <>wn. 111:1
interpretation of Van
HeIsIng continues to support hiS reputation as the 'NOrid's !J"eatest living actor.
_ , ... w ...... . ..... . _
.. 0 ....... 01 .... . .
I.JniwnaI's chok:c of dlrectOl" was anocI'wr insurance of the film's success. .10M Bad~m's last RIm was Soturday
-without stooping 10 low humor 1be effects 101" the fUm were super· ""'" by Abort Wh;rlod<. ind..."."",
....,., Feuer-among the most success-lui . . 01 aI time, with a groiI box·
the greatest matte plllnter now living, In the film industry SinCe 1929, Whidock left hk nlltiuo: BrItaIn In 1954 to join Olsney Studios, where he worked on 20.000 Leagues Under 1M Seo end numerous other Disney classics. Since 1961 he's been part of UnlYerslll's own SFX staff, end he's 1NCJfked indepen. dently on films like TM Day of 1M Locust and The Man Who Would Be King. About five yeatS ego Whidock was ~y 10 rriJe &om an ak-eady!lusIrious career, But the studios woukl not eDow II-his refined techniques for pr0ducing Na~ movements In his matte PIIlntlngs were cooskiered 100 In·
...... _
$3OO ....iIIIon
....-Idwld...
Bdam worked on the .screenplay D Richter. whose credentials b l e a n aem.lnclude the!lCJ1:lt 101" the r.anllnDaIion 0/ the Body SnolCher$. TogeIha !he two stJt!ped the 19'Zl age pay 10 Is bare essentials, lind returned 10 Stoket's novel to add the ek!ments 01 fr9".d: that seemed to them ITIO$I 5Ui&IibIe for !he blg-budget action ...... 1,1.;
film they enVISioned _ Another draft added the lOudId. \lIfY humor and sex· ......" ..... 1.-,.100 apat't f..om all the previous Incamabons of the Count
vaiUllble, 1be flame effects of Earth· quake end the tea wove:s and sky effects in The wm were sub5equent product5 of the further refinement of his methods- methods brought to e new plnnocle In Dmcula,
It's aI topped off by the ~ Inevttable John WIllLems score, WID It produce 0 founeenth Oscar nominlltion few the composer? Perh!Ips e fourth Oscor? (And can Wlaomsoutdo himself yet agoln with his score for the forth· coming Meteor?) Only time wID leU. They soy thol once is Mppenst.IInce, and twice Iscotnddence, bulthreellrnes Isconspnc:y. The success of Universal's third Dracula Is definitely thIIt- e weD·
cwganized conspiracy of fUmmoklng tolen!
R \9
By BOB MARTIN
N
osferatu - the "living dead have been a part 01 middle-European folklore for unknown centuries, rvIated bul not idendctll 10 the myths 01 vampirism sunoundlng the legendllry TrllnsylvlInlan, Count DraruIa In 1922, thne two legends were combined lor F W. Mumau's ft
_
Silent film, Noafemw· A Symphonv 0/ Honors, now widely regarded as tI classic In its own rtgtu, as wei as a miesl:one In the field 01 dnema horror. At the time 01 Its production, Bram Stoker', novel, .l:>rocvlo, had only
.
recently been translated into Ge:nnan and had captured Mumau's 1rTwIgInatIon. Though the film's somber lIl· mosphere and the characterization 01 Count 0rI0ck (the DtacuIa character. at
"""" by "'"
Sdv
.."...
derived from Mumau's brooding Ger-
manic: sensibIIiry, the story of the fUm was blatantly sto4m from tho .stoke
"""'.
The vampire that MUrnGu and Schreck aeated was the first In film history, Pale, hakiess, with a gaunt, thlrstyiook, theaeatureWtlSaseviln Its appearance as in its actions, truly a visual ~symphony of horror." h Is this Irlt~ 01 Dracula as an aIIm and
repuJINe being, utterly unacceptable In -~e society, " lhalls tilt stronQeSt link
between Mumllu's Nos/trow ond No./eotu the Vgmpvrt!, the cunent fUm &om the German .....nter-producerdirector Werner Henog. FUm au-
diences more accustomed to &Ia lugoII., and Christophef Lee's per~ 01 th. Count _ • .opnlo&at.d,
though reclusive, arIsI:ocral whose ~
.......... thInly
~
lib «VII
nann are h!Iy to be Ihocked, or even angered. by !he "new" interpretation.
AI the plot itlemenlS and I1'\tI.jcIr charac:te- nama u.1I be famillarlo frightfilm afficIonados. Jooathan Harker depens from .. home In Weimar and
anives at the castle of the siniSteT Count in order to seal a contract for the PUTctwI5e of II house. Wlum Dra.culll:;eel>" pcrnaii of Harker's wife Lucy, his .. up:..I~ 1...100 ....., .. roused ; S4CUring tiaciter in the castle, Dracula boards II ~ for Weimar, along with II nurnbe! of earth-filled coffins and an ar~ d plague· infested rats. HarkeT manages to escape and return home, but it seems that he is aIre
in
II
"'"
final
confrontation with Dracula's
I hough n all may sound " bll
/rn;)
familiar, II: is in the final moments of the script thai Herzog has taken the greatest
Uberties with the plot, departing radically from the conventions of the traditional normr f"~m, ond it is these final moments that may gather the most praise and blame for Herzog's vision of Ihe vampire. Herzog, usuaUy classified as lin "art film" director, has shown a marked tendency toward the biMrre in his previous work. Oneofhisfirstfllmstobe shown in the U.S. concerns an anarchist uprising In a home for dwarves , and Is appropriately tltled Even Dwarves Started SrrKlll. The Enigma of KcuporHauscr, based on actual events, tells of a 19th-century BerllneT who Is apparently murdered by a phantom .
Upon its release, much was made of the fact that the title characteT was played by a mental patient. For Heart of Glass, concerning II town that Is overtaken by Its own dreams, Herzog had the acton; placed undeT hypnosis, and mmed them as they struggled with their own "phantoms." For Nosferalu, his flrst Englishlanguage fUm and his most expensive production, Herzog's rodlcal approach to filmmaking has been toned down but not totally stifled. During preproduction, Herzog told his executiw producer, William SaxeT, that he envisioned the nefarious Count as the commander of an IIrmy of rats. "I
river of rail, ~ e:xto8ed Herzog, of them." He may !-wive been ~ fIgura. lively. but~ertook him at hlsword. A few weeks Into shoocIng, the produclion'. first crisis arrived along with the hungering horde-IO,OOO rats. )ammed together in a few large alltes. The enlire casI and crew were put to work, transferring the aeatures to wire cages, feeding 3nd watering them, until H~109 hked three animlII biologists To complicate matten, Herzog's plans had called for an armyol b/od: rats _ these .....ere plnk·eyed albinos, bred few haIr·dye experImentallon. Special· effect5 man Cornelius Siegal supervised the epplic:.ation 01 bIodc hair dye to each d !he rodentlli. Unfortullllle!y (end 000trory 10 popular opirnon), ~ are compuBlvely dean animals. Within 48 houf$1hey had kked off most of the dye and were left In vorious shades of gray, whlch Is how Ihey IIppear In the film. But that was not the end of the rat PfOb'ems. The postoral town cl Ddt, HoIand, where much of the localioo shooting was accomplished, had spent ~ ridding Itself cl the rats that had dutved In Its network of Intersecting Gllnals. 1here WIllS no wily that the burgomelsler would allow the "river of ratlli" to run in the streets 01 his town, despite Henog's assurance that the beasts hadbeenstertlked. Fewthera!se· quences, the fw-dod cast me~ were trucked to the neighboring town 01 Scheidam, where the requk-ed footage 5H a
then tMre is a moment d transiOOn. n-. iii" ~~ he Issuddng her
blood - sucking and sucking Bke an
animal - and suddenly her face takes on a new exprasIon, a sexual one, and she wiD not let him go away anymore.
n - loo . . ....... that ....... boNm ham A moment like this has never been seen in • vampire picture before. ~ Ury HMi<..,.. plaYl!(l by Academy
Awanll10ITIInee 1"""1Ie Adjanl•• '""
responsllIe for her DVm salvation and Dncula's ultimate demise, IeaIJing a more subtle, less heroic: role for Bruno GaN. at Jonathan Harker. Doctor Van IieIWIg is played by Walter ladengast at a man of "rational sdencc~ - a scofffi'T. rather than a slayer of vampires. Of all the major characters, only RenfieId, the lunatic slave ol Dracula, as played by RoMmd Topof, remains true 10 previous concepOoi IS.
Despite his overwhelming attIcaI sue·
cesws, until now Herzog's films haw only been known among the "art fIIm~ buffs In this country. 20th CenturyFox's ma.lor investment In the film Is an expression of their confidence that this w\ll be the first Herzog fUm to appeal 10 a much latgeraudlence. Whetherthla....41 actually be the case will only be known this fall, when Noajeraw the Vompyre
finaIy""""'_ -...
8
--
Slarloq Goes Japanes(> • To'
.....-oe IdlIon, d'ocII.fuI of _0DIcw . . . . . SF _ I"fMLOO, PI-..oI In. lor ... 'fOIl'" _ _ W4ore. '-.,..boId....,. ~
_
Salvage I
with '--lie ~ puII-out In ~ ..... I'Id
~
~
LATEST RELEASE:
""*-""" b~I"fNlLOO",,,,,, """b"SF~.~
~.~
• "f:Io
.......
......,..
~
-~
SPACE: 1999 NOTEBOOK A BLUE:PRINT PACKAGE:. CON· CORDANCE & TECH MANUAL FEATURING IN FULL COLOR: SPECIAL EFFECTS. THE STARS OF SALVAGE I. BE· HIND-THE-5CENES STOR· IES • EXCLUSIVE INTER· VIEW WITH CREATOR/PRO· DUCER MIKE LOYD ROSS
Richard Matheson: Master of Fantasy Part One - The Films of Richard Matheson By PAUL M. SAMMON
_ n while contlnulng ht$ lilQrary ~
I
E
ven If he hod never wntten II single television
K.r1pI:
00-
screenplay, RiChard Mathe$On would sllII be considered
II giant In the related fields of fantasy
and the macabre. From his fInl appearance In print (the 1950 short story "Bom of Man and Woman1 to his most rKenl novel (Whot Drco .... 1978) , Matheson's 000trlbutlons to literary SF and fantasy
"'crv Come,
have consistently been as popular
with readers
liS
they are with the
PhysaJIy, Mathmm Is II Wgq ..... - ... -foonwo, bdlttlny Ih.. _I
-
ru:re d his woriI.-bearded, relaxed, wIIh grey-grun eyes and ~I
_
~n
steady
I
In An.nu.J.o,
N._
Jerwy, In 1926," Matheson votunleerS, ..~ there reaDy IIIt<1lS nothing In my fan>ily '''-109"'',,n.l 10 aeeounl lor my subsequent Interest In fantasy and IOmca fktIon." Then how does he account for his I!felong romance
wIIh those subjects? "'WeD, I happen bc/lcYc lhot your
arc n o.
crttics. BUilt Is In lhe wider-reaching
10
areas of fUm and television that
aI the influence of environment. I beIIorw that you're born with a certain prediktlon towdrdli the tlling3
Mi!llheson hIlS built his greater faml!: .
you ... _ _
b\l •• _
In.~
In.
""For example," Matheson adds, "when I jOiMd the library at the age of seven, the firs! book I borrowed was tomething caIJed Plnocchfo In A,"", From there I juri "utom"tical· Iv Wllvuated towards the huge voNtne$ of laItY tales they had then , And tI\at 5anMI lI
paymml. which could later
be~ ·
ed In 101" a toy 01" SOmflhlng. So I gu_ you cou.ki say I began my wnttng career under lit golden
stlltr.~
St!ll pursuing his aah, Matheson entered BrooIUyn Technical High School In 1939, graduated in 1943 and then .nll.o-.:l In th .. A ......II. 1-1 ..
saw World War II action durtng the AUIe$- flnat po,ah ....:n..» ,h.. 0.."' ''0,"
GraM WUIIaJD. bo htere
borders. (In 1960 , Matheson publi5hed The Beardless Warriors, In which he took his war expe-r1ences lind turned them Into a fine ustralghl" noveL) Released from Ihe military because 01 lit combat-re lated Injury,
ty of Missouri, where he mlljored In journalism under the tutelage of the renowned Jeffersonian scholar. Professor William Peden . Thon, I... 1950, cam. th .. flm pro-
fesskmal short-story sale and career breakthrough. Matheson's "Born of M.n .nd Woman" details the hornfy·
ing story of a monstrous child who Is chained In the basement by his otherwise nonnal parents. This tale won M ... h ....".... Imm .. dl", .. .acclaIm lind. during lhe ncld few years, hlil con· tributed to aD the major ICIenccfiction magazine. of 11'10 tim., In.
cluding GaICUty, Amadng Slorie. -Amadng Sdc!nce FlcUon, Weird Tale., FantaSlic, and, of course, The
Magozine 0/ Fantasy and ScIence fictjon, whc1'e he became a regular name on the masthead. "'The 50s were the openlng'up, the blossomIng pmod in my career," Matheson rKOlb. - , wrQtc 'IO,n. nlec M<>rieto
during that period ." Indeed he did. Among them were such gems 115 ""Tht Last Day," - The Test," "Dance CIII the Dead." "No Such Thing as a V.,-,pre," lind "Shipshllpe Home ," ..-bith were reprinted mllny times. 01 the besI: of these lire Indud· _
III
Matheson's Shock anthology ,
iIiP..-d teYerai tlma through the ~ _ _ ...
19505, Matheson also WI)
best·known ICIence·
fiction nowls, both of IIInkh had II
bent fot terror and were leter dewloped tnto films.l Am Le~nd Is Ihe slOfY of II worldwide epidemic: of vampirlsm that ~ to the film adaptations The Lou Mon on Eorth j1953) and The Omego Mon (1971) . This book Is also acknowledged by George Romero to be lhe main source of tn~pirlllion fOf his films .\"iQht of the LluinR Dead and Down of the D«od. Sharp-eyed audiences have n~ed that the current Del Rey edmon cllhe classic Matheson novel
appears on the night table of the young heTo In the CUlTen! terror film
Phanlcs:m-li twin tribute to author Mathaon .00 10 the cover artists, T1w Bmth.m Hildebrandt Mad1ft()ll'l". wcond SF no"",1 ....M
. . MCOI'Id cla$$k::-The ShrinkIng MOIl-and Ir led him to a new stilQe "7he Incredible Shrinking Mon We$ lhe SUlJt of my screenwriling CUftf,"
Matheson reminisces today.
"And ......... pn>vecI ............'''9
,h.,
rd always feh IIbout screenwrllm ~
b.l0N
In' In Hollywood. You see,
n.. !;J,rinlrlng Un .. wac Dub-
hhecI. I had lived Qui here In l.OI Angela. and I'd been trying 10 seU some tcnpts for televisk>n, for shoWi
lke the ~ Dick Powell Theater. But
~ ... _ "'p~nu.s· 11 ...._ J".'. nIghrmare; constanl exCilements and dkappc:lintmcnts Bul when I had
The ShMhng MOIl publi3hed and Hoi,,-ood ....ntH to buy tho tlghl* 10 II. I 5tipu.laled IMII would have 10 do m. tcreenplay before any kind of deal was doted. And that was that. I still feci rhis Is the eMlest way for II v.rm", 10 br.ak in If you naw a pro_ Itlmbng booK published lhal 'they·
want. tMn you should also demand thai they buy your SCl"MnwrileT
on
~es
a, a
ii, 100.
As weD a~ a practical lesson on the
politics of Hollywood, The IncredIble Shrinkfng Man b a ~ of :itlence fantasy film The plot centers on Scan Carey, an ordmafy man whose life .. ahaneo-ed when encounlll>" with a radloecbve cloud cause, him 10 shrink allhe T(l.te of one seventh of an inch per day. The film stands as
.n
one
of
I....
rn_1
ctKciling
and
thoughtful SF treatments from the
bovill Pc,kx.I o;A ,h" 5Oa. r~" ....... "v Universal al a cost of $800,000 (a substantial budget In those days), it brought In millions at the box office. Yet, for aU Its triumphs, Matheson Is sli11less than content with the fUm. "To begin, I wasn'l very happy with
FIRST IN TIm SERIES 1he~Wrliri
rles
tJde,~ he says. M Aben Zugsmllh, the pro
1M
.;asn't Incredible enough , But that's Jll,.5( a quibble. What reaUy Irked me
were Ihe fundamental cMnga trn:.1 _
..........:1 • .,.... .... y ecrlpl
'Aher I had finished my 5CJeen· play, the prwucer turned II over to
another writer, That man changed Its ..... dt- ctn><':'fu""
In
my
origInlll con.
ception, 1 had had Scott Carey im· mediately presenled 10 the audience hl5 mlnWlture Slllle, and then had fIlIshbacks showing how he had got. ... n th.. _.y. 9 ... I 9"_ they ;ust didn't do things bke thaI then, because Ihey took OI.It all Ihe flash· ...... k • • nd r .."n-llngotd lhe story InlO In
chronological order, which I thought was a mlslake. Unlll you gel to the Inlerestlng stuff of him shrinking, the b. d .. n" Matheson has a fow other com·
~ " ...110 ~b
on 1"M Incredfb~ Shrlnldng
"'_, u.. r.... b9lng ,he mo.t surpris·
"By and large, I was Mver «laDy about thill picture. It certainly not because of Jack Arnold's • ection: I thought it was exceUent. &.' the Iead·ln Slory was poorly - ~, and I feh thaI It missed too oC lArey's personal Ille while was shrinkIng. However, I've ~ aked It... "'bu",,' ..t(ee"', When ... got small, lhal was fasclnallng 10 -=h My favori1e sequence was In dol nouse, when he was being ~. OUI by the etat. That was """'Uy
M
Mathnon's film career Iruly Od In the 60s, wtth 1961's
IfCh. Bum, considered by be his finest lICTeenplay 10 Based on t-rllZ Leiber's h novel, Conjure WI/e, th'!!
Ie)
c.e
film was co· written by Charles Beau· mont, a close person&! fnend ...nd. like Matheson , a writer raponstie for many of the finest ~ 01 Rod Serling's 1V series. 1M Twlight Zone Directed by BrniIh ftlmmaka Skln.y H.~. wIIh Jarwt Blair as a woman drawn 10 WItchcraft II: a means of advancing the etarMr of her schoolteacher husband, the film Is a modtl'm dassIc of the supernatural And , for Ihe first lime, Ihe nallon's fUm critics took Matheson's screen· playas seriously lIS the fUm's audience and lavished it with praM. n.. •.,ty 60s broughl ..noth.,. Malheson milestone in Ihe form of Ihe famous AlP film serla: based on lhe WCII"ks of Edgar ADan Poe Direct· ed by Roger Corman, the series began wlth a sturdy first effort, The HOUH of Usher, In 1960. lis smaU eell (VIncent Price, MllJ'k !Almon, Myrna Fahey and Hany EIWtbM) ef· fectively conveys Ihe Golhlc al· rnoIpher. 01 Poe's tall at a brother and sliter whose souls are Inex· IrIcably bound to the decaying man· slon In which they reside. The over· nlghl success of House 0/ Usher look everyone by surprise. "AlP never planned a series of Poe pictures, Corman has said this hlmseH. But then House 0/ Usher mllde a lot 01 money-a, 0110 these pictures did. American Intematlonal Just couldn't believe how much money il was making. They also gol some good reviews. It really puzzled them ," Matheson laughIngly recalls, ~A IP was thinking, 'Gee, Is It really possible to get good revieWS and make money loo?'" Matheson leans back In hl5 chair and adds, "By the way, they were running House 0/ (ronqnwd on pogor 52)
POSTERBOOK A ElghtdltTamt famt: folk ta1es andad"enluresofFUU, COLOR faerie artwork and. giant ru1J.-COi.OR foldout faerie poster. 1be"A" book will include such faerie legends a" -the C'11 AUillOn GTOsa, 8 8plteful witch. -the rakish Atken Drum , a fellow who WC8J"5 hi8 food. - the hkicou& Aranc .• water dwelltngmonliler. .the beautiful li.8IaJ, the girl with green hair.
Dr. Who's Rogues Gallery A who's who of intergalactic teleuision terror. By DAVID HIRSCH
monsters 10 computerized rna-
IIeves thai years 01 aton*= war could .,. deed mutate lhe Kaleds so he aeates II !favel machine he calls II DaI.k-an anawam 01 the Kaleel name When the KaIeds mutate Into IOfTW!hng unhu ...
chlnesJlfO!Pmmed fordestruction , the Doctor has never failed to outwII: his enemies. After 15 yems. the award-
man, they \ose aI human em(ltiOilS -exiepI: hate. Wkh a waling metaIc ay of, ..Exterminate! Exterm&\at~ the
winning BBC-TV ldence-fantasy series
Daleks set out to rule the uniwnl However, the DoctOf has ~ managed 10 stop their plans to W!pt out or enslave every bvlng creature The DaIeks 111101! created In 1963 by Teny NatIon. They haw appeared in the serials "'The Dead Planet, ~ ~DaJek Invasion cl Earth," ~Space Museum,"The enes. ," " Mission to ,h. Unknown," "The Oalek Master Plan, "The Power of the DaIeks,"!he Evf of ihe Daleks," ~Oa!l 01 the DaWes," "Frontier In Space," Mf'1and 01 the Oeleks," " Death to the DlIJeks." MGenesis of the DaIeks," and two feature films ~ on the fInt two
n neMiy 500 epiSodes, Doctor Who has battled an Incn!cibIe MI1IIy of villains. From hideous
I
has made Its way 10 America. FA.NGCfIIA presenu a look lit II few 0( the Doctor's greatest advenar\a.
The. Dalek. aWIIY. In another unlverw, another time , ts the planet Skaro.
F After yean d war between the planet's Ilf
two mea, the ThaIs and lhe KaIeds, a &WI! neutronic war mutates the KaIeds
nto a race of hideous monstm. WhIle the ThaIs have developed a drug to survtve the radiation contamination. the K.Ieds enaase their bodies In mobile shells created years earlier by II KaIed tdentbit named Davros. Davros be-
I I
I I
.......
I I
The. Cybermen.
E
on5 ago, theC~
wereonce
--v human In AI'I aftQmPi to tOIuc! ... ""'" c/ ImmortalJty. they begon to
rvpIaOD wom-t'll.lf hUrMn tissue lind
orgom '"'" m«honJcol port5. ThIs pr0cess COI'1tinued until the day when they ..t.tIMed ther 0I0.IIl brains INIth computers. No longer flesh and blood, but rnc!tAI end J)IastIc. the CI,b!rmen haw lost the ability to feel love, hale, pity 01' ' - "They...ury thb k- with
d_-,
lorulbmatepower. As strong as 10 men
MKI WII:h the ability 10 ~ In aln>Ul!ol
enWonmenI, the Cybermen launch their first attack on Earth from their home planet, the long-lost sister planet 10 Earth, MondM. To survive, Mondas dra\llS its power from Earth lind the C~ halle to destroy Earth III a
I
ttme
when Monda! has absorbed
enough power. But the Docror and his companions thwart the Cybermen and Mondas explodes &om an overload of "'"'9\1. The Cybermen first appeared In the
1966senoJ. "The Tenth PIone1,"Wli!ten byM:ience-fIction authon KiI: Pelder and I..Jen")' I.J.aVlS. rhey have aIIo appeared
In 1M Mooobase." 1M Tomb of the Cybermen," '"The Wheel In Space, M
"The Invasion," "Carnival of Monsters" and "Revenge of the C~en M
The. Ice Wa.rriors
W
.. Earth was Its frst Ice Age. a spacecraft from the Man in
planet crash·1anded Into the b!. lll4i! crt!W-
!janl, green, 8-foot-td hurnanokis In scaly green armor-remained In suspended animation unlil the day when the world was In the grip of its second Ice Age. While combating a gIocier wtth an iOnIser to hah Its progress, a team 01 scientists unearth the Martian capcaIn, Varga. Once revived, the Ice Warrior &temptS 10 free
his crewmen and their
"
automoted 'PCUso\kJn wllox human ~hobItontt_lw~ 10 lltop Ilw IOV" -
5Ion SInOt they are In a Slate of sus-
pended
arumaIIOI'I.
When solar flares
oendmd tho Eanh unlnhabitablo. , ~
MQkln
01 the
h Umlln PQPuJouon
space until the day when again able to support We , fiowcv.u, It.Q...ccoW ....nlnlc rKb 10 UIe the human population illS fodder lor he ~ and she destroys the automated dock that Is supposed to
placed Earth IS
_
In
"CIflOf
tho humans h Is 1101 und thoill'
nvai 01 the Doctor and ht5 comparoons
that the humans In ob'e to battle the in_ _ . Butlheym..... fncou......
the new Iuder 01 the Wnn who has ab$Orbed boch the "*td -.d body of th..
h~""'" The WIrm made their first ap-
n.. .._
Ins Iu Wanlor, do .."I ... IIl8._
spaceaaft at the cost of the human's bves. The Doctor is able 10 combat them by taking advantage of their one weakness . heat. But they are masters of 5OrI1c lechnology and the Doctor's task is nevt!T easy. The Ice Waniors were crealed by Brian Hlilyies In his 1967 serial "The Ice Warriors." They have abo appeared In '"The Seeds of Death, "The Curse of Peladon" and " The Monste r of Peladon," R
body_or,
England during the time 01 the Crusades. Requiring advanced technology torepair hismm, Llnxlddnapssdentlsts and equipment from the 20th century. The Doctor pursues Unx back in time and manages to rescue the scientists, who are all on the point of delIlh from lack of sleep and food. Unx Is killed when his spacecraft blows up, The Sontarans were aeated In 1973 by Robert Holmes. Sontaran senob include "The l1me Wamx," "The SonIMan Experiment~
he
The. Son.tara.ns Sonti!lfi!ln5 lve for war These
goblin-like T for so many years wkh the
aeatures have fought Rutlln Empire thlIt they know nothing else bul war. The Doctor'slne encounter with a Sonwan Is W'th Captain Jingo Unx. The allen's spacecraft aash-lands In
Time.
and
~Invasion
of
R
The Wirrn their planet by humans, the giant wasp-!ike race 01 Wirms wander through space in search of a
D
rtven off
place to proplIglIIe. A Queen Winn, ready to lay her eggs. boards a fuDy
pearance In Robert Holmes' 1974 serial '"The Ark In Space. ~
TheZYions or cenrunes the cnppIed Zyyon spaceship lay beneath the mysterl()U!i waters of Loch Ness. When the ocIopu ... liko 2y(JOn~ loAm 01 tN!;" pI.!In'lt'. destruction. they set about 10 capture £.a.th fOIl' thor w.ndoring poK'Ipiot With the power to cMnge thetr shape at wi and the help of a fellll'5Ofl'M! Zygon belllSt J."""""'MtN!S!
F
The Doctor battla tht. F,.nkt.llltri.·IlIr.. bodvof the eonl TI... Lord Morblu •.
has caused the aash of many others. Hewed In a life·support sphere that doubles as a head. Morillus' brain takes control of the monster body to destroy the Doctor 50 that hl$ head may serve IllS !he new home lor the Inrt d Morbius. The lW6 Mrial1he Brain 01 Mer-
blus" was written by Robin Bland.
The Anti-ma.tter Monste.r era MInOr 5es on the very edge of
Z
the universe where matter can safely exist with anti-matter . . . to a point. An expedition to the pillnet. from the Morestran empire, is aD but slaugh-
teNd by a mysteriou5 force leavtng one half·crazed survivor. The Doctor answers the first expedition's distresscall 11$ does a second Morestran exped!t!on led by a hostile and suspicious captain. Unknown to anyone. the anti-matter monsIef has boarded the Morestran spaceship and only the Doctor can lave them. drive the monster back to Zeta Minor and undo the damage the presence of mattef life forms on an antimatter planet: has caused. The antl' ffilItter monster first appeaB In 1975 serial by Louis Marks, MThe Planet 04 Evil. A M
AWIn. tt. ..... tht. J.n. '" tM ,-.. fOO_ of-n.. Art. I", S,..ce.man~ to Slop the Zygons and the Skarasen returns to the only home it has ever known . . . Loch Ness.
The Zygons and thetr monster first appeared In the 1975 serial "Terror 01 the Zygons" by Robert Banks Stewart.
Morbius n a bleak, rocky, storm-lashed plilnet, the scIentlsl: Solon keeps alive the brain 01 the renegade TIme Lord war atmlnal Morblus. Using partS from the bodies of aliens who have crashed on the planet, Solon creates a hideouscreature whose head will house the evil brain. The Doctor's time-andspace machIne, TARDIS, is also drawn
O
.-...."',. ....-........ __....-
., tho planet by tho same fate fiefd that ",-ldM_h.1I St~ • •
.....
To.e.. _the Or. W1Io ..-ter,
uref. lI~
bend ," pl" lip . then.I ......, 11ft ..-terOUI.
,. B U
The orl91msl politer forthe Universal prodllction of f"", ..III:......"III...... rly fOlgotten In the hl.to~ of honoTdn .. ma . which d_lgnated Bel. Lvgol' .. the .ta•. The role. of COUtU,laler w..ntto KatloH. 38
The Forgotten Frankenstein ByALTAYLOR
Before Barts Karloff euer donned the nuts and bolts, Universal Pictures signed their resident vampire, Bela Lugosi. /or- the role . ... Test footage was shot - and lost- under mysterious circumstances.
O
..
ollh.-hon-fllrnd..-c.
d at till"lt is Universal Stu·
dkls' 1931 retellingof Mary Shelley's Fronken.,eln. The harrowing tale of Dr. Franken· StWl'~
alWlnp' I
wel-known to anyone with even a paging ~leraI: In sdenofI: ftcIIon and!or AmerIcan dnelTWl.
A ""'"" "",I 01 the SIm ;, Boris
Korioff's fMcInoting and sympalhetlc: portrayal 01 the doomed monster. Yet 1n1ere;Ur1giy
enough, Karlotf
W~
not
the studlo's firs!: choice 10 ptay thai role.
. . u.-a tMtlaJt, . . .,.. _
put ... doc Fnakawtet. en.lure clrIafKt_. A . . . . . . . . . loaJfaft.. u.. ......... fll .... .tanedl.FIWIIIJ._... ,..... do . . .
-v--•.
Lugo.1 . dd .... .... nHO' men.nc etotbe . ..11/ POI! N" ....... I. do• •" . No ......
directed the two-reel Lug03i teM, in which the actor actu .. lly hod lIttle to do
but wear Jack Pierce's makeup during the last two or three hundred feet of the
test." According to Florey, Lugosi WI7o5 not at aD happy about the role of the monster, and expressed his dlssali5fac· !Ion during th" "KpCri ...... ntal ......,·...,dcr. "Jack Pierce, the makeup artist at Universal, had created the now· col.:!bnIOl'd mond ..... mak.;.up {my ...-naIl
contrb.nlon being the bolts and screws on both SIdes 01
the
neck) . As I
was
working with the other actors, during a time when the monster had not yet ·come to life: LuQOSl kept exclaiming, Bela l.ugo.l . . F.anlr.en.le ln'. m o n.l .... ttempo 10 d o In Lon Ch....., .Ir... b.p l_ UnyTalbol. the WoHaaan, III the Un1vcrsal chllla"..",bouui. Me"," "". W..q-.... [t was Hungarllln actor Bela Lugosi, woo eventuaUy won fame as the vam· pire Dracula, who was first approached by the studiO to act In Frankenste!n . Robert Florey, who MS to his credit such films as Magnificent Fraud and Desert Song, was originally hired by Universal to adapt and direct Shelley's novel. He did so with Lugos[ [n mind. "I first discussed the Frankenstein idea with Richard Schayer upon my return from Europe In 1931." expla[ns Florey. ~He was not certain that the Mary Wolistonecraft Godwin Shelley work was adaptable. Visualizing Lugosi. not as the monster, but as Doc· tor Frankenstein, I IIJI"Ote a synopsis Inspired by the author's story. Schayer agreed with my conceptlon of the film and told me togo ahead with an extend· ed and detailed M1aptlon, adding that the front office wouk:I Insist on lugost playing the part of the monster. "As I finished the adaptation, my
'Eno...gh '" enough ,' lhot he. ""'" not so· Ing to bo a grunting, babbling idiot for anybody and that any tall extra could be
the monster. 'Jwas a star in mv countnr
friend , Garrett Fort. was assigned 10 work with me on the first screenplay and
and will no! be a scarecrow over here ,'
to write the dialogue. Our effort pleased Schayer, and it: was at that time that I
he SIIid repe.etedly." It was during thls petiod that the ap-
Karioffbrougbt. dignified protHnaolo F.anke... leln', m on.lath.1 u p ,1did nol bt ltlllllw bell_ poulble.
I TotiIINO.OfCel5~.S20._. , _ I .. s_ 1 I I TotiIINO.OfCel5~.515. I u.s. ~ C;IrIdiIrlIfoesklena adciS1":50 I I fOr trICft eel CII"CIffe(I for ~ • I I I 1~ s sent 0UDICIe me u.s. s_ 1 I CITY SI"n '" .... _ ..... _ .... I 1PINSUOO S3·~~==·EndOSed ~= I ot.4llU:W_ .... .......,...,...-. _,..u. .IoI ._IN(; I 1o.J.4_ ._ l n _ _ ""-.....-. bono_ ~'''''lOC .'COItDS NOms-d ........ __ .• _ .... , ......... _,,,0000_ " 101 _ _ I ___ ... ....... w. < ....... < I LI ~ _____ __ _lP _ _ '" StXeZ I ' -__ .........., ......... u I ••• COLOR AD 0_ '_"D_, .1tO.-T COW • • ThHe ..-d. h... limit" It or. dlltrlbutlon. It you cannot find them, ~-----------------------. 0(
~
~
--'---
II ~=:====~~:;~~
II;
IF .
II;
.
of a play by Peggy Webllng, but also denied him any credit for the picture _ the only exception being on foreign releases of the film . which credit Florey and GMrett FOt1 with authorship of the screenplay.
HO\NeIIef, while both Frankenstein and Dracula are now considered dassIcs In their genre. the stars. Boris KarIoff and Bela lugosi, found them",Iv.. hounlcd by d_ ~~ In
and tadtUm Mtwe, who was 00( happy tNIth the klnd of roles his appea~ In
Dracula ~ him to play later on , ~ did Indeed appear as the monster, In the
pearance 01 the monster - as we now know him - was mated and developed, a fact commonly denied by
Universal Studios_ things have been told and PIerce working for trueQ hours mo5I evenings for lhn!e weeks while aent!ng the makeup for Karioff as the monster, ~ Fkny SiIIys. ~PIeroe stated that, at soon as Karloff I\&d been sPven the part, he humed out and got Shelley's book, lookIng.for a desaipaoo 01 the monster (which had not been 'Nritten) . "Jack PIm:e Indeed created the monster's makeup, but not for KarioIl and not after ruding the book. h dldn', take him three and a hal months to sketch his Ideas, etther. The makeup was Invented by PIerce and designed for Bela lugosi's lest, and was identical to the one applied on the faces of the several candidates for the part making the test, KarIoff Included. Paul lvano. the cameraman who photographed the lugo5I test, can testify thai the Lugosl and KarIoff monster makeups were similar . Someone had deCided , perhaps for exploitation and publidty purposes, toforget about the lugosI experlmenl and 10 advertise the creation 01 the KarIoff' monsIer myth. h mightbe the reason for the mysterious disappearance 01 my two-reel, edited test .....tlich was never found 1'\01" seen by anyone again, and was probflbly ~Many
lNI'Itten about J eck
-'"
The makeups for ,he two actors
were, In fact, 10 similar thai Florey had trouble al the time tellng the two apart
.,
To lDustnlte this, the director oif(lf$IM foDowlng anecdote: "AI the time he was tested, I Md :seen Karioff, dressed as the monster, coming oul 01 the makeup room on his way to the stage Taking him for LugosI,I said, 'So you changed yow mind. ada, and accepCed the role?' But the wrong monster answered, 'I am not lugostI am Boris KarIoff.' .. As it: developed, Robert Florey had InIe to do with the final versk)n 01 Fronk~n$tein . Universal not only completely dropped him from the project, subslitutlng James Whale as dlrectOl" and using John Balderston'. adapta.tion
IMt._
1.IJtoe6 •• d 111'.10. r . ... boIr.. 011 _ ,,-a..-.-,.,.. / ..-v-- I.. _ _ 19-13 pieturo, F ...... It....,dI.. M .... ",.
Wolfman . As for Karloff, he became totaOy typecast, and went on 10 achieve (Gn ... ..,. I tvllywvoo..l'~ IVI""","", " _ , ,,
of the honor film. Fronlr~nsteln was not 10 be the last time Karloff and Florey worked 109"'11....·• TIllIly )"OG'a 10 ..." d"')1 w'"""
both Involved in the television series Thriller. As the two friends discussed their careers, Karloff smiled and said, "Why didn't you. and Dick Schayer choose: another $lory in51ead of
FronlerUlelll biIck In 'Jl? Look wMt you did to me! I have been everything from a ghoul to a zombie loa mummv to what have you, and again today I am a mlld docttX.~ He sobered and con-
floo.,{1dtj ud Bon. Kadoff_tH Nt of Karlolf'. NBC - - ., n,w_.
tinued , " Ananclally, perhaps, my career has been II triumph. but artistically, not too varied 01" rewarding. Poor Bela- I understood him. he was a
Inend. ....
II
Robert Bloch P5ycho's author tells how he creates tales of ho"or.
By JEFFREY ELLIOT
H
ailed by rnony "s Ih.,
"m~
ter of shock lind horror," Rober! Oloo.;h b ponhaps Ihe
best-known wrlter In the
field today. Th" "uthor of 40·odd book~ and more .tUIn 400 short
Slories,
he
associated
has
with
been closely
such
memoreble
films as Psycho, The Night Walker,
Straightjacket. The ~adly &a, Torture: Garden, The Hou$e Ihal D~lpp,,"
9100.1
and
A.ylum
MoreO\ler. he has written countless scripts lor television, many of which h".... boNon ....,.n on Thrilln StaT
Trek. Night Golkry and A/fnd Hilch· cock PruentJ. In Itw; Inlroducllon to his latest
book, The Best 0/ Raben Bloch. science-fictlon
writer
and
editor
lester Del Rey attempts 10 capture 1M
~nc",
and spIrit of this eXlTaOf-
dinllry writer, observtng, "Robert Bloch has ellmed the reputation of being .. tou.1 pro/eUlanal, one whOM
writing Is always dependable and whose temperament Is never tuned to mere temperamentallty. In sum. Robert Bloch Is a true professional In .. aspects of the profession he
choM!. And h2 is also on2 of the best~
hum.m beings II has been my
pieasur210 know." Tl.. following Inl.Mow w •• eon
ducted o n ill rilliny ahemoon at 8b:h's picturesque hillside home In l..os; Angeles. There, sUTTO\Jnded by 1'Ie mountain of books and memora· biIM which adorn his handsome lIDdy. we discussed the iIIuthor's rich end varied career, focusing on the ~ of lhe horror genre itself. A ~. amcuklte and witty man, I!IIacb attempted 10 describe whillt ....... horror story Mtick " The end . . . . . . . t.incatlng discussion of
this IInle-understood genre, direct from the man who has speCialized In produdng shock, shivers and shudders since he sold his first slory al the age of 17. FANGORIA: What explains your In· terest In the honor genre? BLOCH: I'vt been asked that ques· tion many lima, and I think I'vt come up with at least a dozen dlf· ferent answers, ranging from an al· tempt to alJa,y my own childish lean 01 death lind the unknown, to much more complicated and pretentious notions of the work! and how I fit InlO the scheme of things. BaslcaDy, I was a very Impressionable kld. HOITO!' trau· matU:ed me _ So I folowed the old adage, ~ff you can't lick 'em,)DIn 'em. ~ I began to explore what I feared. I looked behind-the·scenes at the mechank:s and why It affected me. FANGORIA: What did you read In those early days that provoked your Interest In horror? BLOCH . My parents placed a great .... alue on books and Ideas When I leamed to read, which WlIllIt the age of four, I was exposed to the writing of O. Henry, Mark Twain. Arthur Conan Doyle, Edgar Allan Poe and Morgan Robertson, IImong others. It was through Poe thai I made my firs! contact with the hOlTO!" fleld _Leter, I wenllO lhe public library and followed up on my early explorations of the genre. FANGORIA Why do people en)oy being frightened?
BLOCH: I think it's aligned with the okl Greek theory of carthllSls; the no· tIon that one could sit In a theater seat and be unerly terrified one mo· ment, only to be completely rellS· sured the nexl. People enjoy llicar· Ious experience, the opportunity 10 Oirt with imaginary terror. and then retreat lnto the safety of reality. FANGORIA: Is there a point at which horror stories can beco..... 100 real? BLOCH: Yes, This Is particularly true when they become graphk: ac· counts, almost documentades, of torture and mayhem. The problem Is compounded when they are pre· sented lIS a slice of life without a point of view. In such Instances, the author 15 doing a great psychic dlsser· .... lce to the reader, either by frighten. Ing him out of his wits, or by gradual Iy Inuring him to hl.lman suffering FANGORIA: To what extent don the horror genre lIppeal to people's base Instincts? BLOCH: Asl see It, aU of us po$SftI such Instincts; we're lIU compounds of the Intellectual man and the an· imo!. In order to 9ua~ant_ our own psychic preser .... atlon, we must acknowledge these instincts, either giving free vent to th"'m Or learning how to sublimate them In some fash· Ion. Regardless of how we deal wnh them, I don't think it's realistic to pretend that man is solely 0 spiritual be· lng, that he is free of violent tendenCIn. Hopefu.Uy, the horror 9"'nrc provides useful insights into the problem and how be5t to cope with II FANGORIA: Should oorror stones serve a didactic lunctlon ; that Is, should they attempt to leac:h peopl., how to re-channelthese InstlnClslnlo more positive directions? BLOCH; Unfortl.lnateiy, 50 many horror stones today are suitable for the pages of Populor Mechonla, In· asmuch lIS they seem to constitute a how-to·do-it course in vicious, sadlstlc crimes. On the other hand, horror stories can tellch us Important truths If they embrace a proper polnt of view. In Ihls regard , they should Invoke empathy with those woo ore either vklims of cruelty or v\cIims of their own violent Impulses. Here, horror stories can help us to under· stand the rationale behind violence a Iinle bener. And I think it's Important that we do 10. AD lIrt, regardless of its nllture, is an attempt to modify reality, to innuence the shape of Ihlngs, 10 affect the point of view of others. Hellven knows, many of our lId .... lInc·
leN_ C._wforcS and ItrlJltrl bedf..l1_ ,_
~.......a-"11964) .
She plallftl_
,dor.lCl ...... IIrokr ....
a as wd as our regressions can be traced 10 hlerary sources. Through· out h;a~. OUr adivJti..,c hav .. boon
shaped by what we've been loki, by WNI _
....,
..... read and by
whal w..·vc
FANGORIA Are there subjects which are taboo when It comes to wrlUnS '-"roo?
BLOCH· Nothing k taboo, QllCopt, perhop5. variOus modes of presentabOn Because of our oarticular cultu,., there lire certain subjects whio:h lIr.. frowned uoon-necro· philla, cannibalism, incest, ped· ophUia. These seem to be the big 10llr
taboo.
In Our
~_
1-1_... _,
there are many cultures In which these sut+Jcts are by no means taboo. FANGORtA' Do you aQI many (If your plot Ideu from real·llfe In· cldents? BLOCH: The Idea behind Psycho came from real life, but thai'S the on· Iy IIOJ}' I can think of. I sometimes s-t III point of Ykw or .. "ory entry, though, from a real· life Incident, but nOllhe plot or the characters. t-ANuOKIA 10 what exlent 00 you draw on history as II basis for your stories? BLOCH. 1' ....11. WTlnen from 75 to 100 stories which employ an historical frame of referenca. Certain historical personages or periods Hem to offer
... Ie.,ono", 10 lodoy'. ow.!k.-..
rA.NGORIA: Do you ever lui queasy Ot" uncomfortabkt In writing
horror? Ih,,",w owoy whot I've written. J ~III! a very naive and simplistic approach to whllt I do. J consider myself to be prtmarUy a member of the audience, a fan 01 m(»1 emertllinment IOrrN, I can only write comfonably aboul lOITIethlng I .....,..,ldn't mind nt..tlng (K ~ myself. I don't mind telhng you, there are a number of fUms rve Avoided seeing, precl5ely beClluse In.y .....,..,Id .....10:. m. qu...~y or un_ comfortable. I don't particularly care DLOClt. tr I 00, J'U
for di5embowelments or dismemberm"nl* on ~n or .v.n offJoC::re/On. for that matter. My criterion II slm· pie. If 50methlng tums me off, I won't write about It. Ther. are ways of handling this material Without becomIng 100 graphic. You can infer, you Cdn suggesl, you ClIn evoke ..... ,"orion of honor In your ....ad
theatrical individual; what would de:suoy the composure of one filii! year old, might not have ony $lgn1'lo;ont effect on another. Each child Is Individual. FANGORIA: From your point of view, can reading or viewing horror precipitate acts of violence or a1me? BLOCH: I Ihlnk an individual Is much mont apt to be Iriggered off by reality. whath£r that reality takes the form of a newspaper account of some mass murder, or whether he views such violent .activity within his own environment. Throughout history, mass murderers, sociopathic and psychopathic personalJtia have commmhed barbarous crimes without any known connection with the horror genre whatsoevtr. I often remind people who posit this expLanation thai In our culture, which seems to be turning more and more violent, we began, In 1940, by seiling up something called the Selectlvc Ser· vice Act. Here, we deliberately, by decree, took our young men, placed them in boot camp and taught lhem how to kill. MoreollCf, we gIorifed such k!lllng, made heroes out of klllers and continued 10 Indoctrinate generallons of young people In Ihe ~art" of klI1Ing. Sadly, It'. not con· lkIered polttlc.aDy 01' SOCially desirable to point out that we've taught our youth to .accept the notion of killing as a way of life. It's much easier to poll'll the finger at $Omeone who has written a book or a pLay and say, perlmCe In reading 01 ~. And each case II
MHe'. the culpril. He's the one who's flUing our children's heOOs with aU sorts of bad Ideas." In truth, the popular acceptance of violence II a product of our historical experience. Our society Is geared either to war or a $tate of readlneu. This Is a far more significant factor In creating and perpetuating violence than anything that $Omeone could ever WTite or put on the screen. FANGFORIA What makes a horror $lory believable? BLOCH: There are two factors. Arst, It's necessary to bong about what Is called the "willing suspenSion of disbelief," by carefuUy estillblishlng a logical ftameworit: lor the 51ory. For example, II II writer employs a supe!" natural device, then h's Imperative that he make that devke .as convincIng " possible. Second, II'. necessary to develop credible with whom the illverage reader wllI Identify and, hopefully, empathize FANGORlk How great a knowledge of ~hOIOgY do you need to write good horror storie5? BLOCH: Far mOl'e than anyone hillS today. To my way of thinking, psychology Is not a science, but iIIn .. rt. There are many iIIpproaches, TmIIny ways of getting at a pJobIem. It's necessary 10 undentand the inleraction of emotions In Ol'der to treat a character or tub;ect effectively. FANGORIA: When you write a story, do you do $0 with a particular reader In mind? BLOCH : I'm my primary audience. I do attempt, though, 10 analyze Ihe audience I'm trying to reach Of course, this depends on the re.dership of each particular magazine. There II no stereotype of an "average reader." FANGORIA : Is there a secret to writing good dialogue In horror? BLOCH : Believability Is In the mind oflhe beholder. What Is be~evable: 10 one person, Isn't necessart!y bellev, able to another. Those people who aren't accuSlomed to hearing Uterate dialogue are going to regard such dialogue as phoney. On the other hand, others will find the pedanllc approach much mOTe acceptable, largely because they're accustomed 10 hearing It within the context of their own relatkmshlps. Therefore, It's pretty hard to generalize about the question, ActuaDy, aU of us employ a number of vocabularies, dependIng on Ihe particular occasion. Unfortunately, In evaluating
.,
literature and drama , we tend to judge chllfaclerizailon on the basis of consistency. If a character uses a cer· tain type of vocabulary in one instance, he Is ellpected to use thai same vocabulary throughout the story. This isn'llhe way people really speak. Instead, we speak in those forms which suit the occasion at hand . FANGO RIA: Based on your experIence , are there Msure-fire" plots In the horror field ; that Is, plots that work over and over again? BLOCH : Yes. But I try not to think about that subject. Again. I approach my IIJ()rk as a fan or a member of the audience. Because I take this view. I've never read books on how 10 wrlte, on the 37 lmI)or plots, or the various hterary gimmicks. Since I've had no forme! education beyond high school, I don 't reaDy know what the secrets of good plotting may be. FANGORIA: Why Is the horror genre so frowned upon by til« ltteTary establishment? BLOCH : I suppose II's because we encounter it In our earliest childhood, primarily In the form of fairy tales. As a result , it's as.sodated with the tastes and interests of children. Unfortunately, people In the lite rary field view fantasy as a childish aberration . They feel uncomfor1able praising something which might be viewed as unsophisticated. It's much easier 10 praise what is IHn as "reatistic .~ ActuaOy, we often label and categorize without much thought . We talk about "reality" without stopping to examine It. Look at the number of people who drive oround In SportS cars who will never drive In a raDy. Or aU the people who wear bushjackets who will never go on safari. No one questions the "reality" of this behavkJr. It's accepted as normal. And yet. it's fantasy, iI's make-beIleve, h's ..Iet's-dress-up-andpretend. " FANGORIA Is horror any less despised loday than it was when you began your career? BLOCH, If so, it's 'or one major reason- Mcommerdallsm. " People have found OI.It thai horror can and does make money. Asa result, some of the biggest ~grossers" cater to audiences In ways that I don 't particularlv Ike. However, once publishers and prodUCi!n dlscoveTed that they could exploit this sort of material for substantial profits, it became more acceptable. FANGORIA: Are you concerned in
.
your writing that good triumph owr evil? BLOCH : I'm primarily co~erned with makIng a dlstlnctlon between good and evil and. in passing, makIng a personal statement, which I don't expecl others to necessarily accept. As a wrlter. though, I think II's Important to espouse a particular point of view. To depict SOmething without expressi ng II personal opinIon Is mere reporting, and refusal 10 !.like a sland Is an admission of Ifresponslblltty for one', own actJ TIu5 same attitude plaguH the ":;"nhfj., community . They will Invent weapons capable of spreading wholesale death and destruction, only to tum their backs and say, "We just did our job. It's up to the government or military to decide how these things are used." To me, this Is the precise attitude which characterized the Inqulstlon. As you know, the Inquisition never burned Of tortured anvone. Upon passing sentence, they turned their victims owr to the secular tum-to the duly consmUled au thorltles-who then carried out the sentence They could claim. therdore, that they weren't ll!$pOnsIble for what ensued. It was a nke "cop-OUI," as we Spaniards wouki say. I have my own IAew of right and wrong. I don 't alway. ha_ good triumph over evil, because that's not whllt always happens in real life. Ijowever, In the totality of my work, F'm sensttl.... reglIrdlng this point particularly In novel-length material. FANGORIA: Are you any Jess frightRk ioard Todd
ened In rul life, having written aU sorts of hanowlng Inddents? BLOCH; In one sense it has actuaDv Increased mv fright . This takes pllIc. when I enter a theater and see someIhlng which goes beyond Ih" llmlla I woukJ set for mysetf, only to hear the audience react with shouts of laughter lind approval. When I observe this response to acts of vkHence. It SCIIres the heU out of me! I've noticed this allllude of callousness and
sadistic glee on the part of many Indlvlduals. I don't blame It on the material per se. but on the sodal dlmate which encou rages le. FANGORIA Why do peopW! tend to hero-wOfShlp the vlHalnous characters who are portrayed In books and films' BLOCH ManV young people, In particular. feel that they are oppressed by authority, whether It be parental. educational, or governmental Their resentment takes lhe form of f.ml4sldng ,he u-.ITuc:tion of
Authority liguras They Can do thii. in a viCarious sense, when il "monster" Is unleashed on society. They identIfy With this character and his eKlipe hom lhe authority figures who Imprisoned him_ To me, this accounts for muc:h of lhe :JUtXcss of 'he ru"," tn5tOIn monstlfr He symbolIzes th" adokscent-ctrtalnly, the lIdolesc:en!
of th..
1930'• . I-I.. '. . . , .. II ,
lumbering. awkward male figure . •
child . If you will, of Dr. Fr~nkensteln . who', unable to communicate with h~ " par"nl~ Of rci
th. ,",,,,.1eI
In
which he finds himself. He's viewed as ugly and unoainw-someonC! who's put·upon and persecuted-who getS his revenge In tho end . This ~ to explain why the im~ge of the Frank~nstetn monster Is 50
........
FANGORIA How
do
you view the
crime problem Is the United States?
Are we doing an lrifecUw job of fIoht,ng crime")
BLOCH : We're doing an abomln~ bIe iob! We _m unwilling to come
---.!
Roblft T.,ao.. .ad
H. ~
Row'" hi Bloch'.
to grips with reality. There ts today a hesitancy on the part of many politi. ....1 ''Y......."IO off.md d,,, ... consUtu"ncieS. This is also true of the so-caDed " U1I1Uo'y-lmJu~t".,t t.VllIptCII , " which Is afraid to offend any part of the ea.... u rn •• c:arnrnu ... tty . I w •• bro<.o.ghl un At A time and in a Mldal mlt\eu where I was intimately bamUlar with what," term "ethnic: mlnorltle:s."lndeed, Ihe high school I attended had 37 nationalities. My mother was a soclol worker, She worked with 1m... tw.... , gt"OUpOI I... _ ...!tle.... nt house, whlc:h was located In a primarily black neighborhood. even thnuoh ... OCI of th. f"'Op'" with whom she worked were of Middle European stock. M a result. I ClIme 10 know peopkl 01 many dlvlilrgent cultures- their attltud~, values. life styles, etc. Moreover. I grew up durIng the height of the Depression. It was a time when 20 percent of the active working populallon was unemployed. And there was no organ~ wei"..·" effon. AI thlil Mme lime, our motion-picture theaters depiCted an endle" stream of gangsters and villains, who made a CIIreer oul of crime. But In real life, though, we had fer less crime than today. Young people had no money. no jobs. no CIIfS , no anythIng. And yet, there wasn't the despair. the reliance on -1 .... 00 . th• •.,dlo.. .... uggln9", II-... murders and violence rationalized 10day as the result of social Injustice arwt deprivation . Our problem today Rems from the permissive social enITOnment When I was young, par..-u exercised control over their e n . The schools exercised conover the students. And the COUtU ~ control over the criminals. MorI'OWl'. the young people were o;:toeeted to assume responsibility for conduct of their lives. Phrases
n..~,
......_ (1 964 ),
IMI wert respected then- a good father. a good husband. a good provi
homemaker-are laughed at today. We h(ad more poverty and more Ig. norance in those cUlys. but las !rresponNbihty_ Jess perm..w.ness, less loIer~ .. 01 anTi-iOCial bl'ha\llQr FANGORIA: Are you a proponr."lt
or the death 5enten«?
BLOCH. I feci IMt capital punishmenl Is a nec~rv evil. nol because It serves lISa deterrent. but because II .Il ...ln_t.. the opportunity for a mo· ;:w crimInal to repeal his crime . As I see It. the future win become Increa5Ingly ble.k unieH '" take slept to eliminate these individuals from our society. FANGORIA: What do you think of modern-day cults, such as devllworship? BLOCH: I'm greatly alarmed by their existence. They're $ymptomallc: of our dlslrust of our own culture and our unwillingness 10 come 10 grips wtth reality. We seek solutions elsewhere. embrace new cosmo/ogles, Inven t traditional values. In the end, though, labels are not solutlons. FANGORIA' Flna Uy. are you ever amused when people remark that you're nothing like the bizarre characters you write about? BLOCH; ReaDy, I've come 10 expect thll reaction. The $Iereotype of the horror writer ls widespread . In lruth, we're pretty much like Ihe rest of society. Unfortun ately, the public: stili piCtures horror writers as either "whackos~ or "hard·drlnking, !w0listed realists" who pump out books for a fast buck. HopeIuDy. I don't seem to fit either of these two categorIes. I' m just a plain . ordinary guy who likes to scare the heH out of people . R
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7 1n
Prophecy: The New Rreed of Monsters Mechanical technology and human strength combine to bring Prophecy's monsters to life. By JOE BONHAM
ropM<:~ has put the bite back In monster movies. The eco1ogIc:oUy inspired honor film cunently grossing millions,
the Meine timberlands by Ihe Queen Kong of the mutants - II bear-thing nearly 20 feel taU. The bear Is in search of her mUlan! offspring, an
both In dollarslmd moviegoers, con-
annlul being earned around the forest by th. Verns for not-sosafekeeping. The real stars of Ihe film are, 01 course, th. monstrous mother-anddaughter act. The mutated cub, seen for most of the picture, was designed and constructed by Tom Burman's studio with the able assistance of Jadt Shahon. The BUl'TTWlln group unleashed the other·wordly visage of
P
cerns the effects of chemlul poIsonb'Ig In an enclosed environment. Once the polson enters the food chain , III lot of strange things happen to the Ioca.I animals. They mutate and grow 10 gigantic proportions.
The film ', hero, Environmental Protection Agency official Robert Vern (Robert Foxwonh) and his wife
(lalla Shire) , are pursued through
The Manilou on monster fans a or so ago.
yelll
The cub is part mechanical and pan puppcc. lis fadal designs are manipuUlted by bolh standard hand· puppet procedures and wires: II mllrlonene·meets-lhe·muppets de· sign. In cenain scenes, when a fun body shot of Ihe cub is ClIlled for. a mechanized , thrashing body makes an appearance. For molher, II 51mUlIr apprOllch WllS developed Ihal combined bolh IIve~n
and mechanical effects. A
bear sull of the monstrous variety
was designed ~nd built. Instead of utlng m .... tc:lebound sh.Lnlmen to partr~y the fuB-siud bear, however, director John Fr~nkenheimer recruited ~ few ~1Iet dancen ~nd mimes to give the gLant a powerful, yet g'o<:elul movement. Its DCtIons
were choreographed 10 the nth degree,
movemenl to chance. Adding to Its grace Is the fact tMt the creature was photographed WIth ill
leaVing
no
S~fo'd~-up
ClImfo"4
ThU$,
the movements In the final rom are In
lumbering. slow motion. The crNlUte'S mllUlfed head ""'_ filled WIth spccIaI &If pockcU; that &lowed every smaI nu~nce, eveJy nerve, evay muscle of iU face to seemingly come alive on scrMn. TheM atr pockets weN alternatively filled and depleted by computer control during the crei!lture's various periods of rage. Its cheeks bellowed, Its eyes rolled, Its lips twitched IllOIUlClngly as the cameras rolled. The finished creature is both a mix-
.....
ture of outright hOlTor and sp«tacuLar subtlety, as fascinating as it Is ""~~ Although merred to as a Mmonster movie," the technical expertIM used In bringing the film', mulllnts to the
screen proves that there's a new breed of monller alOOl, one that Is leagues ahead of Irs 1950s loamrubber counterpart. Can anyone Imagine ballet dancers leaping their way through 1 War Q Teenage Frankrn· $tein or 'The Hideous Sun Demon?9
..
Phantasm (",,*,,.-I from P<¥I 10)
01 the allen world thai lies beyond It The planet itself. seemingly II desolate len ain stretching OUI to 011 dlsl!!lnt horizon, Is actually the sloping side of II Dalifomlll dam Shooting the side of the dom with II wide-angle lens m&glcally chllnged the rock wall into 011 vast stony plain, populated by 30 children costumed liS dWlIrls Mtmy of Ihe most distant figures in this scene are actually cardboard culouts! Another stationary matte, !tHaight along lhe lop of the dam's wall, allowed the InMTtlon of the allen world's vibrant Ted sky. The sky itself
was shot Inside the warehouse lhal dOlJbled liS C05ClIrelli's studio lor the duration of the film One waD of Ihe
warehouse was painted red, and
/I
machine was set up to drculale smoke along that wall. Ttl. white smoke was III whh irridescent red studio lights, providing. an eerie, shlfttng red-an-red effect_ In the shots where Mike lIppears to be suspended In the mkldle of the lIllen sky, he Is nOI supported by lIny wires or harness-he Is IIdUllUy "suspended" between lellps from II !Tam-
poIlne. Mike's acrobatics were filmed at high-speed for II slow-motion effect. lind the film WliS edited for II convincing portraYlil of free-flili. The sequence in whkh the Tall Mlin Is pursuing Mike lind telepathklllly blasts II door !Tom fts hinges required as much muscle as Inventiveness to be produc..d Oil film. "We ol1glnany tried ropes, just puDlng Ihe door out, but It wasn't very effective. The way we did II, Paul Pepperman put some straps onto lhe door. and stood behind the door holding the s!Taps The door was unhinged, $0 thllt. on cue, Paul could just run as fast as he could across the Ht, finlilDy landing 00 his back with the door over him. He WAS wearing a helmet and was lhoroughly PlIdded to avoid Injury." As the time approached to film the "bug" sequence, Coscarelli and. crew beglln their sellrch for the appropriaflil creepy-crawly creature "We had the assistance of an en· tymo!oglst from the Los Angeles Museum 01 Natural History," recalb the director. "He showed us all the ugliest bugs he had-and he had millions of them_ But none 01 them were reaDy big enough for us 10 molome_ I went out and found a siore-bought model bug and built It
It had the perfect walk, but It didn', look 10 good. At the time, I had $Orne misgivings about the look of It. I thought it WllS a little too cute, and I ....,. r-'ly
9"'ttl~
down on .h. p ....
ductJOn des.gnu over that. After $Ome early screenings, J asked some p.opIe ........, th.y thought of th"t bug scerN!-1 was considering cutting the bug O\It altogether-bUIlt turned oul to be one of the most frightening
Nel4\ Official
ENCYCLOPEDIA CALACTICA scenes in the picture." One of CoscarelH's worries Oller the picture was thllt some people might lind too much vitulli slmlll&ity between the hooded dWllris lind the JIIWllS aelltures In SlOT Wort. '"We first riart~ shooting in April 01 1977-about a month before SUlr Wart carTH! OUI- and one of the fIrsI: kenes fUmed WlI' of a dwarf Jumping
on MIkQ', back. A {WI weeks later,
somebody comes In and IlIYS, ' Hey. I ~ ~w lhal
new 3Cleoce-'k:llon pk:-
ture, and they've 90' a thing In there that looks just kke one of your
dwarfs' Now, somebody just told me they've got yeDow blood in Allen. ~ Bul despite the coincidental and intentional references to other films Ihat Phanr05m contllins, It Is one-ofa· klnd In lis conception and execution Which leads one to wonder what's next for Ihe young director. "WeH. I'd like to make II big sclence·fIctIon picture . . . or another honor picture .. but what I reaDy don't wanlls to be steTeotyped. I've already been lIpprooched wllh some properties, mostly in the horror field . I realize that where I can improve most Is In my writing, but the scripts I've _n lately are mostly Just un· aeatlve junk." Though Avco-Embassy PIctures Is p ....lng lor II Phont05m sequel, CoseareDI Is relucbmt, due to his drive to conquer new fields, though he mlilY serve In a supervisory capaci· ty over IInother director lind SCTeenwriter. A pro)ect more dellr to his heart Is a script, now haM-completed. concerning a prehlstork wamor faced with powerful wizardry. Though Coscllrelll c]"ims II will hllve some Interestlng differences from whllt Is usually expected In the sword-and-sorcery field , the details must be kept under wraps, lar 0bvious reasons. If the major studios react properly to the completed scrtpt, II wiD be the fust of his pictures to be done on a ]"vish studio budget And just Imagine, If you can. what he could do with thllt! R
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U.her on II double bill with Psycho all thaI summer. That was somethlng_~ HOUR
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Celebr1t~Y~~~ 'Full-color ROCKY poster 'The making 01 ROCKY Ii 'Stallone on creation of ROCKY
• Behlnd-tha-scenes on the set • Fuli cast and credit listing
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whoJc string of MlIthesoniCo,· millon / Poe productk)ns, each as wecessful as the 1asI:-P/t ond the Pendulum (1961), Toles of Terror (1962) lind The Rouen (l963) The Rouen is a tongue-in-cheek romp tenteTed llround a trio of ton:':RrlI'n. played by Boris KarioH. Peter lon-. and Vincent Price, and remams a particularly pleasant experience fCK Matheson . "The Rouen was great, great 'un," Matheson says. "Peter Lorre had II lot to do with that. He never rtlilly followed my script, you know, but ha was such a charming mlln. He would wing lines and bits of buslne. . .D over the set. Almost anybody else who had done that I would have been mad at, but you justrouldn't be mlld lit Lorre. He WliS such II pleo sant person. And Karloff was delightful, liS was Hazel Court, who played Prke's wife . She'sli gorgeous woman, and a very good actress. And Vincent Price? Vincent Price is one of the nicest men in the business. A lrue gentleman." When asked to recount his working experience with Roger Corman, a~ I1llIn who has become one of the !Veatest cuh figures in fantastic: cine mil, Matheson pauses for a moment, and then answer5. MAs II director, Corman was always very effldent lind pleasant. We 9Otll1ong very weD together. I don't think he was a film director in the sense that he dealt with actors, though. Actors would ask Roger questions and he would say something Uke, 'Do whatever you want; which worked out all right when you had thew old pros who would do what they wanted to do anyway. But there were a lot of young people In those fUms who couldn't act very well, and a different director might have helped them II bit more. Corman was a camera director. a visual dlrectCK. He was very good at that." Though the mid-60s brought Matheson to yet another Cllre0-as a television scriptwrtter-he continued writing filmscripts as weD . In Die! DIe! My Darling, a histrionic Taflulah Bankhead plays II religious fanatic who seeks wngeance against Stephanie POwer5 (TM Girl from
U.N.C.L.E.J for the death of her son. The Deu/l'. Bride Is a fine adap+ linlon of The Deull Rides Out by British novelist Dennis Wheatley, directed by Hammer FUms' finest director, Terence fisher. Christopher Lee stars liS a man In bIlttle with a profoundly e-vII Satan worshiper, lind lhe: film Incorporales severalauthenlie Satanic rituals. One of lhe great(!$( disappoint· ments In Matheson's film care0 is closely related 10 one of his greatest literary triumphl-the varioul fUm Inc:al'NltiOnl 01 his d.aKit: nouol 1 Am Legend '" Am Legend was originally to be mllde by Hammer Alms In the late 19501." he recalls, "so I went over to England lind wrote a !Cflpt lor them-whICh Ih. cenfQr ,u~qu .. m-
Iy scuttled
illS
bQlng '100 violant.' I'V4
never been able to understand th!!t, apedoDy 'n I~"I ur _ "'. " r II>. bloody things Hammer was doing then In any event, the property was the'n sold to an Independent produe •• e&O.d Robor.1 L!pp.r1 . Llppoo ••
sublequently met with me and told rna that he was going to get Fritz Lang (Meuopolis} to dlrec1. And I was so o.dtedl I rewrote the script, and II was really great; It was I Am Legend right down to the teeth. But then .. .....1, this producer turned around lind hired some guy, who I won't name, IOf • rewrite. And this fellow )uJI tore the heD out of It. I haled II so much I put my pen-name, logan Swanson - who hal ...ally written some Insufferable garbage-
on It llwrn, 10 make maUm wone, InJlead oj .... 09 t!"ley hired II dlrectOf
named Sidney Salkow 10 do It. Th~ .110 hued Vlnc:ent t'Ttce lor the lead.
Now. Price is a fine actor, bul he was aD wrong for that PIIrt . In the end they even went to Italy to shoot It. It was a veTY depressing experience. They haven't done f Am Legend yel, far as I'm concerned." Be thai as It may, the new decllde of the 1970. was soon to surpass anything Matheson hlId yel encountered In the way of po5hlve success.
a,
l'f ~t lasue - Matheson discusses his scripts for television , Includ ing his work 'Of Rod Serlng's The Tw,"ghr Zone, and his tcript '01" tM Steven Spielberg lelefttm DUl!l PlUS.ll oom· plete guide to the fUm lind TV scripts of Richard Matheson, from The In· credible Shrinking Mon to the forthcoming Universal picture, Some· where In nme. II
Mars Attacks the World Behind-the-scenes on George Pal's 1953 SF classic ... The War of the Worlds. ByAL TAYLOR
I
t \11M In 1~ tNlI the Martians
first landed on Earth. Doomed by the diminishing atmosphere and falling lemper~lures on their
fishing b1p In the vicinity. and Sylvia Van Buren, an attractive young science teacheY. FOITester and Van
Buren are destined 10 become one the best-known pairs of heroic chAracters ever captured on film In
own pl.!lnet, thell coveted the rich at-
the sdence-fictlon genre. Their teni-
mosphere and fertile fields of our
fying experiences will cause night.
pklnel. II was In California that the terror initially struck. A hug., flllming
mares for millions 115 they become !eadel'$ of the Earth force In George Pars ckl_ The War of die Worlds Clayton (Gene Bany) and SylVid
projectile crashlands near the town of
Undo Rosa, a rural village In the middle of II popular vacltlon area Among those who witness this un.......1 ."'....1 (.om tofAr ..... C"yt_ Forrester, II young scientist on II
_.__.-.......... ....
(Ann
Robinson) meet at the ~meteor" site outside town. Later, during a <;e\ebratlon, the meteor reveals its true Identity. ils top
unscrews and a death ray ZlIps an human life nearby, Martlons emerge and work during the night. Soon, a fleet of fiytng Martlon war machines Is assembled. machines equipped with en eye.hke scanner cepable of turning everything In Its palh to ashes. Word reaches Unda Rose that similar obJects have landed In other parts of the world and the machines are beglntng to systemetk:a1Jy wipe
out humanity. The war of the worlds has begun Marines from nearby EI Toro &se ere called Into action. TM Civil
Defense is 1I1erted . However, IlInks. mllchlne guns, bazooku, mortars and e~n the A-bomb life Ineffectual ogalnSl the Martian death machines. Panic grips the world. In Los Angeles, a group of sclentists. caught In Ihe midst of a citywide riot , prepMes to evacullie 10 the mountains to try to tackle Ihe problem. Caught up In Ihe melee, Forrester and Sylvia lire marooned In a sea of smoldering buildings and bodies. The Martians have begun their assault on L.A Then. when all seems lost, a mlrIICIe occurs. The Martians, who are invincible to All _aponry, suddenly coDapse . Martian war machines all over the world drop to Ihe ground. The: voice of Sir CedJ1c Hllrdwlcke explain. why; "The Martians had no resistance to the bacteria In our atmosphere to which we have long since become immune. Once they had breathed O\Ir 1I1r, germs which no longer affect u. began 10 kill them. The end came swiftly. After all lhat men could do had fa iled. the Martians were de· sfroyed and humanity was laved by the littlest thing which God, In His wisdom, had put upon this Earth. " With the bells pealing and heaven· Iy choirs resounding above tile ruins of Los Angeles. The War of the Worlds sputtered to a close , taking Its place Immediately In the cinematic science-fiction hall of fame, The War of the Worlds . was George Pars spectaCular foDow-up to his moneymaking When World. Col· IIde. While working at Paramount. Pal dlscovltl'ed thai the studio had owned the movie rights since the 19205 when Cedi B. DeMille purchased them from author H.G, Wells Pal was captivated by the Ofiglnal book. a novel which chronIcled a Martian Invasion taking place In England. clrca 1898. He decided on an update. shifting the Iocabon from England to Callfornill of the 19501. He WillS IIware thaI the project had been attempted as a period piece on Ihe screen several times and had failed to get off the ground. Pal decided thai the Iogiclll and successful way to take on the maS5i~ novel was through modem~tion and careful planning While Barre London was finishing the updaled screenplay and before shoollng evltl' got under way, llIore than 1,000 sketches were prepared by Unit Art DIrector Albert NozaJd. under the supervision of Art DIrector
Hal Peretta, both working closely with Director Byron Haskin. Pal Hked the original WeDs book's illustration. of the Martians' W/lf machines ... towering devices marching on three stdt legs. However, for his film, he feh that Ihey should be a btt moee modem In appearance. Gordon Jen· nlngs, who handled the spedal photographic: effects, was asked by Pal to prepare a prOIOtypa model , having decided to give the W/lf machines "pmars of electricity." Jen· nings and his crew worked over II month before Pal's request $IIW ff\lt lion-a working model. Three war machines were flrst conSlJucted, manla·ray shaped, approltimlltely 42 Inches In diameter, out of copper 10 give the desired reddish color- we associate wtth Mars. George Pal actuaUy wished he ~ never seen the $lIh-like leg lIIustralions at all! It would have saved everyone a lot of grief. It seemed dw original plan was to utilize a hlghvoltage electrlc:al discharge of about one mllHon volts fed down Ihe legs from wires suspended from overhead rigging on the .ound $Iage To force the sparks down the legs, a high-velocity blower WillS used. Undltl' controlled condllions. lQ:sis werG made on t~1r spedal-effects stage and they were tremendou • . Pal was delighted. but there was one big problem. Sparks could have easily Jumped to dllmp dust. metal. dlr't. whatever, killing someone or e~n causing a lIudlo conRagrallon AI. though a grellt deal of work wenl inlO thll concept. It was reluctantly gi\li!'n up as hopeless. In quest of a safer alternative. one was devised which had the war machines upheld on seml·transpar-
ent bums of "force." An optical printer later .uperlmposed this effect on the fUm . Despite the war machines' IIIck of fiery legs, the tear-drop shaped models were beautifully designed lind were extremely convincing In the fllm . Fiftftn wires supponed each W/lf machine; unfortunately. careful inspection reveals them occa"n,,1tv The wlr .. ~ h",d In nol onlv support the models but supply them wi1h elecrric:tty and electronic signals which controlled lhe snak..Iik. he...! thOI <:ontBln.cI the h •• t •• y . Th ..
snake·llke appendage and heat ray, designed by Jennings, was constructed with II red plastic: tip behind which was an Incandescent bulb and miniature fan . The purpose of the fan , mounted in front 01 the globe , ....as to alternatively block and pa$S light to the red tip lIS It revolved. The ftnal r~1I: .. an omlnou .. , pur....U"Y effect-a strobe light, which , when added to the ticking soundtrack, made the whole effect work. Burning weldIng .... Ire creDted Ihe d"oth-.oy emanating from the waf machines. As m. wiF.. m ..lt..d . A blow ton:h poIItkmed behind blew sparks out of tha machines The mass destruction created by the war machinH look a great deal of tlme-consuming care tn preparation and construClK)n , especially the miniature section of Los Angeles for the fIIm 's spine·bngling fmale . AI the time of lhe movie's premiere, ~ Pal ....l1li quoled l1li saving. ~M'nilltures are becoming a worse headoKhe with each picture thai Is made . r~ learned that even bobbysoxers can spot them in most films these days. ~ a result, we built miniatures more carefuUy than ever
---....
~~ ..--.'......
....•-.... ~
1
T
····S· ~
l'OtTIO~ or ,Io(A,lW'N eYE ... U VS'O
iM LJl60" .... rot..)'
'flQut~CU"
Abowe: The Martian .... ~T mach In ... deal oul d ..."ucUoo .,ouod Ihe. globe. On th .. lop olth .. p"ge., Ihe. machine', floo fir .. " d ... dly ra~. Middle.: It machine. (On Ih~ prowl. BOllom: Part' d~'lIoy"".
Top of page: A .tartled Martl"n rKoUo fr(Om the presen..::e of G"n" Bany. Middle of p"ge: A gloup 01 &Oldler"l. hit by a dlaln· t"glatlon .. y. Bott(Om 01 pag~: The Manlan. roam the hili. ,
before. We strove. lor llIe-llke authenticity by making them larger.'- The Los Angeles City Hall, shown being destroyed by a war machine, was eight feet taU . It was blown up with small charges of dynamite by JennIngs and his team Combining action In the Los Angles scenes with the special effects took some real magic:. Pal describes some of the procedure "We photographed a street on our back lot and with this we matched four or five Ektrachrome still shots of Bunker HiD In downtown Los Angeles. These were photographed on Technlcolor film . A hand-painted mane , done on an S" x 10" blow·up then reduced to regulation 3Smm fUm frame s~e. of the sky, background, flame effects and the Martian war machines was then mlltched with the live IICtIon. ThIs was accomplished In the optical depllrtment with IlIrge, expenslve_ cuslom-bullt optical printers under Ihe direction of Paul Lerpae, a veleran In the bUSiness. Altogelher, lor W(Jr of the Worlds , the optlcal department mane-painted between th ree and four thousand ceUulold Irames lor us. In one brief flash in the picture an army colonel was disintegraled by a war machine . It took exactly 144 manes of his Inked-In Ilgure to accomplish Ihe musion . ~ Another awe-I nspiring scene shows the anempl by the Anny 10 stop the Martians by dropping an atomic: bomb on them. The bomb Is dropped. but to no avail-the war machines are untouched, secure withIn their force -fields. For the "force-field" effect, Jennings and his crew came up with a clelar plastic bubble about five feet In dlllmeler. Firsl, Ihe camera shol the scene of Ihe wllr machines alone on the set, then the bubble was photographed and later super-Imposed over the machIne with the custom-built opllclll printer. Thus, the now-Infamous, indistinct "shelJ~ effect, which appeared to flicker around the war machines, was achIeved . Severll] pounds of flash powder were reqUired for the a-tomlc bomb sequence. The stunt was engineered right Inside the Paramount studio by their explosive expert-Sl years old at the time-Walter Hoffman . Hoffman crealed Ihe mushroom cloud by exploding a drum full of colored powders on lop of an air-tight melal drum filled with an explosive gas.
"\Ie
t .. r.. pIitolOllo /It U.S. la"" ,. fl.ed.p blithe M a r d a . _ ..... .-...q_~ _apOf1ltH. 80110" of,..., The -.chl_ ~
.... mtcd o .. thoouahoul '-ntowm LOll ~Le..
•
(The V_'.
ofNn...~
FinafF~'2 edaIed by Tmy Carr,
Berkley Boob. 1979.)
CarlLund~el\
Creator,,'Fan.tasy C arl Lundgren, 31 years old. has executed cover al'l for m~arly every ma)or PlIperback publisher. One factor in his success hos been an amazingly diversified art education al the University of Southern California. the HoUy.wood An Center. through the Famous Artists' Course, and althe Art Students' League of New York, wt\efe he studied with the late Bob Schultz. His professaonal career began with rock muSic postm and In the underground comics field. Lundgren 's book colier work firs! became known for his marvelous dragons and fantastic lizard ae
i I , i
"The Monument" (lJnpubIished. from the artiit's portfoIo.,
Up-to-the-minute warnings of what
oy
Prall hle bran and ""Igbty, c unni!!)' film ing Ihalr 16-poor1 s..tu.day ... orn lng Hrllo l. n. .. D_......)' '''..oIoI.....
/lnd Steve Czerkas hllve prepl!lred four new allen creatures for stop-motion animaTion, and model chief John Grusd has built an entire fIeeI of enemy craft TO be commanded by the vlDamous
F
ilmation S!:udios IlIiII Move its biggest year ever lIS it dominates the LV animation field with four animated specials
and three new additions to the Saturday morning Une-up_ Two of the specials. Snow While cmd the Seven Giants and FatAl1ert. will appear on CBS; Journey to Oz Will receive its second airing on the
SFM Holiday network (a syndication chaIn of 170 local srarions). and the long-awaited Flash Gonkm onimated telefl!m is now scheduled to air on Sep.
tember 7 over NBC. The Flash special. co·produced by Dino De Laurentiis (now ~ in the Jive-action filming of Flash). wtII serve as a prom~ lead-In to a FG series Our pICks for the highlights of the new Saturday morning: FJa . h Gordon (11:00 a.m., NBC)The firSt seven Saturday morning epl$Odes wiD roughly follow lhe plot of the telefilm, with some new scenes added ond others omitted, Episode "8 will begin the continuation of F!Mh's adventures Juon of Star Command (12:00 p.m., CBS)-AnlmaIOl'S Jim Aupperle
"
"'-
Mighty Mouse (8:00 /I,m,. CBS)The durable supermite wiD be raised 10 new heights In his AlmaTion adven· tures The plan is to brlns to the $t'~ the type of humor originally brought 10 Sarurday morning by Jay Ward's ROC"i:y and Bul/wlnkle_ The episode lDustrated on these pages eor'IOOrTIS a spKO-bomQ competitioo between Mighty and Oikan Harry for the affections of Pearl Pureheart and possession of a world "' ... e ll .... Mlng , the ~n .. ofh .. rolcR.."
SlOPPIl19 Doomsday MltChine. The Mouse's hour·long show wiD be sup' ~tlld by the ad\K!nrures 01 another Paul Tmy ae/ltion, Heckle and Jeckle, and /I brand·new feature of speda]1nterest-Quockulo. the vampire duck, Spldetwo man (ll:OO~.m., ABC)Up agaII'ISt some snff compelltion from Flash GordOOl, the animaTed adventurQ 01 the n.,w M"rvet 5uperh • • o ..... bemg produced by DePatie-Freleng, proclur~ of tho r«Qnilv dQmiwd Fnn. UlSllC Four series (which will still be
ar.... nd in eyn
show. the p.articlpanon of Stan Lee Is likely to bring some class to the produc. ~
Go""".'
01
Shrinking
What we thought would be a phone calItumed oul to be a lengthy I~L~----' and newsworthy conllersation with the h young director (Kentucky Fried Movie, Animal House and the forthooming music!ll comedy The Blues Brothers) .
Landis. a long-time monster movie fan and an early FANGORIA reader, has had enormous international success with his first two films, and has rellChed a stage in his career where he can pretty much pick his own proieds. Unfortunately, the fll"St of those choices did no! work OUI as planned. ~Unillersal wants a Mel Brooks lIersion of Incredible Shrinking Man , which can be produced on a lesser budget and stiDbea very good film, but It's not what I had In mlnd. The new director, Joel SchumllCher, who did Car Wash, does
1"-:-:--::-"=
M. thuon'.Slari.Irf•• ,.• • - the ,,,m.k,,
•__ ln o n .h ••I/.
=====-----erties. and we're going to put some of them to use." landis' other projects will not allow him the ttme to direct these rums himself. though he will serve as producer. The first picture will be a new treatment of The Creature from the Block Logoon, to be directed by Ellan Kimm. Set In 1956. the script uses elements from the storylines of the original film and Its firs:t sequel, Reoenge of the
very fine work and Ithink they'D make a wonderful picture. Jane Wagner'ssct1pt
has been reworked a bit
by comedy writer Jerry Belson, panty to rescale the
A possibility for the second film in the Is The Mummy, though at this time landis and the studio haw not yet agreW on the proper IIpproach to the story. While Universal wants lit contemporary setting for the film. landis feels thaI the British colonial tone of the original is necessary to the storyline, and wants to set the film in the 19205. "If they decide on the contemporary approach. theyll probably go ahead with It anyway, but with a different producer," says landis. But the project closest to landis'
sertes
n
We'd heard that Universal was plan-
nlog ____ of ."m.kvs of their
r"nO$I
successful shock pictures. ~ActuaUy," says landIS, ~that's my own project whlch I'w worked out with Unlve-rsal. a.d. in Ih. 30. .... d 40., MGM "'os
known for Its musicals, Fox for Its war
and gangster pi::tures, Republic for Its Un~] ~s doing aU thlitSe great monster p!ctures. often done with an "A" budget. The studio Ibrary has this lnaedlble store of prop-
Woe.,.,.,..,c_ .. nd
C . H.O.M_P .S.: The flrst hw-actlon mrry from Hanna-Barbera Productions 'he pioneers 01 limited animation) Is a :o"production with American Interna-..J Tn" cto.-y eonc<>rns • -..ng securtty systems engineer who, order to SlOp a aime wave, please his
M
Creoture.
fIbn to the lower budget. Rick Baker is sliIlnllolwd- he's built a reaDy magnifi-
cent goJiUa suit that they've kept.
heart Is An American Werewolf in london. He wrote the script in 1969 whell he was 19; It's been optioned seven tIme5 and iI's finaUy going to be made in 1980. He plans to scare the heU out of people with this one-and make them laugh at the same time. "One problem in getting this film produced Is that people read the script and Sll.y either, 'It's too funny to be scary' or '11'5 too scary to be funny,'" remarks Landls. ~lt will be \/\olent, gory. terrifying and hilarious. an II.t the same time. Another young director with a giant reputation Is John Carpenter, whose highly acclaimed thrlDer, Halloween, 1$ to be followed up by The Fog this January. The soundtrack, composed by the multi-talented Carpenter, is currently being recorded by the rock group Coupe de Ville, and the director has already begun work on his next pro}ed. an adaptlltion of the best-selling novel The Prometheus Crlsfs. Budgeted lit 57 million, the film wiD goone step beyond The Chino Syndrome by showing the IIUdierJce the cataclysmic results of an actual nuclear plant meltdown.
P\o:tu....
,.. ond mony hl:l be»' daugh!er, ~ o'ISeS II robo!
' L___-
watchdog acronymlcaUy as C.H.O.M.P.S. -the Canine ~ Protection System. Character .-.rl"ormances from Red Bullons, ~ McC~.IIm and Jim Backus may -..,j some charm 10 this MBionlc Benjl" -
..
p.w...
'-_....
c..H.O.M.l"A
AIP
.... It.
-."
~ B lo n lc
6l
WAR OF ntE INSECT GODS: Cunendy In preproduction Is this SFhorror tale penned by MIcMei (NoDonol Lampoon) O'Oonaghue. In the nottoo-dlstant future, a ~nl space roach Jands In New York City, Il!achlng local roaches howto Ihlnk, mutate Into mansize and Inv~ Manhattan. The b\sect army pI.ans to remove humanity from the face of the Earth and begn anew. The Nm wi feature human-sized roach will daigned by resident New Yode artIst/JCUlptor/ mny Michael SuDIvan. At P*'!nt, Insect Gods Is slated lIS a teleftlm but, lIS the plot thickens on both tide. of the C!lmertl, Amerlca mlIy find Itself faces with a horde of giant roaches sneakb"Ig Into theaten coast-to-<:oasI:. THE BROOD, Tho.llat_ from writQrdirector David Cronenberg Is stIrrlng considerable excitement lit advance 5Cree-nIng5. Starring mver Reed lind Samantha Eggar, the film COflC0TlS a psychiatrist who develops III therapy of
mlnd _ovlIP,_mlllter Inevltllbl\.' . II patient's powers of mind go quite oul of control, with!Jbiy results. Cronenberg, who claims E. C. comics lIS a primary Influl!ncl!. pfeviou~y galvanized audiences WIlh ShWm and Rabid.
THE DAY THE WORLD ENDED: No relationship to the old atomiC
GREYSTOKE The 5C7Ipt for Robert Towne's updIu on the ~ TIIfUIO
radIlIrion-on-the-1oose AlP film, The
legend, G~e, isd being workIKI
w..--r .. ~,-. t"70 .......
Doll ,he World Ended Is Irwin ABen ',
on
next disaster film. which promises a conventional plot with the usual lllmount 01 ADen spedaI-dfecta cxdt.menl. l...ocatIon shooting WllS recently completed In Hawaii, with Jacqueline BIswt, William Holden and Paul Newman .
after II delay of three years. Planned for a 1976 shoocIng and a 77 releaM, C ..yaok. Ms gotten hogggd down. ACoonling 10 audio.,.,...,.".". ~ of the. "tremendous 1COpe~ of the proJl!d.
_wiI_" ""' " --. HopofuIy.
Don Post Studios 01 California has
oblaaned !he rights 10 produce III so..ka of
THE MAN WHO COULD WORK MIRACLES: OrIgInally filmed four declJdes ogo, The Man Who Could Work MIrodes WM one of the two H.G. Wells films actually written by Wells (the. odwr being Thingr EO Corm) . It deaII with • timid human who, a heavenly quirk, Is ~n the power to work miracles, literally. NormanJewisonand
Pat Palmer are CWTendy talking to Paramount about doing a musical ~ of the fantasy classic.
..
masks based on thl! various forms taken by the titI. uc.1...... olAl>.n . Sh_ ...... the mle page Is the mokI. pr~ed for the ......,u(.aoc.Iu .... 01 ......... b...d .... th..
den's
"fact-hugger~
reportS a
~ . Post long waiting list for the Alien
senes-tho5e WIllIng 10 pdy:Klll'" lOti""
steep prices for Post's very professional, bmlted-l!ditlon masks can get fuU details by writing to Post at 8211 Lankershim Blvd., North HoDyu.-ood, California
91605 A11"ENTION - PINBAll FANS: You'vl! probably heard about STARlOO's Star Trek PlnbaD Art Contest, with II top prize of a fun-size BaDy Star Trek plnbllU mAChine ,md oveT 200 other Star Trekprlles . What'sthat?You SlIy you dldn 'f hear about H? details end rules, which origInaJIy appeIIIl"ed In STARlOG 1125, are repeated InSTAAUXi 1127. But hurty!! Contest ~Iine IsFliday, September 14 .
slarted In Ihe short story field , but on- No.eferat" ly became weD known upon Ihe pubbdon of his novels. The demise of short slory maga· ""'" 0" Herzog's ~nes has a lot to do wllh Ihls stale of affairs, and It's possible Ihal a rever- play, SIll Is In sight-the best news along 52 ,25. Book. these lines Is Ihe coming revival of Wlerd Toles magazine, In the mean· lime. Page's annual anlhologles, from usuallyL culled from Ihe ~ of arTUlteur a combination publk:atlons, SF magazines and an- talen", Ne»ferotu thologies, are a reliable source for Is an exlreme case-Monelle', nauel and Herzog', grade·A IIlerary chll1s. The newest volume Includes a screenplay ha .... an ackno ...ledged short, bUI very nasty "mad doctor" debt to the 1927 silent film lind to tale by Ramsey c,mpbeU, a wrller al· Bram Sloker', novel Dracula The plot and charaCleu of ready weD· known in Greal Britain for hk short stOl'y roIlectIonl, The Noslerolu remain essenllally the Height of the Scream and ~mon, SlIme as In the Stoker daHle:, wtth by Dayhght His specialty Is the terror the grealest changes being IhOM r.· of the lortur..d mind, and Ihe story quired by Ihe translation to fUm, The here, "Heading Home," Is an ex- plol Is tailored to It$ bare essenllllb, the story unfolds In a series of short treme cax-in·polnl. Another contributor, David Drake. scenes and the symbolism Is blunt , .. a double th.Qal WhilR he It best The Monette! Herzog revision Is known lor his SF taIu of future war, most obvious and most effective In Its he excels as a fanlaSlst In lhe wft"d portrayal of Count Dracula and his barborian epic style of Robert Ho- army of plague-carrylng rats as the ward. and Is represenled her. by a Inevitable dark conclusion 10 the well-ordered life of the Harken and sturdy tale In thai mold , An of Ihe wrllers and stories In· the people of their to ... n . "Your city eluded here are wonhy of praise. of laws.~ SIIys Dracula 10 Lucy, "so and ,pace simply 1V0n'l allow for II, perfect. 10 removed from chaos Spedal mention, however. must be -does II not command me 10 exist?" m.llde of editor Page and the dill· The resull Is a faSl·readlng tale, gence requiTed to galher such fine with an ample supply of n.nall .... material In a drought period for ,hort shocks, though readen 01 the orlgl· hoRorficHon. SuchcoDecflonsPfQve nal are likely to mm the depth of Ihal, whUe short macabre fanlasy characteT and Ihe maRow-chltllng 11'5 not because of gothic atmosphere that Stoker achieved ,
~,~"~,'Pi~~~;.tt~~
~:.;!'!:~
th.t ...oth_ ............1 of u ..... qua1\qd
tmor"" doesn', make It to the besr· seller lists. Even on the Broadway ~" grQ • .,~ ... .,rlc. from Dracula to The Ekphont Man thrive. rvtllQttcn amid al1lhe hype b the
form In which m&Cilbre fanlasy had k. -a\.... _ th .. une .... ny I.t..
Wash ·
Ington Irving and Edgar Allen Poe made It the first greal form of Amerl· can fiction a couple of cenlurie:s ago. The list of greal wrllers who have made contributions to Ihe fteld Is a Who's Who of AmeriCan fIctIonSI.." .. n_n, T .... aln , London, BJerc.. . the list could go on to fill this page, paHlng through loveaah and hI. .,.,nt.. mpor.riae, until ..... aniv .. d
the name Mlltheson. And there's Ihe problem_ The list of lamU\ar names ends wlth Malhe50s has Whllt writer macaal
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MOVIES & lAPES
_aclt_ . _ . . . .._. . _ -..... ,.,11 IlIIIIe ,..0. "Allot" TO -wuTWO .... r
War of the Worlds Coaster Fever! ,'0100 e.:cJut:k'e-
said about the first) reached a height of 75 feet-complete wllh the mushroom cloud Inside the sound stage.
Iy to roller OOIIiten-fea-
precious seconds around a deserted
'11'1efiratand only boo!< de.
The MertUion O'eeture seen
IUI'inf!;a c:o. ••. 10<0II.' di· f'eCwry with
Albert Nozakl, the young unit art director. After NOUJid had created
rar.t*and
Ihe deSign, Charles Gemore, a sculp-
~
!!!!!!~~_J 11001 wooden and In toUter DE u.s. IIlduds
over 200 phol08, doz.eIli in FULL OOLOR. ArtIcles 0r'1 lUstOf)', fana, INIrathoning. trasle dIN"te,.., the "ilni,hed clusicland Ihe new underEl
100 pages of dala and exclll!menU A.'ai18ble a. selflCl book *ltlJUI or O R DEn D IRECT PROM VtlIUJSIIER!
Fifties Fever! 11le movie and
TV.ta,...lhe recon:IlIlg art· btl, the wonderful people ... 110 made the
1950& fabulousl GiIIn.. ~Ml
Marilyn, 1'Jvts, Lb" Uncle Millie. Bnlndo
and Grace Kelly. flJLJ.,.
U)l1)H pholOlof favorite pin-up people like Fabian, Tab Hu nt er, tt lck y 1'0'.....0 .., I'a' Ruoneand "al1_ Oean,l'ad,.~andtclndals
IocIUtJ"18 a IJhoIQ...nion of so.
of the Martian war machines WilS achieved by hooking up a magnetic recorder 10 send back an oscillating sound. The eerie sound produced by the death ray WilS perfected by playIng c.hord, on three guitan, ampUfy· Ing the sound and then playtng It bAckwards wtth reverb. The finished fUm took special ef· fects to an an·new plateau of credibility. The bud9'" breakdown
tor and makeup artist , was uollcd In
be .... 0 .. , Ih•• _
to construct the Martian . Utilizing
was spent on effects and $600,000 on bYe actiOn, The actual overaD production lime wa, six months for the efiectl, and two months for the 0ptical effects work whk:h was required after lhe regular shooting schedule with the c.ase was concluded, ApproxImately 40 dllYS were spent do· Ing Itve ocuon, The work peld off. Pal had a big :5Uc:;ce$$ on his hilnd and his SFX c.rew. headed by Jennings along with Wallace KcDy, Paul t.-p. •. h..yl
papier-mache and sheet rubber, Gemora created lin allen that actually pulsated with life, through the use of rubber tubing. The finished cos-
ground mo...~menl. !lOllOf' roll of
~"'.I
for
fanTIhouse was the tulndlworic of
n"I)fI of e\'ery
"'1'h., Ifl MooH
/aloIIIInIMd/lo'tl P9 S7,l Rigged with lin electrical remole control, the ~second try" (not much WilS
tume was then paInted a brilliant red 10 finish It off, It has been reported that while Gemora was showing the finished costume to Pal In his office, the creature feU from the rack onlo the surprised sculptor, knocking him to lhe floor , Pal 141M 10 amused that he hired Gernora on the IPO' t o _ lhe Martian costume In Ihe motion picture, The spine-tingling Manllm scream used In the film was done by SCfllplng dry Ice across II con~ microphone lind lidding to It a woman's high· pitched SCrellm, recorded *k· wards, War 0/ the Worlds , obviously, Is II spectacular vlsulil motion picture , but a brealhlllkingly audible one, too, Dubbing mixer Gene Garvan took on the sound problems lind tested noises for more than three months. The vibrating, almosl musklli noise
that S t .400,000
Burts, Jan DoneIa and hmin Roberts,
ubNo,..
won tt.. horv:w lor Uw! de. sttuc:tIon ollhe world - an O!caf. 9
Dr. Pryor ••••••••• Rob.! ~ Dr. eM' tHda ••.••••• s.doG/ulo ,"-~CoIHa. . . . t-II MMro
a....r.Akk ., .~s..-- ...
w_....,. .............
It.adIo ~ •••. _ ••••• PDUI F..,..~
s.lft.ton , ....... _ , . JIdt Krutd\an
NanaIor • , •••••• 5k Cetkk tt.dwk:kc
fiction and tilt- hinl> Qf rock 'n .... II~ O\."er 90 ~ or l106Ia~ run!
!ll:11!~
A, aUable al ~Iect 1lf'M'lIIuanda or OttO!::R OIRECT FROM PUBLISHER!
r-------------------------,
.,,---
STARLOG PRESS DO". 1'0>.2
bizarre horror fUms 01 unadian tim· maker are an T exclusive '3. he
~
CronenbeJg
interview In f~
...... """"tOO .. 1'1 ,·04 __
explored In Cronenberg
~
tails about his own progress from unde!gound Nmmaker to 'NriIer-direclcr oIlimi like Rabid, ShJuen and his newest shock extravaganza, The
-
~~"",lCII,
••• 1' .... _ _ ....-.
Brood, starTing a.ver Reed and Samantha
•
_ _ _ 1 _ _ _ _ _-
. next Issue 'W'II aIIo conllnue our In-depth CO\IIeI'lIge of the ~ 01 Our Richard Matheson. In addition to pM two of the Motheson interview-dealIng with his television CMH!r from The Twilight Zone to The MCJ1tian Chronicle. and his forthoomlng film Somewhere In TIme starring ChrIstopher (Superman) Reeve-lWl be feafuring Paul Sammon', complete guide 10 the fihns and tdevtsIon ~ of RIchord MIod.....,,;JIl (lnd th.. EpiIode Guide to Matheson's 1V series, Kokhak, The Night Stdker.
...... l.a. _ _ _ _ _ .HR t:.
..
f
..,
ON SALE: OCT08ER 16, 1979
<:; HAPPE~ ~o EACH RJU,COLOR ISSUE INCLUDES: • SPECIAL EfFECTS-ExduIIYe phoIot;, ~1IFYIewI-' dlagramsol bfhlnd-m.·
rrnogkl • MOVIE PREVIEWS &. REV1£WS- The urbat niClf1Mtlon on new Sf &. Fanwy f'«I"""'-". pIUI u... lui ..... ." on u... '""""'II ut ...:h 111m
IClna
I!IO\III
• DAVID G£RflOl.O-Sdtr« fIctk>n', umn ~1!IIed "Rumblngl"
ou~
iT ""llOG fI...l '15""""" btn- OlI"!.'A2 "-* V...... NY 100"
_ I _ 10101 10 ..... _ _ "' _ _ )
young.uthor wrIIQ ... regular col·
. .." ........... __._JOWI_ .... _ ... ~
• INTERPlANETARY EXOJRSIONS,INC.-Joumrv 10 I diflweru INI!I elm.. solar
_
~m
with...........,. , _ Jonathan a..n.t.lllu.cralrd wIIh fuI.coIar Jpeot 0It'
• TV EPISODE GUlDES-c.. _. pklb, CNdb, Inteviewt, pho:wot &. man data on and d-* Sf-TV""'" • MOVI£ ~-~ ~ on the popu&. 01 SF films, ....... ............. &. ful-eob pho:l(ot! • STAR TREK" SPAO?:, 1999-s..... s.dwa'.1tIetI upo:\aN from theM! 01 the s... T""k I!IO\III. pM ~ G-y Andomon', UP-IO-the-...... _ <;:OntrnaltIon Spooo 1999 and his IuI\IN ~ • LOG ENTIUES-lo-. _!tom the ClIdtirIi wor\do 01 SF. f...-y...d.amc.1.Ic:!! • CONVENllONS. COMPUfERS & COMJCS-~JUbse:t 1M! r.oen ~ ~ the SF ~ II~ In STNtl.OO! • Vo..~IOSfNtLOObnngtyou 12~ _ _ ~.spedII CIIINfII
about his new novel The Dead Zone and Stanley Kubrick's film of his reo::ent best-seller, The Shining.
Arnold and Bradbury on the making of the classic::
3-D invasion mm.
Zone
F _ mGI1 ..nd .. conl
a."''lOUncement.
8
55 Fan ta.aticArt Meet Michael Sullivan. man of many talents.
" An Arabian Adventure" h s ~Ihe ultimate flying -carpet T!1OVle" -
Stephen Kine The creator of Carrie talks
and It's flying your
...-ay soon!
34
59
Roald DaM's Tales 01 the Unexpected Television's new anthology series offers drama with a generous twist of the macabre.
62
Monster Inyasion Monster happenings via "FEW"-the Fangoria Early Warning system.
"Alien" Exclusive! A specially executed rendering of mm horror's outstanding star of
1979!
'Z "
12 "The Brood" David Cro""nberg.
Canllda's "Baron of Blood," In "',-"~_ _ _J
il.
straight talk about the use of lenor.
8
Kolch&k: The Night
Stalker
After a long absence from the airwaves, UnivasaJ's monster-maven series has returned to late night televlslon - Kolchak stalks again!
16 RX:h..ard Matheson, PortO
""'Ie ~n Chronicles ........,.,..,. wah" rnmnlplP guide to his lV and movie
......, 24
The F_ta.sy Film.s 01 .la.cII. Arnold
Bffilod the scenes 01 TheI~ShrinkingMon.
Tanmru/a and The Creature with the man who directed the shape of 50s honor.
64
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f'ANGQRI" " S
very SO often, FANGOR1A recdws.1etMI' or twO saytng something along Ihe hnes of, "'How dan! you run .. Ieanuv on Allen Goes 10 Mars when it was obviouv.,. Infcna- 10 . . orignaI Alien Goes to Malibu'" or, "Why didn't you sam ~ Aa~mure lor bemg scienbficllDy inl\CCUrale In lhelr IIyIng carpet ~.,... You gel the idell Apparently, tnere are a lot of horror lind IarM5y ~ Cd ~ who tak~!helr movies lind books very. lIety senousIy. So ~ In iact, thM /un _ms to have exited the pic:ture ~ along 1tw IWw If you're looking lor transcmcierltal creaRrI InC! lcwlg.undQd ana!vs. of the soda-political ramification. 0( UotNu wew. _ JM9IIl.. you ........., .. .....a stop rellding now. WIllIt you hold In your hands .. ~~, • delighlfuillnachronism; a throwback 10" en....t.n ~ books lind TV shows, good lind bod .like, (QUid be _ _ ~.-.d or ha"'-i Ct!IcIIy nn the bMis of their conlent maner not on trw basas r1 y,1'1aI: a !lOOP of writm belielle the conlent matter shot.Cf ..... ~ During the late 1950s, when fantasy media magaznIS In: appeared, movie fans (such lIS myseH) haunted tM rwwBauch... ~ awlliting each IW!W Issue. Those mllga.tines told us all aboul thr mor.ies about the writers, dlJ'eClors, iKtOfS, makeup rrwfI ~nd ~ n.v IOId .. ..tYIf rn.adoI f.nt~1V liek. They took us behind lhe Ke ......... _ _ _ ~-+-.. aln,o.g lho w'y, this delightful type of reportage gavt ~ IE) baw-nanded 01IJCism and browfun-owing GodtiIIabllc~lNIaq.ornbolb wc:tuiOlrlQll And! Was (I Teenage Werewolf was transformec! k'do a paratW corarrung youthful rebeDion. Somewhere 1I1ong the '"'~ tIw tom5IIe
E
T~e
- - - -Postal- - ZQ~~
fiImI Mao)le . . II my t.wort.t You',. doing a 9'QI jOb. to look forward 10 OOWI'agR 0I1hi kftpltup! fiImIlhiII haw, for~. been 0Yeri00ked 01' TmyYam. Ignored entirely by other magazines 01 tIW I\IItIn _ Fh. Ike The &;orc:ist. The Omen, ........ NM otdD 10 promor. COr7IlI'Iurlicodorl "mongo 8umI ~. Haiouoeo!" and oIhes _ ___ known, but were never reaIy cowred In Fllngonons A lew days '90 I rect'IYed !he fInI iIIlMI 01 If you don', worn your oddrea publllMd, FANGClRIA. It iI .fIIIy kind of magazine I pkaK lei 1/1' kr10IIP when you wrile And W....,CoIIIn hIIvrt wanted for a long lime AIIhough IIIITI jorgIoe 111'. bYl !he .nu. uolumc 0/ moll 2 Dur'ldee AYe subIatmg 10 other SF film magazIIleS ....eh III maka ~pIia bv rhe FANGORJA -If 1m· RIchmond, VA 23225 STARlOG, Fomou. MonAerI and OrwfgnpoaItW Write 10 tml>que, MiI ._ItwII I Tftd each artidIlne«:h I!Iue d "-~. Bullhis time I rud aD FANGOR~/THEPOSTALZONE GOdIRA GAN8ARE'· d your anlcln, from the first line cI the
At ' - we ' " fJepO"dlTlfl THE POSTAL ZONE 10 tUJO pagu; your raponaa 10 FANGORJA ~J mo)de IhJt ~ The od· dIfionoI IpOCIL' o/Iows UI 10 IncIu!M 1M "" moIIngo ~ of our corrupondentl In
deYOIed
10 cowragi! oIlamasy
now _
CIIfl
"" ""'"
--
rn.
475 Park Allfnue South
&It
edltoriallo the IMI of your ~Next espcddy liked the Cr\sWphcr Lee interview and the Black "WeIcome~
n.xx &me
~~ IIIlnouncetne'lll, I
New York. N Y 10016
Lagoon CrelllUflllW1ide hWllSaisofuntorod the GodzII. story II\cwcd from the American Iide T"hou!;l there were some milprinlS In the ~ lilies, I tuSpCd!he 'Mile, Ed God· zbzewskI. II NaIy a.u.par- Isn't he'
OUR'1 FANS I tw.v. just .--I your opening ..... end I must 5iIY I ~ IMt ~ was eIU:dtrM. I1'J my kind ollnlll!Jlll:lrll, wI!h II . . oI-vct*"9 I must «)I'tV'IWI'It on how good your anIcIf: \11M
liIII feture b9 Ed Godz!:R.tvJ5kI. In Ir'J opkI. ion. you ' - found. WealIWIW IaienIIn Mr c..doI~--"_
FANGOR1A "l
RicNni H Campbell ~,PAI5650
ram Wfy pW.-d and cxdt«I by your new FANGORIA. It'. no! yourusual runof·!he·miI monster mag, M'I crammed with !Je.at pOoto. Qfl ~ h\dl~ paper, wtUlVur lJIe crudely fleWSI)I1nt and !he YefY stupkl punsyoull1nd In tvtrypidufw capdon end every other 5eIl1ence of ------ ------. But the real re.:Jn for my letter· II would be~ If
"""1,''''
UI'' ' ' ' _
superheroes, T'hou!tIITlOII 01 them (baIda Ultr&-Man, who Is fa" from Iht best d them}
""-
~
malnlng k>oK ends In the epIIode
magIIZlI'MI:.
..... " ..t ......."nuwI1.
was
!he . .
IIIue 01 this ~ 01 magiIZITIe shook! be. The Dr. Who feature wrapped up some d !he fII·
520 WQIdon St.
yu..o -....1oJ \Ju ..... oydoy
I ~ • would be 01
~ inWfe$!: Ie ITIIII'ly peopIt
Bloollob.,.eun,1N
Thank you lor III IMI
~tIy ....n!Ien, ~
'* reaI_,."
Ed ~ (It; I1CIIfwo Americ:on. ond a -"eMf O{~ . .....
~ III' ... IneoIor ~
SJIlde
In
FANGOR.lA'S FIRST NATIONAL COSTUME PAR.ADElI h you read thb, Haloween hils jlut ~. and you're probably 5IiI wearing you. costume (we wear oun iii ye~ not.send U5 a color photo d YOUTHIf III your most terrifying? Wel publish thl! bat ones, and 11 _ u.. youn. _"l.send you five American doII¥J-pJus a spedill IUrptile. EveryoM In the world iI el!!jble Thill conte" has no delld~ne and (aJrnOSI) no ruIQ GOOD LUCKm Why
STARlOG "23_ BullO me !he most ImpraIiYe lhlog ol the ~ "'. "25 Yeaswtlh God· zilla; ~ ~ "'. the first time the GodDIia story "'III really compiled weD. But , was also disap. pointed to Ie¥n how many GodzIIa rums 1 ......"., Men I hope you1 do rnc:n on Japanese f¥ltasy, espod\caIIy on Gamerll TO KERRY O'QUINN and the Ultra·MMo series (rYe been II Illn ollhllt Flr!I off, I wanlk> OOI'l!Prulat. you on the one since , WlIS five) newest addition 10 your ~ h, I(.... ("~ FANGORiA. I jus! rcccMd my I'nI subsc:riptioo 7349 Beechwood Dr iIIue -t .',even beacr than I QP«Ied_ lean'! Erie,PA even ~ 10 mcpr.- my Jo\I_the GodzIIa -*" Men Importanf than !he ~Izard pIect, Ihousto, II your edIIoriaJ on PII9I 4 You ran some ~ neYeI'·seen phoco& 01 People oI...won, people with a !pH d adwn· Gochf.a like them a Ioc. Please ' - some 1UfII-ltwlfi whee It', ".bout T"hou!;l 23 _ .udes on Japanese monslen In fulUfll ~ II lilt ~/IIIIVrfjY young In ... day Issua. MyfrierKIs and llouegianl monslenllke ..-.cIII9I, I aIrady drrt«t !he ~ you age • I-Ioh GodIAI., RodIIn, Modwa, eII:·.1housto God· dacrtIe In people !he _ • Hurroh Gc:>cbiIgf IIIho n.... ~ their hopa, c:trean. FANGORIA"'S
5
'fhe Post <\J- - - - - ZI..)ll.\,' and fantasies. living day to day without a vIslon
to build a future upon . Thank you for your edttonaL I hope all you. readers let the
sink In, and motivate Ihllm to Follow their gn;lls. George Belknap
rness;,ge you convey
Youngstown,OH "5W" DOGFIGHTS .In issue -1 of FANGORIA. Peter Stoller 01 New York wrote and asked ~ 633 SquodTO/1 was one of the meMes u5ed lIS a model £Of the Srar WO~ dogfights_ Your answer, bio5ed on Star Wars SOUTCOI:5. was that no segment of SW was iifted from any film , Howeve:. eJther this ~menl is not 1nJe. 01' the following is based upon a geat coincidence. In the movie Dam 8usrers (1954. 8ribsh). !he foBow;ng .. >t. chIonge occurs between IWO fighler pile""
, run Ind
,, , ..."h rom-
;u I.
ml-
illl" 0"1 L COI'~ II )'
~,,,.nd
STARLOG" 1OkJ_ SCIEN(;E.HCTION MERCHANLJISE • RE"'I)~R ARTWORK '" PHOTOS ' PLUS MANV MORE Sl'lZCIAl SlJRPRISI;S!!!
o
'0' sr.lRLQG COMMUN,c.-TIONS f'lAN[)!IOOK
.1S Po,' A."uno Sou,n [)oPI. F,ll
N... Vork, N~ 1001&
,-
",-----: "'d~
,
" 6
FANGORIA'3
$1 .!oO •• Ir.
~'O'dt!
lor
Kenn Myatt. ADyson MarsholI, Lori Myatt, Mary McGinnis, Mike Lee) 40.:i 3 Outer Dr Nashvllk>. TN 37204
W
ROMERO BOOSTER
Whal ill w;;nt IOf FANGORlA, buIll sure was II.CI"Ih II! Ewry word-tht! best was the article en Tom SavinI. George Romero deserves a whole I$Sll(! devoted to him and his work. Not CANADIAN CUTS enough can be 5aid about this man , the -1 . . . My favorlle artide In Issue M1 was the Inter· producer in the hornxfantasy field today. Bobby Guthne view wIIh Tom Savini of Down of the Dead. Rle 3 Box 74 From the article, I was expecting a vet)llerrily· I...ake PI
9917lenelPl. Dallas, TX 75220
,,
GROUP REQUE:!oT
... Please do an article on the Japanese monsters other than GodziIIa, one on the monsters of the Japanese cartoons and the giant robots of the Japanese cartoons. Superworld Information Center (Pllll GUliam. w..,,<.ly ~lbI'. P""I i'"I=oh.. n.
~How many guns do you think. Gold Pwe';l~ wSioy about 20 guns. some on the surface. More Japanese /an/asy Is de/lnl~/y on its way, some on the lowers l'hese are two among gong. Don', be surprised ifone ormore of yoor several "",nl"nees thai are idenbc:alin both Stat ......ggestt!O' orUc/e~ op".,~ in coming I:;o .. ~. Wars imd The Dam BuSlen. I stiIIlG
WQl'5, thooghl W.S. Loring III
"
the Conodion gouernment"s censo~." says Rubinstein. "Yoo know that we wen/to greot lengths to see thor /1 was shown inlOCt in Ihe U.S 8eo::IuseoftheConodiansystem. theon· III other oltemoliue ro censo~hlp would houe been for Conodion fans no/ to houe seen tile filma/all ."
rrnsgIc mirror, /I mystic rose , an evU sorceror, II hlIndsome prince. II beautiful prince5$. good a nd evil genies lind /I poor-but-honest orphan boy are aD the elements net!ded to make An rubian Advenrure. Largely ln5piTeO by the 1940 classic version 01 Thll! Th~f of BoghdCld (the one Ihllt starred Sabu, produced by lhe great Aieltllooer Korda). the film was pr0duced by John Dark lind dlfec1ed by Kevin Connor. whose pM( collaboratiOns Include 1M Land thot TIme Forgo!, AI ,he farln ', Core and Warlords of Adontl$ The pair nave gone far beyond their earlier efforts with the new film .
Iiollbl spec\lJ! effects. '"The story reaDy boils down 10
/I
Kllreh for truth and
beauty agaln51lhe forcl!$ of darkness,~ says Dark. "'The evil Caliph Alquazar rules the dry 01 Jadur by /I reign of terror. He domlnllte5 hb little klngdom by despotic tyrllnny as he struggles for total power-which means possession of the magic I"0$Il; , which can only be plucked by someone who is pure lind honest ~ As the film opens, two strZlngers arriye In the city liS
JlIdur's citizens prepare to rebel against the Iron-fisted rule of Alquazar The strangers are Hasan. lin exiled Prince of Baghdad. seeking the hllnd of Alquaul's bellutiful step~ dllughter. lind MlIjeed , a homeless OrphM . Majeed prows his goodness by giving his only food to II blind beggllrwomlln - wno Is lICtuaUy lin enchan ted genie. lind lippropnlltely rew!lrds the I!Id Alquaulr, wltnes.sing their IIrrivai through his mllglc mlr· ror, conceives II pilln 10 use their Innocence In order loobulin lhe mystIC Rose of EIII. One of lhe key assetS of the film Is Christopher Lee lIS the nefarious Alqu.u.v. MI know that many people will assume that 1lim &gIIln the victim of typeC45tIng .- says Lee -I'm the monster, I'm the vibIn. BuIINo"1 no( the case lIny more. plilyed a v!lrlety 01 roles Since my heroic c haracter in Ail>· port 77. My career hM loWly tumed a round . 1 look Ihe villainous role In Arobfon Adventure beclIuse the chMacter is
rYe
•
FANGORIA- '
l.dt: Milton RekI .. the Genie of dM! Bottle.
A~,
&0... kft: Bahloul•
fANGORIA"
9
rellily beyond vII""lny, He is alfTlOS( II IlIm' poon 01 vilIlIlny_ Very smllD children ClIO go to see II lind they'D hlIve II )0( 01 fun - they woo't feel truelltened by my evIIlllIture beclIuse theyl know I'm going to be done In by the film's end Supponlog Lee in hiS portrllYllI of ey!) is an excellent cast, including Milo O'Shell (Durand Durtlnd in Borbarel/O) lIS II tre~herQu s but Incom petent henchmlln of the Caliph, lind Oliver TobWIs, lin English stllge ItCtor who r~ently mllde his film debut M a mllie roffilln!ic lead opposite Joan CoIhns Many viewers will judge the mosI delightful perfO
marvelous SCfipI recen.'e$ proper lI'e<'It ment from dlfedor 'Connor and C!ISI In the words of Chnstopher l..ft ,.-, ~lI woncIerlul throuIback to the fanl45ln 01 decades ago; the ~ uitunate ... ClIrpe! fllntllS}/. M
"An Ara.bia.n Adventure " ca.st It credits AJqUUM Kbulm
M_
Chna...,.vMlIoO'Sl'
PrtncetuNn Prtncn. Zulelr.
""'"
ABadgerFlknsltd EMIAmsl..Jd ~ dlSll'tluled by A$soalIted Fim ~ Prodoxed by John DarlI DncIed by IWvIrI Connor Screenplay by BriIIn HbyW:s ?todUC1lon Su~ Gf~m Easlon DIrco:': lor of Pho!o!J~y Alan Humor c.m.m. Opet-MOf 'Do1rek Broo.o.rne Production ~er EllIot Scon An J ..... MllXSled . SpecIlII Effects SuperviKlf ~ Gilbl. Mane Effects by atf Culley. Proce. Pro;ection by ~ Su./fd Cowmor Supervltor RosemIIfY BuI1'O\ll5 CMf Makeup Robm G.anthllrn
OU-""_
P e ler C uiohlng. C05lumed for. brief . p,.-ar.nce _ the depoMd ruler of J.ddur, cNolS with Lee.ad Connor,
10 FANGORI.V '3
Ldt: PuppoetS ~M:e people I n _ carpet .boas. Above: Prt~ luldn.. FANGORlA'S
II
The Brood and Other Terrors Writer-Director David Cronenberg interuiewed by Bob Martin OffOffilmsare Invariably about deolh. For me, death Is not a spullual or occult sort of Ihlng, tt's very physical. One of the mam facts of human existence and the human condition I!i the physicaliry clthe human body; so most of my films are very body (OO5Cious 1lwy have to do with ph~'SICa! existence and what happens ""..... n that physical exlslence break5 dovm in some radical way, through ag-
H
lng, disease, vlolence o r whatever They're meditations on Ihe fact of dellth, and whllt you do with that fact , psychologicllJly.M The man somberly interpreting his own films 15 David Cronenberg, one of ClInadll'S most suexessful filmmakers Though the picture he'sspeakingabout 15 his first rhearriclll feature. Shiuers (released In the US, as Thev Come from Within), hiS words equaDy apply to the laler movies Rabid and The Brood. Croner«rg points out the difference between hiS own terror films and the recenl fkrw of hQrror epicS by comparing Shluers WIth the most notorious cllhe 101: MA 101 of people have poInt~ out a $Imdiartty between the parasite In Alien end the parasite in Shivers. I was very dl5l.lppomted with A~n-il had no metaphysics. 00 philosophy. The aea· It.Ire wmds up as a man In a crocodile suit who chases a bunch of people around a room. I think that my own films do a lot more in touching a deep-seated nerve, more thlln the simple relIctiOn that you don't WlIon! II\Q crocodile to eliot you ':4/ien WllS jusllI S3OO,OOO 'B' movie with a $lO·m~lion budget. The ~rlls1te devlce Isn't used In a metaphoricllJ way. It
wasn't used to evoke !!lnything In Allen, John Hurt has the parasite In him; he goes about his business as usual In Shiuers, Ihe parasite stays Inside the people and changes their behallior and their motiws 11'5 used for something more than simple shoc;k value M
" 'The KiA. 01 TU"rOf''' But shock value there is in lIbundllnce In Cronenberg's films though he (llums he was nOl particulllrly 1I horror fan before he began filmmllking, nor did he sel 01.1110 become Dlnllda's "King of Horror. '"The typill of slory I write,~ says Cronenberg. "is just a maner of wNaI comes out when I sit lit the typewriter." Cronenberg's very first rums were ~e during his college days, and shortly after These short films, Trgns/n, ~ and Crimes of t~ Future, were experimental in MMe, but show somethIng of the future Cronenberg In their subject maner They ",re still OCC1I5ion",lIy screened at college aompuses and In museums But Cronenberg learned lhill success on the "underground" fjlm circuit does not pay Its own WlIY, and decided loseek financing for his first commercial film , M
Leh Ind lbove: Oliver Reed, I I Or. HII Rlglln , I, the contempoflry ~mld .ele nlllt, Ippropriltely deluoyed by hll 0,""" cre"lon. R
fANGORlA"S
IS
ShJve,... released In the US as They Come From WI/hln. The Krlpt. about a thumb·siZed para51te that IS spread by klUlng ilInd dnves Its host IntO an Oft the ad. anlmlllfslJC frenzy. was not the sort 01 ActJ_ CIndy HI~ and Cronenboelg In a gentle _ trom:!1e Ofbe'r .ilJ\len45ttwy~lo::l'p. ITIOVIe thatlhe CalWldioilln mm bureaucrats Idea d the film, ~ says were aO!tioo5 to hnance Aher two yt'ilI~. Crorwnberg was !lble to convince the Cro15 Iha: ~~w sucks blood. but Canadilln Film Development Corp to jU§1 a bit from e<'ICh victim. She loan hIm the 5200.000 he needed to logum crIf the hook she can go on oompl.ote hI!; him The ITlO\Ile was evenliving as • pswdo-umPife Bul she has tually released In 33 countries and In 14 to lilt .... coNront'~ fact IMI she has been languages. grossing over $3 million kilbog peopW by spreading this dlSeaseCronen~'$ wcond him was Robid. II $CIr1. 01 ~"1l rder The fun plIrt of Robtd IS IIla.t we Mw the whole dry 01 stamng Marilyn Chambe~ In her flTSl straight aclrng role. Aher suffering II MonfJe<'ll going twlllrtaS-people start motQrCyde accident. Chambers is given a foomlng al the mouth In the st.rbwl.Y ClIrs skin graft from a doctor's experimental lind bste otIwr peopIe's ears off. as the supply 01 ~morphologic::lIDy neutrlll~ IIrresult d ttus disease And one 01 the tif\clal skin. But because the accident has challenges of tllaIung that film was 10 desaoyed much 01 her digestive system. make II conWlCing portrayal of 1I dry the skin !J"ah develops Into a vamplrir: under 5iege. WIth It!; populace gone mad_ organ, capllbie 01 taking nouriShment Not.'• .teangect mo~. Rabid. made for about S5OO.000.
n-.
v..
M
14 FANGORIA'"S
has earned more than $7 million at bolt around the world
offices
Spotty Dis tribu tio n
abiUties 10 produce II.I('/ts, lesions, boils and other physical symptoms psychosomatically, lit the doctor's command But Nola. Carveth proves to be an in-
Yet this news of Cronenberg's past suc· stance of the doctor's theories gone wild, cess mIIy be a surpn$e to many people in as she gives unnatural birth to the this country. where hIS Wm5 haw receiv- diabcMiclll brocxl. thechlldten otherr., ed very q»ny dIStributIOn ~Oistribotlon who escape from !he hospital to embark ha5 t-n a probIem.~ coocedes Cronen- on a murderous spree berg. ~and I was hopmg that The Brood "For me, iI's a very different fUm from IA.'OUId ha.... been bener. I mink iI's a pic - my earlier two,~ says Cronnenberg. "II's IlJre thai people would »O:e to 1ft more less of an action fUm-Rabid was lui of than Robod or Sh,uers The problem Is a a-ashe5, TnlIChinegunningsandso on-it milner of distributor muscle - the big has fel.O.ler characters that you gel to know studio5 can use !hell" other big pictures as bener; it's more interiorand quiet h'sa1so a bargalfling point 10 gel their way with lIutobiographicai. in a WlIY, including !he theaters. In LA , for In$lance , The 5eVenlI dungs lhal are a little closer to my Brood was booked Into theaters for one own life. lit least insofar as the family week only, with no chance of being held $itUllllOn Is concerned. I was writing with over, no milner how II.I('U IW'I! dJd .~ that M a stamng point. It then becomes This is Indeed a regreltllble slIuatlon, the nlCJhtmare version 01 that situation, sww:e ~ Brood 15 quite different from bul flipping It over so that, as you wake the general run of 5ClIre·mOV\e lare, Ifs up, that's when the nightmare's starting, the $lory of Frllnk Carveth (Art Hindle), Whafs really happening is so much recently separated from his wife Nola worse than you could ever Imagine, (Samantha Eggarl, a high-strung woman Thafs what "m trying to put across with liUb)ec1 10 rept!lIt~d breakdowns. Nola ,
often Intrigued by psychotheraputlc ~fads:' has entrusted her care to Dr Hal Raglan (OHwr Reed),
1I
psychllltri$l who
The Brood." For the future. David Cronenberg hopes 10 make hIS neltt picture wllh the lnvo/wment 01 a maJOr studio, thereby
has gathered both prllise lind blame for eliminating hIS disUibullOn problems the .odkolbm of his IIpproIO(:h , '"The
Another movie he recently completed.
Shape of Rage~ Is the catch,phrase that Fast Company, may SOOf\ be released to describes RlIg!an's theories, He belielles the drive-in circUli in the U.s. Thai one's rhlIlthe llnesses of the mind that inflict his lIboot drag nKing-could It mean lhat plIOlie:nts un only be !JellIed when the plIO- he's about 10 abandon the shock film tlen~
have aJlowed the mltK!"S SICkness to
field? Noc likely.
~I
like being Canada's
express ItseH In the body. To Raglan. the K.lI1g 01 Horror," says Cronenberg "It's a p.oof of ....
theories .. in h. P/ltlents'
role I don', mind pl.!lying at lID"
II
ENCYCLOPEDIA CALACTICA
Tl'II$ book 15 an autnentlc VOlume from the IIbmY of the giant , gillitX'f5Pann lng stanhlp ItSelf. It pre5@nts the hlstorv,
blograpnv, technology, legenOS, mYthS and weapons Of the GalactIc Humans and their arttl-enemIeS, the CVIOOS, In ~Ic
form.
TrUIV a c:oRector's
1t!m, 55,9S
BAnLESTAR CALACTICA IRON-oN TRANSFER BoOk Decor.M;e T-shins WIttI many Of VOtK
faIIOrtte space hetoe5, rocketSl'llps and villains. This Iron-on 0"3II'I5fer book ron~ns 12 fuII--page, fUIkoIor designs Of the GaLactIca sarstllp, LL Starbudt cap.. ~
ApollO, the friendly daggft" plU$ rNflV otnersI 54.iS
5enCI ca5h, Chedc or money ortIer 00' GALAcntA BOOKS t l O STAA'I.C)C; TRADING POST 475 Park Ave SO. DEPT. FA3 New YOI1C. fN 10016
Please rusn the folloWing products at me specified prices, PiUS 5.50 oostaQe
and
tlandllng
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for
each
product
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ENCYClOPEOlA CAlAC1lCA II!ON--ON TRANSFER BOOIC Total tor POStaQe
Total EnCIo5e(I c.anadlan and ForeIgn C\KtorneB; Pay. ment in U S FundS only Note, If you don t want to C1Jt UP thIS COUPOn, send order on a seoarat:e piece of paper
Master of Fantasy By PAUL SAMMOX IIIFA.\IGOR/A '2, we presented theftrSI ~RiChcud Matheson : Mosler of
pan oj
Fontasv_" Marheson's early career was ~d. ittcluding his numerous /7IOIIWaNlU. amonylhcrn The Incnan -
hie Shnnktng Man, The Pit and the Pendulum ond The Omega Miln . Part Two Ioob
~
at Malh".on'. Imp ...... I".
TV au«T and concludes wuh \l complete mogrnphV oj all his works. both film and ~t.'l5ion
T
hough RIchard Matheson has Knpt~ more than his share of bIrn. adu>owl .. dg.d ... d .....1eo
by Joo.es of fUm fantasy world· wide, apparent thaI his greater sueces. has been liS • ,,,I,,vlsion writ" •.
,I',
Matheson contends that at least a part of success is due to a greiller crell\!ve freedom ailooJ.-ed in television. "I work Ihllt
largely in a fiekI over which they have no
,
~I rules or regulanons. kexc~t
H
says Matheson,
thatyoucan't be too bloody. too
shoduog ..... fo .. llang .... g... nd
K>
on
And nowadays. there's much more varioly in ttw ~ 01 work bPino clonp for teleVision. especially with all these hor· ror pictur...........,h lin> n.ally the old 'B' picture:5 done With style I think it's senseless to bother remaking them." Though Mathwwn had a""mp,,,d 10
sell some script ideas to television in the edrly 50s. his real beginning as a TV scriptwriter was in 1959, when he WdS Invited to a pnvate screening of a half· hour film titled -Where [s Everybody?" The film was the pUot episode for The Twilight lont!. the SF and fantasy an· thology series centered around II talented young television writer named Rod Serling Matheson and his long. time friend, Charles Beaumont, {anoth· Young 8U! Shatner lind Pat Breslin mm!d tn one of Mathe-on'. TV fivorllll!!ll. "Nick ofnme,~ hom 1111.
T.....",., Zo"e. 1960.
16 FANGORIA"3
er prose hmtasist-Iumed-screenwrlter, credited wilh Ihe scripts for The 7 Foces oj Dr Loa and Mosque oj the Red Death' ~e invited to write scripts for the fledgling series The rest, liS they say, Is hlslOry
Twilight Zone' . aut The Malheson episodes of The Twilight lone were often among lhe series' besf. putty because Serling'l ov.m commitment 10 the show required turning OUI 5CTIpts at a relentless ~e. Both the Matheson ,md the Beaumont scripts benefited from the more leisurely sched· ule allowed the television freelanceT$, Ma!haon'sscriptswerealso, more often than not, directed by men wkowgreater lame was 10 be had In film direction, either in the pas! or in the future, in· .......
~
young
Rteh • .-.d
Donner and film veterllns
mend Jacques, and he did a good job," Other directors that Matheson singles out for praise are Richard Bare ("NiCk 01 nme," stArring A pre-Slar Trek Wmiam Stultner) and Don Weiss ("Steel"), who later went on to direct some episodes of the Kolchak- The Night Stalker series ~Isodes. (Seep. 38 for a Kolchakartkle and episode gulde_) Matheson '5 Twilight laM success led 10 douns 01 scripl assignments for nonfantasy TV adventure shows, Including Lawmon, Bourbon Street Beat, HOlle Gun - W,ll Tfollel, Cheyenne and Richard Diamond, Prillote Detltctjlll! It
PIoybov~
It'. 'Wh ..t You Doft't See. Duel, the telefilm, was helme.d by Stephen (CIo5e Encounte~) Spe~berg, and isslllloneof the films upon which his reputation as a sktUed director Is based The mm stan IRnnls Weaver (success· fully shaking off his "Chester·of·Gun5moke~lInage) as a travehng salesman who, angered by a sIow·moving truck, passes It on lin uphill grade. The truck driver takes Weaver's behavior as a challenge, and for the nellt 90 minutes Weaver battles for his life as the giant rig
(Su~""o")
Norman
Z
M<'I .. .....-I Ann ./""''1''0 T.:oum ...... (dt.<>Clo.
of I Walked wllh a lambie, Out oj the and o..(Sf! oj the Demon, among many other,) It was thanks to Matheson that Toumeur was MSigned the Twilight lOM episode entitled ~Nlghl CaD ~ ~ JlICques and I were per$OfUIl friends, ~ says Matheson, Toumeur was Just aboul 10 tum 60 and was QOIng through a bad period. "Once you're a certain age, they suddenly assume tilal vour head has emptied oul and you know nothing anymore Since rhl': pro. ducer at the lime, Burt Granite, was also II pc:non.ol h1cnd, I W~ able to r«omPOll
Darren -Kokhsk- McG.vln play. the role of Parkhill In M.thnon'. next TV Mudut Cllro.Id. ..
wo, during this period that he wrote the 1966 Suu Trek episode "The Enemy Within- lind II science·fictIon murder myslary ..,titktd "Time FlIght" for the Bob Hope Chrysler Theater The flnt of Matheson's several TV movies was conceived In 1963, though It did nOl reach the screen for several years. ~h was the day [President John fJ Kennedy was shot," recaD.s Matheson. ~JerTY Sohl, the sciencefiction writer, and I were playing golf when we heard he'd been assassinated, so of course we leh for home, depressed by the news. As we were drMng b!lck through a narrow pass, a truck starled taIlgating us_ The Kennedy killing had absolutely infUriated us, and that on top oil! had us screaming with rage at lhe truck driver. - Expanding bberally on lhe ellperience, Matheson wrote the novelette Duel, which appeared In
attempts to run him off the road Throughout the fUm, the mAlicious truck driver remains unseen_ ..,.error, - says Matheson, '1s what you don't see_ It's what you imagine" uter, Matheson recaDed a lime when that bit of writer's philosophy lost hIm a job. "I WM caned Into a muting wllh Alfred Hitchcock to discuss the scenario of The Bird., and I b1ew the auignmen t in the flnt 10 seconds RighI off the bal l said, 'Mr Hltckcock, [ don't think you should show 100 many birds-the more birds you show, the less frightening II will be.' Thai did I! as far M I WM concerned." As successful as Duel was,l! was soon o~dowed by the first product of a long a.ssodatlon between Matheson and Dan Curtis, a leleYhion director and pr0ducer who up to that pornt WM best known for creating Dark Shodours, the
life. hornell!e and personal dignity col· Iap5('! because of his !llcohohsm. ~It wau bellutiful piece of work by aD InllOlved," Matheson fondly recalls, ~[ loved It. HO\lIi!ver, It never really led to my InlIOI",ement With any other sb'alght dramatic pro;ects. II's the wlly dwuy5Iem ~
..... up oul her..
Y"""' CO" _n .....
lJ'emendous h,t and illl be the stars lind d.«tOf who!'l'lOW up the ladder. 11'III'S It. war ..-uf·I""goIlIw.I'rn""""ylu",,"y.··
Inte rpretlf\1I Bra.dbllr)'
E. en as Matheson regrets being so .".. . w.Jed lIS II fantasy writer, it WlIS his b\~JITIe reputation In thaI field th!It won hun lhe most impressive lIssign' nwnl m u,ntasy television to dale-the adapUlllQO of Ray Bradbury's The Mar· ilia.. C ........klfto ..... oo1x ho". '.levl......
INf1l 5el'1eS,
which will be broadcast by
:"I;BC tomellme this season Ma'hfton Ia.:ltlqd IhQ ."lgnmQI'II wtIh ... determmatlon to follow Ihg book
<:lowly as pouIble-the only mtl}or cMngI be:1I'og the use of the Captllin
lIS
\Ai&sorr eharanQf
I~yed
by Rock H ud.
ton) to u~ lhe series by hllvlng him !lp.
pur In
'of the MOlle!!
M4Ihaon dc::>a regret lhill. even With alllx-hourlonnal. two oflhe5loriesfrom the CIwontcIa had to be omitted; the SI(Ir\IQ mia:I: T1tc- (;onh Melt and Us/'er ~
MOOftbnd .. pbogued bjI_ of -rbe lmoadnw.- From 1lM T.......,
z.-,1961.
popular gothic: soap opera starring Jonathan Frid as Bamabas Collins. vampire. Curti$ had optioned the rights to an unpublished monuscripl entitled The Kokhok Papers, about a newspaperman who Iracks a vi'lmpire in modem·day Las Vegas. Matheson's adaptation. The Night Stalker. was broadcast January 1 1, 1972, to some 75 mlll!on viewers-the most popular TV movie broadclist up to that date A string of Curtis/Matheson 1V films foUowed, including a Night S laiker se· quel enlilled The NightStrangler, A third Kolchllk adventure, The Night Killer. was scripted by Matheson and William F Nolan, !luthor of Logan', Run. though it WllS never fUmed, The story concems !I killer who replllces his victims with android robots-written before this theme became familiar In tke movies The StepJord Wiues and Futureworld In 1974, Matheson was asked to write I script for a pro;ect th!It WllS to star DIck Van Dyke In the television comedian's first dramatic roIe,lIS a man whose work·
1. FANGORlA"S
D
Accor~ to
Matheson, "The novel,
Left: The Ant ~ Earth-toMart u.pedItion PJII_ the deMrted ...."... of Man; (from ritbt) Rode. Hudeon .. Wdda. McGa.vtn .. ParkhUl and 8emM c..., .. Spends. &dow: Barrv Atwater .. " - - the -,u. In o.a CurU.' pnKhoctlon of no. NWat
.
---~
-.
t
new fK!Id, he expects over the next year adaptation. Even with Somewhere in to Wlite his first dramatic pllly, though his TIme:, 11031""'11)1 (I vel)l31mple !Qve 3lory, ideo) on this ore ~ill In the formlltlve my SCript w.u SOme 30 to 40 pages stage His repuliltion now allows him to .... n(J .... h"n It could b.o 10 m"k .. " film of pick and choosa among the assignments lilly rellsonable letlgth I recently read offered him. His preference among 1V Peler Stroub's GhO$t Story, a novel of os~nments Is the possibUity of another several hundred pages_ Universal's mlnl'$I!ne$. In films, he does not expect planning 10 make a fUm of that, and I to &Ccept anything that offers less than can', Imagine how they could do II prop- the grilltmcadon he's received in working erly-It's just 100 big. ~ on Someu.'herelll TIme. As 1980begins H.vlngp..-n him_if as a nov ....I." Malh
.u .. rOlin, UQeIon', '~I!.!ly Io;:nd llSOoltr '0 film
on 'Somewhere in Tune' 11Ul.11OU5t.
BidTlffie
Mathbon ~ the PiClt¥e as a ma,or departure from the genl'ral run of Hollywood SF and fantasy ··product 1lwy now wem 10 'fNllMt th.y mU$! 0( fer the Nm audience more and more exchment. In tM 'orm of spectacle ilIM hornx_ But Ithmk that ~'s alwaY$ been true that the best films occur whim in· dlYlduals take It upon themSolllves 10 knock tnn heads lI9IIin~ the wan until they come up WIth SOfTIE-thing good Thl.! 'syaem' In films and television does not encourage quallty--II only encouragE'S making money. Somewhere.n TIme wiD be an exception -al !eMI Iflsoilll' as 1M type of film being made Whether the audence can lear ttself from me groovl.! and simply enJOY an ideabstic love story Is beyond me 11 may be IMI they'D just conw to we ..... hether Chns Reeve will ~mpintoaphonebooth
BobMartm
FANGORIA·'
19
ORDER FORM OrIginal Handpalntecl 'Uls" In IlmlttNl editions
The Richard Matheson Fantasy Filmography By PAUL SAL'L\lON & BOB MARTIN
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N
Creat ures Great and Small
The SF Films of dackArnold The master of Hollywood horror interviewed. ByAL TAYLOR
t
film the better I liked It because the studio training films. lind 10 during the next five left me alone" He grins_ "Fortunately. no months he was given an Invaluable crash ve science fiction: slales Jack Ar- one III that time at the studio was an ex- course in dnerml.logTllphy. undeT the
Md, the It.lm~ film director of such pen ill directing SF films so I c/o/med to be guldMce of documentllry film milker 1950s favorites as CmltUTt! from the one. I wasrll, of course. bul the st\Idlo Robert FIlIherty_ lock Lagoon and The fnaedible didn't know tmat So !hey never argued MeT the WlIr, Arnold and a cIoM friend stMted II documentary film comSJ,.",1a"9 Man . •Au youngster, I used to Ili1thme" I:Iuy aI the pulp magazines. I loved them Jack Amokfs fIbn CMHr reaDy began pany. One 01 the films went on to win lin was very pleased when I was assigned before World War n, as II young ac!Of AclIdemy AWlIro nomlMtion; soon lifter. :f«'I my first SF film becau§e I was sun working on Broadway_ When no! ectIng, Amold received lin oifer from lJnivenaI • fan The more I did thiS type of Arnold.....ould shoot film of hili fellow ac- PIctures to direct fellture films tors, using II soundproofed 16mm In 1953, JlJCk Arnold WlIS assigned to ..... oppot;lt.: In n. Cre.too,.. camera. lken the footllge to his eager direct his first SF film, the now-clllsslc RlIy Jr- dIoa &.ck u.ooll, the Gill· compatriots Brlldbury story It Come from Outer ... dw..~ c:o-...... .Jull. Adam• . After Pellorl Harbor. Arnold ,IoIned the Space; II frightening IIIIe of Illlens who Oppo.tt., Lori NeIM" feel, the Anny Signal Corps while waiting to enter possess the bodieS of humans In order to GIIJ. ..... wnth In bl, ftlm pilot lrainlng school. The SIgnaJ Corps repair their spaceship. (See IICCOm~ny - - . . . ofda. er..t.r.. Abo.,..; . . c:Mrt.aadc Ifta:r of T_...... was the soun::e of most of lhe Army's Ing story.)
sen
FANGORIA·"
IS
found this story by Maunee Zimm and he
called me in on it. We worked together with a writer. and we evolved the Creature. or Gmman. as it came to be known. Then we sold the story to UniversaL We had a great deal of fun trying to create the monster-trying to deckle what he should look like. We made a lot of tests before we decided on what later appeared in the film, end it turned out much be"er than we had originally eKpected. -Most of the underwater sequenc~s were shot at SUver Springs in Florida,~ recalls Arnold. -Very clear water there. I thought there was a mystery and romanCe \0 the underwater scenes and also a sense of lerror of the unknown. I think we 5uccE!'.!ded in capturing that righl feel· Ing In Creature from the Black Lagoon, Those scenes with Julia Adams swimming on the
~url"""
.. nd .h..
e .........,...
her from below p!a~d upon a basic fear Ihat people have about
looking up at
\
Leo G . Cuon.uRen; II .u.nge metamorphcnt.ln r ...ntulo. Make-up by Jack Kevan.
"It started because Universal had bought a story by Ray Bradbury: relates Arnold. "They thought it could be successfully adapted to make a 3·0 picture. 3-D had just come to the movies and Warner Brothers had just released The House of Wax, ill hurriedly made film created just to throw oo;ects at the audi-
ence In 3·0. Allhis point, Universal assigned Iteame to me and It wasa box-of-
lice success. After that. 1made all of Universal's science·flctlon motion pictures." Style, atmosphere and sheer energy 26 FANGORIA "3
n. .. MQllo'UJo Mo_er. •••• bo..t
what might be lurking Ixolow th ... "urfaCQ
to demon.h an lsolated f ......house. Sa1t water proved to be their nemesis.
of any body of water. You know thc fccl· ing: When you are swimming and something bntshes your legs down below it scares the heo out of you if you don't know what it is_ That's the key-the fear of the unknown. -I also: he continues. '"wanted to creale sympathy for the Creature-orthe little beastie, as we called it-because 1 liked hlfll. Ii:! gone 10 Florida where w~ found a young S\I.Iimmer. Ricou Browning, who could hold hili breath for five minutes at a time_ He was such a good underwater SWimmer th6\ he dldn~ need airtanks_ We had an airhose off-scene and when he feh he needed lliT he would swim lor it. take a big breath and then swim back to the scene_ That method enabled him 10 SIlly und~rW'Il"[ fo[ "g~. Ben Chapman and Tom Hennesey played the Cre
are traits that mark Jock Arnold's 1953 science-fiction debut. "In It Came From Outer Space I tried to create an atmosphere. because I think if you shoot an Imaginative film -a film in which you ask an audience to believe things that are bizarre-you have to make them be5eve too. You can't do this with theslory ora<:tors alone. You have to create 2m atmosphere in which their credibility will be suspended to the point where they dan', say to :hemselves. That's Impossible: And I think the only way you can get an audience 10 accept the impossible is to get them involved in a mood, or what the kids today call Vibes-a feeling 01 whal you're trying to do, -ThaI's why J make a 101 of use of a(;tual physical locations; he explains. "! make them work for my story. I like to shoot on the ocean, in the desert-only the interiors were shot in the studio, and the small town was filmed on Universal's back lot. The spaceship wasa model. We had built a full-scale section of the craf! and a crew went out in the desert and dug a huge crater for it. We then malched these shots with the miniature scenes."
Crea.ting "The Crea.ture" FoUowing It Came from Oute; Space. Arnold went on to create a classic horror monster in Creature from the Black Lagoon (1954) (seeFANGORIA .1). According to Arnold, the Creature was "a composite creation. The producer who was assigned to make these SF films, Bill Alland, who is no longer in the business.
ture Into the tank but also my leading man and lady, If they took one look at those sharks in th4?re I woukl never ge! them in 'When I returned with the company ,,,,J w"9UI ,,,<1"" there WdS no net 'Where's the net?' J asked, And they said, 'You don't need a net Those fish bofher your actors-they're too wei fed, ' So I was ina fix How was I g0Ing 10 get my acton into the tank" Arnold smiles at the memory, 'Now, I had a crazy cameraman on that pictUN-he was nuts He lold me that I'd be-ner go Into the tank with him to demonstrate to the actors that it was complelely safe. He talked me Into It-so J put on a face mask and air tanks and jumped in -I dosed my eyes at first, he admits •After a while I opened one eye and there was a &mned shark, at least 12 feet
won'
long, his mouth open Md looking at me, And he was only a yard away,"
"Mo thi,,' t o It.,," "I dieM know what to do I didn't know whether to make any !T1OV\!ment Of 10 stay absolutely SliD so I )!.1st shut my eyes again, It seemed the best thing to do. Then he brushed by me and I felt his skin against mine-II was Uke sandpaper. I shot to the surface and said, 'Come on In-nothing to itf ~ Arnold laughs "But the amNIng thing 15 that, by the third &y, we were 50 used to the sharks that we were acruaDy, be· beve It or noI, kicking them OUI of the way, The only animal that gave us any trouble was a turtle, It developed a liking for trnl Creature's costume !lmd kept bit· Ingchunksoutofit, Finally. we had tOMsign a grip 10 stay underwater with the sole task of making sure that the turtle dldn'l bother our Creature,' (By tM: way, if you don't blink during the lab sequence of Reue. 0/ the CIt'(l· ture, you" see Ihe screen debut of Clint Eastwood as a lab technlc\il;n)
In 1955, Universal needed help "Universal was having a problem and they were looIung for some exploitation films; they dldn' willnl to spend much money: says Arnold 'So I sal down and WTote a story called Torantufo and submined.~, Now, !hls was at the end of my first seven-year contract They liked Tarantula 50 much they gave me another seven-year contract After that, a Deen' play was devt'loped from my story by Bob Fresoo and Martin Betketey 'Torollwla was done very quickly I think I had leu than a 2O-&y shooting schedule on it. and a meillget budge! Cliff Stine was my spedaJ.effects man Cliffs stunning ft"lllle work Involved In shoo.ving the giant spider scunhng octOIo5 the desert plains and OWl' and Mound hills has never been equalled.' Wrth such e IIghl shooting sen.. problems were bound to occur. One inwived star Leo G, elmo/]. "We had the (co'lIi,,/tftJ 011 /XI,. Slj
FANGORIA *3
Z7
An inuasion from deep spaceconceiued by Bradbury and realized by Jack Arnold in stunning 3-D!
It Came from
~terSpace Bradbury and Arnold on the making of the 3D invasion classic.
I C(]me from Ouler Space, the 1953 film about humanlty'sfirst encounter wilh an allen species, was the combined effort of two extremely talented individuals: lamed SF author Ray Bradbury and the great Jack Arnold. I! all slarted when Bradbury was approached by Universal to write the treatment for a s(:ience-ficiion film. ~When I came to the studio,n recalls Bradbury, ")
I 28
FANGORlA"3
had a background, shallow perhaps in some areas, deeper in others, in science fiction. I had also researched films alfmy life, startingwilh The HunchoockofNotre Dame and The Phontom oJ the Opera, and all of the horror and science-fiction films of the 30s and 4Os. The most impor' tanlthinglsthatyouknowandlovefi!ms, and you do something that means something." He was Immediately drawn into the
now-famous author/studio connict. 'They had one Idea of the way they wanted the slorytogo, which I didn't care for, and I had anolhe, Idea, which became the material Ihal wenl into the story treatment. Iioid Ihem that J would do two versions of the treatment for them: the way they wanted It, and the Aboft: The original IdYertUlng art for the 81m'. 1953 rel __
-rr - .. dewloped In pre. producdon by Milicent
Pltrk;:k under J.ck Kenn'. IUpenoUlon. Incl •• II
appemln the film . way I wante(l d, Then. at the end of two MBUI It wlISf'I't until 1953 IMI I ventured weeks, I would submit boIh pieces of into science fiction .......-..1 to , ....'" and I .... y could select "rd been making Westems,1ICIIon films which \\"ay they wanted to go. But It they and exploitation films up to this point, As selected the wrong one, I would leave" a contract director I was assigned films Bradbury smiles MA bit eccentric. but it 1bey Mel me come Into the office and ~.d Th. .... dlo ............" .nough '0 ,hey would say, 'Your next II$SIgnment see that the way I was going was wiUbethis,' I could take ltorJeave it. Ifllen preferable and they aDou.red me 10 go it I would be on suspension until I look 5Omlhiog else, Thllt's how It worked In "'......d Unfortunately, the written treatment those days. Wa$ a$ 1/lr a$ Brodbury', Influence extend· "Suddenly, 3·0 films were the rage, ed ~When I was finished with the trellt· and Universal said they had to get on the menl {btled The Meleor) that waslhe end bandwagon. So they brought me a script. cI. it They were IIfrald 10 let me, a /1Come from Outer Space. a nd I thought 'CW<.om.:, with my tIr:H ,tab, SO IIlM!od II would make a lovely picture In 3·0. I m do the scre,.. oI./Iy So I had no In· was always a science·fiction nutllnyway: :..m:e in what happened to It after I left 1 used to rea d an the magazines, aU the IIw studio_ stories-tMt WIIS \Ike offertng me candy!" was al Universal 101' about five or six The movie', final storyline concerned ~ being p111d about $500 II week. I shipwrecked aliens who "borrow~ human ......t IIbout 13.000 101' the treatment, bodies In order 10 repair ther disabled !lrll became II Came from OUIeT spacecraft One of Arnold's first conccmu; ~ okhough no ooe ever asked my was wtth CMtIng. , . both of the human fOl" the ntIe change_M and exlrlllerrestriill vllriety. ~ Brathuy tOiled on his Idea, ~Jack Kevan, who worked with Bud ___ ,.. face at Unlven.al, director Westmore. lhe makeup departmenl J.:k!undd. made his mark at the studio head for Universal, is such a creative, .. 1950 I -.,.ed my flrst seven·yt'lIJ wonderful man. He designed the I!ttIe \I; uniYenal,M says Arnold crellture, the It. M
"*",..... ,
a monster that'SIrUIy ten1fying and show It head-on."
After the alien was crellted. the rest of the east was reL!atlYely easy to find. MI didn't eare if I had stllrs or not," says Amold. "I wanted very good ildOf$ who had Imagination, who betlewd as 1 believed. I found that Richard ClIrlson, BmbimI Rush, Russea JohI15on and COOIel Droke ......",.,... ............J,..1...1 Aod
Cliff Stme, who was under conlraCt 10 Universe! and II good friend, did allihe photography and speclill effects. ChI[ W
a marvel. "I had .. 101 of lun making II C ...... J.-n OulD S.ooce," he continues. "although ~
me a k:lI of problems, 3-D was had to be able to sMooIlwO MllcheU cameras, one upside down and the second shoot!nq 1"I()nTIally, so that we could have the space g!lW
something [ had to learn. We
to maneu_. oh.o ......
The alkol .... Ip ~ . Tb.. _ . . . .bot enttrdy Ia aliDlature. with. puppet ~a.c.(ne KIM c..rt.on. a.tOW: Iut all
100_ f<>r .... oJ.;"o
of cowrgence, [The point 01 conwrgence is the distance at which you foo:u. on tron '*'i
the
points
don't see them tOCl clearly, the 5Cfeen i$ not only the distance to worry about. but flooded with light. It's beautiful and also had 10 wony about the point 01 conthey're mysterious. Only for a momen1 vergence. It was a big prodlldioo every do ..... _ one of Inevi5ilOlScio&e up. and nme ..... ran out 01 film To chJ,nge It \OR that Is pretty misty, shrouded In a fog of had to rip ad of this thing apart; It was costly n time and i!ffoo. Bullhe effecb,l luminescence. "This Is willi! I hied to put over to the thought. were worlh It However. while the new 3·0 process he.&cls of Universal Studios for It Comt'! from Outer Space. It's very hard to create had It.s diffk:uIties, !here were also compensaDOflS. ··(took aclvimtoge of II." u plams Arnold. '"11NOU1d staae a scene 10 get the fuI effect_ the big telescope, when
,
was reluctant 10 show. anything
myself. I had long talks with the producer. W~m AlJand. and with Kevan and Westmore. [ said, There's nothing we can make that wlU top what an audience's Iffiagination wiD supply. If we do show it, It Uloukl be a flash . almost subliminal, because If you show more than that and let theaudiel1(:eexamine II-weD, welust can't creale anythlng that's going to be that far out and be effective' Jack Kevan came up with a couple of good ideas and we settled on this al'nOl"p~eyethatdnpssilverypowder. I had to compromi5e-they made a couple of feet of foot• . so they ,could get a rather good look at It [do think aD my yeD!ng kept them from showing more." Ray Bradbury agrees with Arnold on this point .. It..vould have been wonderful If the srudlo had resisted bringjng the monsters out Into the light," Bradbury muses. Min some ways. CIoseEncotinteT$ says much the same thing, doesn't II? They are peoceful vISitors and they come and go without hurting anyone, and we M
SF filmdom's most fantastic outer·spoce beast.
t
he play's the rhing,W said Shakespeare, but inthe.....orld 01 honor cinema, the '1hingM is aD·lmportant Alien broke boK'offlce n.'COrds this paS! wmmer by presenting
T
the 1'1'105t fantastiC (yet credible) outer-
space beast eo.oef to appear on the movie screen Though rTWIny viewer$ hoave drawn
parilnels between Alien lind severiJl
dassi: w8" pictures of the 19SOs. thew ari:s have nol noI~ one crucial differ-
ence. In Alien. the crelllUre'$ strange, fOUT-step lifecycJe is no! explained to the
audience by a fatherly scientiSt or II
\0l0I"-
ned ship's captain Insteltd . we are shown each stage of the creature's growth-egg. face-hugger, chest·burster and mature starbeast- as ;:m Integral part of the thriller's plot. Only a lew words of dialogue add further to our know1eclge of the Alien; the rest is left 10 the ImaginatiOn No other film has placed its audi
h is with pridedw FANGORIA offeTS its readers an opportunity to become even beuer acquainted with the Allen. VialhiS issue's special puO-out poster featuring II
never-before-published pillnung by acclaimed science·fiction artist Barclay
Shaw
FANGORIA'S
~5
j
Kolchak: The Night Stalker The family-hour fiend-fest that became a late-night sensation! by BERTHE ROEGER
arl Kolchak was born In the chose RIChard Matheson as his scnpt·
C
pages of a novel, The Ko/chok
TODes. wntten bv Iourmllist J eff Rice In the late 19605. For
months. Rice's mllnuscrlpt made the
round~
10 Vl'Irious publishers. but wllh
little response. Its potential was only realized when a copy of the slllI-unpub-
llshed book came to the attention of young producer-director Dan Curtis AI the" om~ Curns lAIa~ ~-known fOl" his 1966 "Gothic soap opera," Dark Shadows Thllt show. after II shaky sunt. gained phenomenal success by becoming the first tekMslon series to staT 1I vl!ffiplre-Jonathlln Fr1d as the
tormented Barnabas Collins The addinon of a "amp'. Q C'hariln/lT had so Srlm·
writer. In Matheson's The Night Slalk"er, II faithful translation of the novel to script form, Carl Kokhak (played by DarTen McGaVin), a hard-boiled reo porferfor the Las Vegas DailV News, In· vestlgates a series of murders. Each of the murder llictlms has a curious neck wound, and h/ls been drained of blood Strangest of all. the county pathologist dtscovers thai the wounds seem 10 be made by onimal teeth. though thev contain human saliva Kokhak is forced to the conclusion thaI the murderer Is a vampire Despite disbelieving aulhorlties. Kolchak manages to track the vampire. Janos Skon:eny (Barry Atwater). 10 his lair. and kiDs the creature With a stake through the ~art
uiated the ratmgs of the afternoon show thai it became the most popular of daytime drllmas, and the only soap La.rlleat Audience oP*' r a .. ""r IQ lTlokc a ,.ucc."fultran~On the evening of Jllnuary 11, 1972, rlon to theatrical film, wllh 1970's The Night Slalker aired on ABC as a two-hour TV movie. Over 75 million Hou~ 0/ Dark Shadows 1/ ...... " ...... " l.o ,"'omo of Th. Ko/.,halt "low.;!•• tun.;!d In that night-the biggest Topes appealed 10 Curtis, he was audience to that date lor a television equally drawn by Rice's diStinctly con- film Such success does not go fortemporary treatment of that theme. By gotten In the world of television, so It pitting Ihe fa ntastic evil of a vampire was no surprise when Curtis apagainst the Kolchak character-a ste- proached M/lthe50n and asked hIm to reotype ol lhe hard-nosed newshound Strlpt a second Kolchak adventure. The -and placing all of his action In a Las second script. The Night Strangler. Vegas de5Cribed with gritty realism, finds Kokhak down and out in Seattle. Rice had constructed a mode rn Gothic where he becomes Involved In another that tempered its thrills with a unique series of grisly murders. Each victim Is brand of cynical humor that was to dead from strangulation, the neck broh - ........... K.,Ir .....k ....1 ....,,,.1. k .... and betating ill rnidu.;! of decomWhen Curt is decided to brlng posing flesh-as if strangled by a dead Koichak to pnme·tlme television, he man l Kokhak's search leads him to old Seaule-an underground labyrinth containing the remains of the town that MeGiovla _ KokhP., ~ by the was destroyed by the great Seattle fire ~ In t....oe: /Ii. compcMllte ,.tI&lIy photo, _ offtc.lIoaty o f the last century. Such an under· ~bea_ofthel ..... ~ ground city does indeed exist. as ~. obecurtltg McG.wtn', face , Matheson had learned during a 1970
Seaule vacation which Inspired liS use as a Kokhak selling The second Kolchak telelilm was broadcast to a smaller. but still enthusiastic, audience. Though the 1V movies had never be.;!n planned as series pUOlS, ABC was now anxious to see Kok:hak become a senes For reasons known only to the ABC ex ecutives and Dan Curtis none of whom wish 10 discusslhe malter- Dan CurtIS Productions was omitted from negotiations in planOing the !oertes. UnIversal Television became the Ko1chak pro
building In Chicago. We al50 tried to surround him with a regular 'family' of characters." The "Iamlly" consisted of Tony Vlneenw (Simon Oakland), Ron Up· dyke (Jack Grlnnagel and Miss Emily Cowles (Ruth McDevitt). Vlncenlo, a character carried over from the two telefllms, Is Kolchak's boss, a crass dis· bt:Uever, always hoping that Kokhak's conjectures about the supernatural will prove wrong. Updyke, an INS colum· nlst. 1$ Kokhak's "friendly enemy." and
years before achieving International fame as ~Jaws" in the James Bond film series. Cy Chermak reealls, ~Rlchard and I have worked together since way back, since 10 or 12 years before, when he appeared In an episode of The Vlrgl. nlan, which I was producing at that time. Alter The Night Stalker, he was regularly featured In another series I did Immediately after thai, a short·llved show called The Botborv COOIt .. In the flnt of the KiIll eplsod•• , rhOll 7' 2" actor played the spirit of an American Indian mystic, wreaking vengeance In modern·day Chicago. The second Klel show weI Ch.rmek's personallavorite, based on a story by David Chase. "The Spanish Moss Murden" concerned a swamp monster aeated bya man'sdreams-not unllk4i! the "Id monster" of Forbidden Pionet Though nOI apparent to the viewer, the stunt actor beneath the mossy SWllmp monster costume was the now·famous Richard Klel. The other stunt actor responsible for the various Night Stalker monsters was Craig Baxley, son of Paul Baxley, the stunt veteran who coordinated stunU for the show. According to Cy Cher· mak, Baxley played vlrlually OIIVCry un· credited aellture In the Mlrles, as well as the prima donna of the struggling news appearing In several small speaking service. Emily Cowles Is the sweet old roles In the course of the ",rle.' run lady who truly believes In Kokhak, and Baxley later went on to coordlnllte the only person who never scoffs at his sluntJ for the controverstaI rum of g .. ng sometimes outlandish theorla. violence, The Warriors, and l'S current· Iy supervising the stunt team for McGaviA A. Producer L:mgriders, an action Western to star Dlirren McGlIv!n was extremely con· Stacey Keach and David and Keith cerned about the series and lIS success, Clirridine. Some people feel that it was the not only illS an actor, but as owner of Frllncy Productions, which co·pro· "Monster of the Week" aspect of the duced the series with ABC and Unlver· sho ..... that was Its uhlmate downfllil. lal, Particularly in the series' earliest Writers Rudolph Borchert and David stages, McGavin had taken the baD and Chase both felt Kolchak to be an Ideal run with It at times when no one else series character, but reeall his weekly had taken the Initiative. Later, when supernatural adventures as somewhat aCllng chores took all of his available repetitive. time, McGavin would not heslltate to make changes on thc set when he fell Humor and Cynic:llrn Ihings were not quite rlghl Much of the Initial charm of The For many fans, the mo&t attractive Night Stalker was due to the contrast aspect of Ihe show was the weekly between Kolchak, the cynical, wise· monSler These crealures came In three cracking newsman, and the fantastic varieties when reasonably humanoid, evil he was required to lace, desplle the they were portrayed by guest actors scepticism of his superiors. "The humor (Nina Foeh In "The Trevl Collection," and the cynicism," says Chase, "~dded Kristina Holland In "Demon In Lace"). afeellngofreallsmtolheshow. You got At other times the crealures remained the feeling that Kolchak was a real guv unseen, as In an early epl$Ode concern· with real problems, and as the show ing an aliQn energy aeature, In most of went on, thel type of humor bocama Ihe episodes lhe aeatures were por· more and more stressed . But after a trayed by stunt actOf'$ Richard Klel and while II became a bit of a strain 10 have this man, a fellow who apparently had a Craig Baxley Klel appeared In IwO of the episodes, head on his shoulders, willing to go out 40 FANGORIA·,
and do battle with anothersupernalural aeature every week-so the stories became more and more bizarre as KoI· chak's situation became more absurd." The episode that springs most readily to Chase's mind Is "Chopper," the story of a motorcycle band haunted by a headless cyclist with a lust for murder. As Indicated by the sardonic pun of the title, the episode contains much 01 Ihe sort of humor that Is the series' trlldOllmark "I mA"" boo pattiOlO mv-If on the back here , but In rewriting other people's scripts, and in my own, I did my best to see that the humor In The Nlghl $Iolk.r n.v •• 90t too 'cut.' 1 .. I.cI
to keep It hlp and slightly cynkal." It was that hlp, slightly cynk:al and frayed,at·the·edges quality of Kolchak that made the serlin memorable enough to maintain a following several years after Its dlsappearanee from the CBS recently began o!Iiring I ,as part of Its late·nlght
line.up during the summer months. Response was so strong rhar rha Mrla. was pulled from the schedule so that II could be aired In the lall, when It can be expected to pull an even larger audience. Cy Chermak confirms that IhOllrOll Is stilla massive loyalty to the show, say· ing that he continues to reOeve Night Stalker fan mail at MGM, where he Is now productng the CHIPs series. (Incl· dentally, Chermak points out that his first contact with CHiPs star Erik Estra· ~acame when the young actor landed II small part In The Night Stalker.' "Letters come In every day," says Chermak , Mespec:lally from the younger fotlu and rho o;:ollogo crowd_and .ft.. r only one season! Believe it or not, I think thalli that show had gone on to another season, It would have been 115 big as Star Trek. " ;:f
FANGORIA'l
41
Roller Coaeter Fever! The I,rst and only book devoted 8)(, cIusMl!y to roller coasters - leelUr ong a coaSHo-coost ooectory WIth lacts and maps 01 every wooden and steet coaster 111 the U S andfT'UChmore'In-
(5upetman) Read labout the secrel OOdy-b\.nldlnog d>et tllill cao IlEttp make
\'OJ a Superman HoII~wood
MlIsc:1e1lWfl has a
selecloon 01 body budders
.....no have '~o:i;:a;
""" ....-
Arc! thElre's 9 COI'll)Iete hostory 01 musclemen who have played Talzan Last, bot noI least. met! the male stars who dared 10 bilre theor
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FANGORIA·" 45
II I I I
~
et's talk, you lind I. Let's talk
L
about feaT 'The house Is empty lIS I write this; II cold February rllio Is failing
outs e. It's nlghl Sometimes when Ihe
wInd blows the way II'S blowing now, we lose power. But lor now It's on, and so
Ie!'. talk very honestly about feaT. let's talk very rlllioollUy about moving 10 the edge of madness and perhaps over
Stand-King IlKpiores the genre'. body of ohen·cbched themes as an anatomy
mini-series for CBS-TV next season For a whtle, there were even thoughts
teacher mighl di$SaCt • frash
'" d.,u.,loping KIng
eorpM"
"
SUppose that there is indeed a spirit world. What would happen jf this kids power was draWing SPIrits ljke a magnet draws filings. making them stronger until they took on their own sentient life?"
the edge So begins Stephen King, modem-day lTI4Iter of honD!". In the forward to his book Night Shift.. II collection of short stories. Fell! ... It'S1I5Ubject King knows grilit deal about In Night Shl/l-u weU liS in his first four highly successful novels: CorM, 'Solem's Lot, The Shining, lind The
II
46
FANGORIA.S
In,,,, a boltOt' day Rod
Serling 115 the host ol hI! own series based on the stories in Night Shift, but King, II privllte man, nixed that idea-, Of 1111 the Wm IIctllllty surrounding his In the prime of his writing ClIreer, King, who lives In western Maine, has become work. however, none 15 as promising, or one of Hollywood's most sought after intriguing. as Kubrick's handling of talents. Hili fiTSt book, Co...w. laler was K,ng's ~I of tKythic POSMl'Pon Th# Shinrng. stilUring Jack NICholson, Shellwy Duvall, $catm.. n Cn)lhen .nd newcomer Dllnny Uoyd In England, where most of the fdmlng was done. II shroud of mystery has prevented alIlNt the bilresl es.senbab of Kubr1ck'$ plans 10 escape 10 the public.
methodlcaDy and skillfully, yet with the Inevitable bloodstains. Now, IlIt age 32 lind firmly established
adapted for director BrWln DePalmo's stunning movie, and King's third book. The ShIning, Is now being completed by Stanley Kubrick. director of A Clock· work Orange and 2OOJ, A Spoce Odys· sey. likewise, plans have been announced to capture 'Solem', Lol. achUlIng tale of vampire infestation In New England. Lnto a four-hour . two· night
On "The Shining" Set On a recent rip to E1stree Studios to nnd out more about the Ium lor himself. KIng. who though he had no pan In Ill" movie, milnaged to lift the veDol sm-«y a bl!, and In II wires of exdustue 'nle. views W1thFANGORIA, tllik aboul what he saw on the set of The Shinf"g~ ~I got OUIIO the sel the second to last day of ~ting lind f got a chance to look around. The secunty was extremely tight; Ihere WillS everything but gUlird dogs IIround the place. I dldn', see any rushes. but I SIIW some lovely K
Kubrick's Till;:' Shlllltl~ - wlother of King's tales of terror "The sets are fantastic," King continues. "What they've done Is put down thousands and thousands of bags of Industrial salt: it looks like snow and feels like snow underfoot, except that It's warm. I understand from Stanley that they went up to Washington State and
filmed a lot of second·unil stuff up there
in some national park i\nd basically came back and recreated the skyline on the back lot at the studio In England. It's like .going through a little door into the U.S.' right there in England. They've
Duvall were gone. They were finishing up filming a scene from the book where Halloran [Scatman Crothers] goes from Denver up 10 a town called Sidewinder where he gets a snowmobile from a guy who runs a garage. Apparently, they IKubrkk's crew] saw the gas station that they wanted somewhere in Alaska and took a lot of photographs of it. They've reproduced the thing entirely on the set. Stanley said that if the guy ever goes to see the film he's going to be the most surprised gas station owner on Earth."
b'QughlIn lloe pille (Ieel>
Ugly Rumors and the skyline stands behind the hotel, During most of the filming of The so it's really perfect. "By the time I got there NiCholson and Shining. rumors abounded that Kubrick
King on .. 'Salem's Lot" In Night Shift, Stephen King published two short stories that added to the vampire mythos in 'Salem's Lot. The first, "Jerusalem's Lot." was actually the initial story about the legendary Maine town and was wnnen while he w8sstlllin college. The second. "One for the Road," was a sequel to the novel. Currently, King Is mul1\ng over the idea of dOing a full·fledged sequel to 'Salem's Lot. his favorite book Here. for the first time, he expresses his thoughts on the project: "When I wrote 'One for the Road' I h.nc...
that
Ihi"g~
... c.cn·'
over
I"
Jerusalem's Lot, the same way that I know they aren't over now. I think about a sequel a Iot.leven know who would be in it and how it would launch ... it's Father Callahan. I know where he is. People ask me, 'You see Father Callahan go off on that Greyhound bus;' what happened to him?' Well, I know what happened to him. He went to New
York City and from New York he drifted across the country and he landed In Detroit. He's in the inner city and he's running a soup kitchen for alcoholics,
planned to scrap large portions of the book (he had already scrapped King's screenplay version), including the endIng. in favor 01 his own concepts. Whether those rumors grew as a consequence of the film's strict secrecy, or because Kubrick opted to use his own screenplay, is unclear. But according to King. the film and novel will end up nearly parallel. "I asked Stanley how closely he was following the plot and he said extremely closely. There are going to be some minor changes, bur nothing substantial. In terms of plot, it's going to follow the book very closely, whetheror not it's going to follow the book in spirit is somemostly black, and he's been attacked a couple of times and he's been in the hospital and people think he's crazy. He doesn't wear the turned-around collar anymore, but he's doing this anyway and he's trying to get right with God. So one day this guy comes In. He's dying and he says, '[ have to talk to you, Father Callahan.' And Callahan says, 'I'm not a Father anymore and how did you know that?' Finally, the guy is actually dying and coughing up blood and the last thing he says as he grabs Callahan by the shirt and pulls him down Into thiS mist of beer and whiskey and puke and every thins else Is, 'It'snotoverln the Lot, yet.'Then he drops dead. So that's when it starts and Callahan real\.zes that If he's goingto get rtght he has to go back and do it there; that he can't do It In Detroit saving bums. He's got to do II where he got wrong with God. I even know how the book ends, bull Just don 'I know whalthe transmission of It lIll Is. Something's got 10 run It and It can't be vampires. The vampires have got to figure in it, but that can't be the major thing. Someday It'll come to me and I'll write it." FANGORIA "3
47
thing else again," King admits, Exactly what Kubrick has In store In the way of speciel effects is equally as sketchy, ~ l don't know much, but I've heard that they had done a hfe·slzed heed of Jack Nicholson that at some point was going to split open and spiD out worms. I do know that there are not goIng to be any of the hedge animals that mo~. Apparently, Kubrick's replaced II with a hedge maze and I think from the way things sound that he's updated The Overlookconsklerably.1 saw.!t as kind of a grand old manor But I understand that there Is one sequence in the movie where Danny goes inlo this game room thet', full of electronic games. Apparently. Kubrick assembled every advanced kind of electronic game In England and put them in this room; when the kid
what's going on there." says King "He looks tired, but he seems happy and he seems plee.sed with what he was getting. He didn't s.um nervous or autocratic or anything else."
C ...tl ft' Doubt. If the aulhor has any serious doubts
about the fUm veBion 01 his book, they seem to be In the casting. King nOles, ~ I'm a lot more dubious about Kubrick's Cllsting of The Shining Ihan I .V/ll' Will about any 01 the people In Carrie. I always saw In my own mind WendyTorranee as a kind of middle·inteDlgence, beautiful piece. SheUy DuvllD Just looks sort of nervous and overbred. And I always sawJack Torrance as a tall, darkhaired man, nOI the Nicholson type at aD; not flamboyant, almost withdrawn I
fire that destroyed The Overlook Hotel set with Ihree weeks 01 shooting stiR to go, hlIve pushed back ilsopenlng unlillit
least the winter 011980. King. lor one. sees at least 1I bit of Irony In thllt. "It's sort of funny because The Overlook bums down lit the end of the book and the hotel lhat the book was based on in Estes Park, Cobado, allo burned down ills! year, I'm told. ~The fire on the set of The Exorcist was sorI 01 "ucpicltwJc In orIoIn: who/hor
it WllS spirits 01' whether it was just plain
old arson. I don't know. This one was pretty
definitely a flluity electrical
CGbie-whJch Ihey tlk. fin.
t..-o .. _
It
means they'D collect their insurance," King says. Oddly enough, King's inspiration for The Shining came while he ond his wile, TlIbltha, sllIyed at The Overlook's TelllHIe counterplln In 1974. In whot proves 10 be an inslghllnlo how he works, he desaibes pan of his Slay:
At The Overlook
"Belng there WllS Ihe real impeh.&,. Things come to me like SitulitionS and they Just son 01 fIool around ond then. 5OOnCH'O' latCH'. you ~Qa hook thai you c .. n h .. ng Ih.. 1 aI'uadon On. VJ1.. .. / I".... lIlwllYS done as a writer when I've had lin Idea for a novel Is sort of carry the novel around until 1find" place to hang It up And Ihad this idea for anovel about a kid who was 0 psychic receptor. llOld to myseH, 'He'sapsychlc. fine, we all know lIbout psychics and whllt they're supposed to be lIbLe to do, but suppose tMt th1lrt Is Indeed & $pirit world WhlIt would happen if thi
comes In they all come to life. I don 'I see a whole lot of potential In that myself. lhough," says King 10c excising of the menacing topiary animals from Kubrick's work removes OM of the most effecttve stare tactics In the book. Apparently, even speclaleffects master Kubrick couldn't puU il off. "He wanted to put I! In. It wasn't thai he dldn'llike the Idea, but he went to a lot of special-effects people In England and Europe and they said they could make the hedge animals move, they just couldn't gUllrllntee thlll they'd look reollsllc enough to satisfy Kubrick's need for perfection," observes King. uFrom that II "ems deaf thlll Kubrick Is obviously a man who Is In control of ••
FANGORIA ""3
had someone like MlIrtin Sheen in mind . But nobody will talk lIbout that sort of thing In preproduction. Whlll they want to IlIIk about is someone who's bankable-and Nicholson Is thot H.'D boJ Interesting as Jack Torrance, though." King's reservations lIbout $caIman Cruthers as DIck Halloran Hem less severe, but that mllybe because he !siess lamlllllr with him. "At first I'd heillrd HlIlioran was going tQ be pIlIyed by Ben Vereen and then I hellrd Kubrick had a specific white actor in mind. but apparently he couldn'l get him. Who knows?" While The Shining was originally 5Cheduled lor release later this year, production problems. including an electriclll
tlon where his own power was drawing spirits !Ike a ml'lgnel draws flilnas. lind making Ihem Slronger until they began to take on their own sort of sentient life?' ~Tabby ond I had h~d mUI thl$ hOiel and somebody said we ought 10 spend a nlghtlhere. So we went. It WliS In Oclober, the last night of their season there. The hotel was totally Cleserted except fOf us. We went down to dinner and Ih_ Wi!ljt
through the seoson ond thot people kept stea~ng the brass noules of their firehose. I found tMt lnterllStlng ~ Translatlng1hot kind of audience feel· ing to motion picture won't be easy, but King remolns opllmlSflC Ihal Kub!1(:k can puB it off Unfonunotely, !le ls lesshappy about NBC's plans for' Sokm 's Lot ul'm not tembly anxious for It to hap ' pen ah~ what NBC did to [Thomas Tryon's] Harvest Home, King says "They rellDy screwed that Up, M
Ro m ero: "A Geru", .." Atonepolnt, he had hoped hisfnend, director George Romero (Night of the Lluing~ , woukl do 'Sokm$ Lot "But it won', happen George won't work with those PQople and 1 don't bLlame him He and I have talked over some possibilities and we are going to 'silo .om.. more! Soon... OT IA'.... I h<>pe he and I will d9 something together. I'm particularly Interested In him because I think he'sl! genius, I saw Martin lind It'SlI knockout I'm scared to see his new one
[Down oj the Dead]. " As another NBC protect, King has written the screenplay lor II movie Iltled Night Shift, but he doesn't expect that to get off the ground either "llIssume that if III"'JI II
end-ol·the-world vision, won't even be rOOCQjv..d as ooe "There won', be anything there," he says "It's too long Ifs too downbeat for teleVIsion and 100 long for the movies MovieS have this kind of keyhole. Somebody like Frlmcis Cowo'a in God, father and Godfather II can stretch tl.at keykole to maybe three hours and 20 minutes But on the otht>r t'wInd, Kubrick hImself med to stretch the keyhole WIth Barry Lvndon allCl fllJled-though hiumphantiy, from my point of vif:w DespIte the disappointment some: may feel about his reluctance to tum TIle Stand Intoa film, iI'sclear that The Shin·
Ing wiU not be the last of King', novels to b. produced Today, there ore clost! to 10 million copies 01 his books In print With his new works, The ~ad Zone,
and Different Seasons. 10 be a collectIon of four short novels, ,hat lotal Is sure to climb quiCkly Desplle the hype and praise surrounding him-he', been hailed as an emerging Lovecrah- King remaIns remarkably self·effKtng A soUd, middle· class Rg\Jre who drive:s an ·outer·spacey" Yamaha 650 motorcycle allClliva comfortably Wllh his wile aod th,"" children, he belle5 the Image of the horror wrtter who Is, to use the words he penned for a 1977 ~ne ortide. ~ving in "ronstant, deadly telTO!' uYou've got to remember I wrote that line because It sounded reaDy good. But I think that the per$On who wrttes this sort of flellon Is aiwlly! In danger of hav· ing his imagination go oul of conlol. If happens, It happens II lot Take Sy\vi.!I Plath, or HP Lovecraft OT some others-a lot of them had a real problem keeping their Imllginatlons under con· Irol. That's what I meant In the introduc· tlon to Night Shift when I saId that the knife can tum In your hand and cut you. You can Jump lit a lot 01 shadows that aren't then! end I don', just melln super· natural things. Your mind lends to leap to the worst possible conclusion of anything you're Involved In. 'Ttl give you an example," King says, "Oddly enough. the fiCtion ..dilor of Moine Magpzlne was aguy named Gunnar Hansen, who played Lealherface in The Texas Cholnsow Massacre. He's a niCe, gentle man, but II was very funny to he will somed<'ly bec::ome the Presldenl see him hokting my small son. There and push the bunon that destroyS the was old Leatherface holding him on his whole 'NOfId From that. the question lap and bouncing him up and down. I M arises as to how he's to handle It even felt a Imle nervous about that. R ft
ft
King on "The Dead Zone" Stephen King', newest book. The p ... bl",hecl In AU9u.t It', the story of Johnny Smith, a New England §cnoo/teacher who possesses dormsnt "low-grade prllC(l(lnltlve powers" as the result 01 lin lIulo accident he nad lIS II chlkl. King picks up what happens from there "On October 30, 1970, he takes his girlfriend to the last aamival 01 the year am! II'" hG~ a lUll vi luck at on", uf Ihll: carny wi"1II'"ls 01 fortune On the way home that night he's In a bad accident He's In a coma for four and II half years. When tlII'comesout of thecoma In 1975 he's like a modem Rip Van Winkle; lhlnoo. tuov .. t"h>ono<>nlO lot HOI bo>gln5 10 pick up on his poo.vers now. but rhey don't bring hun anything but misery. He's Involved In a vicious murder case In a Hurkos·type way. Then, during the 1976 pohtlc.al campaign. he shakes hands with a man running lorthe House 01 Representallves He get! a flash thai
o...J z ...... _ ••
ft
Triloay 01 TerTor, An. A&C Television Circle teJeftlm, 1975
M set I had duplicated pan ollhe house ond had III fake mal'ldlb'e
ho~
from
tho roof At th5 point evcrrythlng II failing
down as the hotae aumbles, lind leo got caught In some of the debris. He cut his hands very badly and II QllYe me quite
a tum . When ftnlshed , the scene was ~ real. lnal was real poin and agony on Leo's face lind his reactions wen! 100
real for comfort ,-
AI'lOther difficulty Involved the use of live spidm. -We controlled the spider In Tarantualo whh air jets. We matched Ihe
rock$ In the studio to the i!lCtual rocks OUI In" d_rt . then .hot lru.m In
....... In
perspective, We'd push the spider about with air lets until I got the shot J wanted. I would wilInl, say, III leg to appearO\leJ the ftrsI Then, b"t lJnlversafs IargesI sound lOP of the hUi first, then the mandibla, stage, we buill ful-size repIc.as d pan of ~ Usu.1lllv IIft0 lIboul 10 minutes UJe the 1.11aD. ledge. spider web. pail" of Dgot the shoI: [ wanted. We'd shoot the sors. hal d !WIne and 50 forth aI at the spider against III black background. then SiZe chat would make the hero, Grant Wisuperimpow II later Into the scenes wtth lams, look an inch ralin comparison live actaB," "Then I would run the 11m d the spider
AmoId Is quite proud 01 the fIlm 'sspe· cIaI effects. 'CIIff SlIne and his effects learn worked II aD out mathematlcaDy W. had 10 do only one retake because of a mistake his deportment mode. lhat was In 0 scene when Grant was supposed 10 be !hree feet
mi. It was I spItiI-saeen sequence and he was supposed 10 put his IInTI5 around his wanted With a rnerrooome, I counted wife, but we ended up one rnameter oft, out beats for the amount of lime the spi- 50 we had to shoo! one side d the ~ der's ac:tk:In took. The sound stage was ",""ogoln. "Cliff StIne was a gmlus. The blueblacked out except for the ~ sets, 50 I would set up my camen! using a piece d screen proons wasnl n 11M when I rn.dc negative film 01 the shot d the spider The Incredible Shrinking MCI1I, we used fI pIoced In the carnera'5 IJOlInd glass, and combination d OUT own mattes and rearthen maich up the sets wIrh the scene on screen protection. The bIue'screen pr0the negative, owr\aying the two Images cess oIways looks a bit phoney to me-l unliltheybecameone. When we did that, you're not careful, you often gel a ~ we knew we hod It vertically and horizon- Ine around people. It's very Irir:::ky to do II tall; conect. The camera hod to be about 250 feet away from Grant and the sets 50 !hat I had shoe before and cut II the way I
The Most ChalJc r\liftl FUm
Of aI Jack AmoId's sdmce·fictIon films. The Incrrdlble Shrinldng Man was the ITIOSI chaIIengng. "i1 hadn't hKn dOnI! twfcn,· i'leSllYS "They hbd donell I\lm, 0. C,dopo, .mIW on~ In the wnw that the pQOpIo were small, but they 5Ulyed one size Neither did It have lhe lItmosphen! thai I thought that sort of situation required-the situation of being "'" :tmOlI that the c;ommonpLoe.: J.I.lddenly
become! bizarre and threatening. In TI'H!
IncredJble Shnnking Man an ordinary
atn... ~..........tl of •
pt.c. filled with
thaI he wouJd look ,maD.
"TIlen; Arnold continues, ., would reo monsters. I wanted to make the audience reaIlze that their own cellars were poten· kearse Grant on what he had to do. WIth tlaI hells-lnat the foml!iM could become my count on the metronome we would horrible If the CirCum5tanceS were time It all-at every count, Grant \\IOUId chzanged.hzave a different action to perform. He One or the most dJt!lcU1t !aSks for the woukl go up and shake the \\Ieb . .. that &CIors In these films Is to raoct to II. men- would last perhaps for eight counts ... ace which Is not actuaDy there in front of then on nine counts the spider siarted them. bullAlllllatw be supplied by special down ... on 14 counts the spider was effects. A" director Arnold relates It, "The down .. . on 18 he was coming closer only Insurance (I director tw In that sltua· ... on 19 something else happened. AD tIon
10 10 .... ve
good .a...... Wh.rn I c:a.t
of It WM timod 10 match in exactly with
.n.
for these SF films, I tried to get octon who footage d the 5pIder. Grant did II: aI by were Intellgent, had lmaginotlon and number.;, having 10 imagtne what WilS were good at their craft If I told them the happening at each point. Itory and what was IUpposed to be nap""Then when we had two pieces of 11m penlng at the ~ moment , they \IoIVrC we just married them together Into a single able to recon5tnJct It themselves. pka: of fUm-and there II was. You "For example, In The Incredible Shrink- would swear thai Grant and the spider Ing Mon , I shot the ~ wIIh!he spider were together on the ledge." fANGOIUA" S 51
SPACE:18110 N~.~~~Q~~?"~~!~~!~~~~~ A BLUEPRINT"PACKAGE. CONCORDANCE
& TECH MaNUAL ALL IN ONE.
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* *
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OUI-oIiI'W
8Ibum II no IanOW ...... ~ IJIotM,.
~
~
tor
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~
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53
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----------------,_._.•..•.•._._._-,
I NAME
I
I
...
I
" ... RLOO-I'IodnIsIIt.I bIut with tI/ftf logo _ U .....,. SlJc>ux _ PorUoflo Ifoo
City I J.. __._, ________________________ ..I State Zi p UbriOrJ' Sllp:.ose Porlfollo 8o>c
MICHAEL SULLIVAN
W
andmng through Mike C;ulhvan'c downTown Man-
hattan loft brings several Images (0 mlnd- but none
_ms Quil
maker', workshop? It's
II
bit of that A
Cook's tour of some of the Jess deslfabk!:
Full·scale film props and miniature worlds from a model· sculptor with a flair for the fantastic!
neighborhoods of Mlddlearth? lhat's there. too. Perhaps the Il:Iboratory of Dr. lyage. He'd already shown a youthful en·
Praelorius. with the doctor In residence, Ihusiasm for model making-usually gun pursuing some delICate stage of his ho-
r~p!lcas
and
demolition
derby
cars
munculo\d experiments' No, that's going fashioned from balsa wood-so his skUIs made him indispensable when il came 10 100 far ... isn't it?
Aher his svaduadon. Sullivan got togelher with a aew of Ofher New York artist! (Peter BRImley. BiD Skunkl. Tom Hackman. Gall Burwyn, Joey Epstein and Deuny Hermanson) to form Cloud Studios. Together. the studio staff produced a large emounl 01 work. Including book covers, magazine Illustrations. IIdvertislng ert lind e series 01 underground cornia, Cloud Comics, published by Kitchen Sink Enterprises. In early 1970, Skurskl and Bramley became Ihe first art dlrecloT5 of The Na·
GoblIn. and v .. mpl ..... ...,...,.... lind constructing props and sets While af· tional Lampoon. lind Su!l!vM became creatures, zap guns and zombolds lurkon tending Walden High School, he began deeply In\lOlved In the UlnY9'"lIphlc5 of liS every sheH What manner of man Is it making films. He continued his filmmak· first Issues. Since then. Sulhv/In has con-
who can live and work-and even revel Ing while he completed his art education tributed simillar work to Harpoon . Apple
-In OJUch WttQunUl'¥"
at New York UniVersity.
'·My Tarzan film was shown al the 1011, not yiWn 10 br~ng about his mllny FUmmaker's Co-op here in New York,~ years in theater and films !including /II says Mike, Mand some of my films are stil! prominent role in the cult cla5sk: Greaser'. showingaroundalcoDegecampuseswith Polocel. or tus work as filmmakei'. experimental film programs ~
Mike Is lICIually a soft-spoken. modnt
designer, modelmaker and photographer, He was born In Jacksonville. Florida, in 1945 and. though his parents hltd no theatricAl background, he found himself drawn 10 the theater at II veryear-
SWllwn.ets up an outWIdWI ~ of autl.lrn. ~ to shoot the ~ of. Ilw! album by comic ctvt. Rut. (pictured In Iowa light cornel").
Pie and InremaflOna//rl$Dnlty, magazines Ihal followed the Lampoon·s in'everent lfallbLazlng with less success Wilh Cloud Studios now rellltively inactive. SuOivlln has been much In de· mllnd as a freelllnce designer,IDuSlrllotor, with work IIppearing In The New York nmes. Chic magazine and on numerous book and record jackets The foDowing pages olfer a wide SIImpling of Sullivan's multdacefed tllieni. R Mcwe F.n....ucArt on followfng poll,".
bug thIIt Mike _b&ed 1aaR fof fun.- P..u from. mcdd bug kit • • toy slum engine and vartous other "found" partI ~ Im;:orporated I" the dftl.gn.
A.rum~
!.1M In ttM: ftIm W .. of bv ~ MtIfti .fAoa:'. Mkbaei 0'D0nahue. The teeth were molded from ---.I 01 Sullfvaro', frWndI and a.odatn.
crew
ida • ....., GoU. to be Krlpted
56
FANGORIA'"
Thi•• pac_hlp "'••
u~
In.
t~I""'.lon
commftClai to put aao. the conmuded ~ MIk~ fn:Kn •
metAge for Aftate foot powder. The ,hlp _ _etch dnwn
Wllh thllir wildlif" program SUJ'Uiuoi Ruantly, in lion ",/fort
during the war were
to eXpilnd their
stories published
world television
mllrkqt, Anglia IIpprmlChed Sir John
Wolf, producer of The African Queen, The Odnsa Fik. The Doll oj Ihe Jackal
lind Oliveri, to dM\op II big-budget
dramatic series that would eppelll 10 American, English lind the Inlemi/ltlonal televiskln lIudlences The teries. which began broadcasting
lest month on more thon 70 television stations In America. Is Roald [)ohf$
Who is R oald Dahl? And why is he writing all these ghastly stories? Dy DOB
~L-\RTI:,\
Ta~ 0/ the Unexpected The 22 epISOdes 10 be broadcast thIS year are all a&pted from the macabre stories of the
prose Into tE'lIMsion'scrlpl form . Roald Dahl became II writer almost by occide,,!. Born In 1918 In Cardiff.
England, where his father was a ship h'A
representative of the Shell 011 Com· p.!Iny In Afl1ca Wllh the outbreak of
World War II, he entered the BritIsh Royal Air Force lind trained A5 II Oyer lit II Br1tlsh base In Nalrobt. In 1941, he
was flying a Hurricane fighter ovef
o..wrt
wh ..n h..
WA,
.. »IgI....J 10 WMlllr1!,jton CIlI As5i5tan1 AIr
Attache at the BritIsh Embassy, It was mkl,l941 America had not yet )oIned the fight, bulthat eventualJy began to seem Inevitable Dahl was one of the few people in the U,S who had actually seen action agaln$l the Germans and the Italians, so the Salurdoy
Evening POSl assigned C. S Forester
There Is a strong connecting Ink In both types ol Dahl stories- In hl5 tales, )JsIice often ......oou wtth /I quk:kness and
Chor:okJl.e Faaorv (filmed as Wr1Iie Wanka and the Chocolate Foctory), Is a
writer Roald Dahl. who personaOy supervised the adllpultlon of his
Afric .. '~ W.,.;t ..m
..-
accuracy no!: ah.uays apparent In real life. His chldren's novel. Charlie ond rhc
British
shot down and badly wounded Sent back to England, ne was subsequently
collected In his first book, Ouer 10 You In the years sInca lhe war, Dahl has refined his writing skills In two directions; Ight fanwy IaIa 101' children (though these have thea' adult fam ill well) and stories ol the macaltre written 101' an adult
(the creator of the fictionaJ sea hero Ca.ptaIn Horatio Hornblower) to interview WIng Commander Dahl After meeting with Forester, Dahl sat down to write some notes In order to help Forester In writing his article A5 it
happened, the notes grew into a story, theftrsr Dahleverpublished; his own account of the African campaign, it was titled W A PIece of Cake_" The P05l paid
perfect example In the book, Charlie and five odwr children win a lour through WWIe Wonka's mysterious chocolate factory . Except for Charlie, each cllM children Is an InsuHerabie brat, and they come to harm as a result of their O\m miSbehavior-lor Instance, a young felk:Jw who Is conSlllntly demanding sweets Is drowned In chocolate. At the end of the tour, only vtrtuous Charlie has survived. WiDie Wonka, assured 01 CIwIie', goodness, ~ him the entire: choc:oklfe fllClory. NOIIong ago, a goup 01 librarians In the U .S publicly 0'ItIcked the viOlence In
Dahl', stories. Dahl thereafter expressed his feelings In an interview wth John Cameron for England', Dolly Telegroph Magazine, saying. "SIIy bitches don', understand what chlIdren en)oo;. They like 10 have people bumped off, In!J"eat deta~; provided they're pretty unpleasant characters, that Is. You try nO! to bump 011 the goodIa,w FANGORIA
".s
59
Righi: In MM." hom the
South," Jon Fe"" Ih ••• t .... to tall.
Mlchul Ontk•• n',Uttle
finger I. part of In un· 1.111.111 bet. Pete, Lone pl.~
the ferrer Jole In
I
"" .arlla Hltchcoc:lr. ver· .Ion of the .Ime t.1 • .
I
••• J)&mlM!red helrest;
I
I
"ho.... rlBht: Slobh,,, McKenna I, "The LAnd·
I.dl/.· Her hobby I. hI.ld_y. Righi : Tim
W..t pl,Y" ,lIghtll/' mad bMkMP'H IIIho
pull h .. child on. apecl.1 diet , duplte the protUbI of mother (SUN" Geor,e), In "'Royal Jelly."
60 FANGORIA-'
Middle left: Joan Collin• VIctimized by her butler (Sir John Glelgud) In
-N.dl.~
Left: o..rek J.cobl I" man with a predou. ma.terpiece tattooed on hll Nck In ·Skln." Below: Elaine StrUch .. M."" • • woman whOM hu.· Nnd outwit. death vta a computer hook· up. In "'William and
M.""."
THE WARRIOR'S BATTLEJACKET ,. Available In Sizes For
howeYft. lead to a second season of m&eabre stories. with Dahl taking part in the story selection as an advisor. iI
NAME
~
"-'iIlSr Wonka and &cIapting Ian FlmUng's books for the film versions of You Only l.Jue Twla and Chitty Chilly Bong Bong. The first episode of Taks . IftIedA Dip
l KL
.
Hitchcock Presents serles oflhe 50s and 60s. Dahl has also had a hand In screen1lIritIng. reworking his ~ book fot
Unfortunately. according to the show's producers. the first season wiD virtually exhaust the supply of Dahl storIa that easily lend themselves to the half - hour television format The expected success of the series will.
,
eil.O.>rirlrlljl. C4hl has
.
~
_
I" lou<
completed doz:ens of uncanny tales, and several cl these have been adapted for ,,,,\cvblon . nlOS! IlOtably fOf the Alfred
·
usually survive, and oiten prosper.
a ..
American tourist overtaken by his own greed; later episodes are Illustrated on these poses. Some of the other stars scheduled to appear in the series this y
"
m_
- the _unpleosently. " _ """" done The "" vlrtU
In
.u.. ,.....oIj
"
Similar rules apply In hlI adult stories
tx
1 "0'11"
_ ' •• ' 1131.111 ..... '
__ '.
__
61
Up-to-the-minute warnings of what's coming your way!
MlIrvtn MlIrtllIn lind Mother Ilided-Spielberg simply hllsnHound who is "either one of those time for thllt project. The director very much like to see the duck play 01 unspell~ horror. MCOr- hiS new blockbuster 1941, and thai to Jones spokesman Steve Leiva. happen-IfVarioussnagsllreo.;:;'~~; relellsethecartoon wilh II revised Meanwhile. the Jones studio IS of Stephen Splellerg's Close En· 0/ /he Thrrd Kind have M
to air In prodUCUOn, designed by with blIckgrounds by Ron feature the work of Wllrner
$Ion,
I!"'m ••,, veterans Ph~ RO$$, lrv Anderson lind l..Joyd A high.spirited skatebOllrd quence promises to be the memorable sequence Meanwhile. worlt 00 Duck Dodgers /he Retum of lhe 24'nlh CenlUry'
,"',w'" m.", I Courtesy of our friends at F'dmllrion
:g~1;~~E~~~21~~~;~ I IKlventure. . where designs While. Fan· and Bambi He's been with 1941, when !hey met part o~~ US Army Motion Picture Unit, JJ Ihey \OIQI"ked on Jones' cartoon "PrIvate Snafu. The plot for Dodgen Is still wraps, but included In the cast
I
liS
M
62
FANGORlA'3
four crelltures Ihat wiD appear In stop· Studios, here is II first look al oftwo of the motion anImation sequences J(lJ()n of Slar Command thiS year Steve CzerkM, who handles Jason's lIOimalion chores with Jim Aupperle, buill these ~::::;:U::'"wh;::'<~h~ are used the the IlItex body of the IInimation models. Animated CTeliture sequenceswillappear In the pro· grllm on the third. fourth and tenth Two critters animated by Aupperle episodes this season. for the new h ••• .
I
10 Co'ISI
dul'inQ his lifetime ItS obve," wID be portrayed -~:--:---J-:o-hn Hurt of Allen fame'I.',,?n"'~':d Hopkins as Dr Treves_ "
""" 1m
II repor1ed S4 ,EMland Paramount Pictures (the
wrinen
Hemmings), believes thot of humllnity siems from the rltulIlistic consumption of human bIood_ By braJnwlIshlng and terrorism, they IInempt to persuade lhe woman to )CIin thell' ranks. It's the ftrsI film for televiSIon dirK lor Rod Hardy. ty over the rest
Armel departs for the unex~ northlands, a place dommated by the evil dragons olltgend_
il~:~~~::~:: ~iii1L
tween Drugonworld J. MIChaelIs Reeves a colLaboration lauthor oil, he· Alien) and Byron Preiss. Pretss Is already a champion to tMe fans of fantasy. Along WIth publisher Norman GoIdflnd, Preiss Willi the guiding spirit behind PInnacle Books' lale lamented Weird Heroes and FIction ffluSUOted series, and more recenTly the edITor 01 iDustrllted WTSkIns of the works 01 variouS SF authors for THE C AT AND THE C ANARV In GoIdflnd's BaroneT Publishing 1934, the family of ea:entric mllllonalre With the graphic story form such an Cyn..s West of his wiU lit Imponllnt part of Preiss' past work, It stands to reason that his first novel be copiously lind belluttfuUy ll1ustrllted. It Is-by Joseph Zucker, whose cover TO lovely Annabel'" In thc event of her rendering appears here. Drogonworid contlilns over 80 pages of delicate pencil beneficiary wUl be named drllwlngs by Zucker, lin accomplished bookcov0' a~ who was also one ollne manor 10 warn escaped Inmate-a man;.,;d·;-;;~~;";;;j I D~~(;OI~I<>.'IL!) U~~~..'n. $7,95) character and b&ckground daigners for for me dealh a young boy, Ralph Bakshi's animated Lord of the ...... h .nd , . . . ...., ......bIo Murderously Insane, he imagll1e5 dreamer Amsel is exiled from Rings , the land of his birth. Fleeing The bocMI, unlike many novels IMt to be a cat. and has a tendency his victlms_ Straight of Bak>mar to Sim- have come In the wake cl "the Tolden The founh fUm versbl cliMe I learns that this countty, too, phenomenon," Is a greal deal more than play 01 the 19205 Is directed byaserieSolbrutal, mystenous a duDecho 01 the Middleanh mythos. In To solve the mystery-and 10 pictures and prose, this Is Metzger and features Honor Miehael CaDan and Wilfrid Hyde Wl'l!te both Lands from a needless war- fantasy storytelling 01 the first Rmk FAN GORlA 'S
63
It Came ... (ronliflunifrompageJO)
It was swung ",round, appeared to be hanging right out 01 the screen. EquaUy effective were the avalanche sequeT1te
and my set-ups through the fireplace, with the fire in the foreground SO that you
had a separation between the people and the fire.
"One of my big problems was thai I wanted helicoptersholli of telephone wire following the cars, telephone truck and linesman at my favorite spot out in the
deser1. up in the Mojave. I had gotten the loci.'llions and we had built the lip and part of the crater we needed, [couldn', take
up two Mitchell cameras, so we had to
work out two ArrifIex cameras and utilize them. We had 10 experiment with the Ar· rinex cameras: it was quite a I;I'iaI. We flnallygot it,"
He feels that the final shot was ex·
tremely effective. "I picked out a section I liked and we duplicated lion one of our large sound stages. Part olthe desert road was buill bel'lutifully by our art directors on the film, Bernard Henbrun and Robert Boyle. The setwasdone In perspectiveso Ihal Ihe road fell off and the lelephone poles went away from us~ Ihe lasl pole was about six inches tall. I used the car driving away and a big boulder for it to disappear behind: a small toy car took ils place. No one could lell the difference. '"The shooting schedule for If Came from Ower Space was aboul30-35days, and our budget was about $8()(),()OO. In 1953, that was a lat of money. Today, il would probably cost $2.5 million.~ Arnold sits ~ck and smiles. "My approach to directing II Came /rom Outer
Joe Sawyer and Huuel! Johnaon, as a pair of telephone linemen, Ire the fbtt to encounter the ul"WIlarthly mltol1l. Space, or any science-fictlon film. no matter how bizarre the idea is. is 'believe iI.' I have to believe it. the actors have to believe it because if we believe it-you'U believe it. "1 wanted to pase some questions. J wanted to have some kind of meaning to
it aiL You know. weareso prone to avoid
something that is meaningful. 11 Came /rom OUleT Spoce said that we 1IS 1'1 people are afraid 01 anything th1lt is different from us. If ifs different, we hate it, we ....... nl to ckstto y it. Th,,!'~ ou. f"ilino "g human beings H H
cience-fiction trends will come fuU-cirde with the pending release of Sr(l~ Trek - The Motion Picture, based on the 1960s television classic. FANGORIA *4 wUl feature "The New Aliens of Slar Trek"-extraterrestrials created especially for the film-and Spack as you'V(l never seen him before! lL_ _ _ _..... Also in store is a talk with John Carpenter. director of Dark Star. Halloween and the forthcoming fright Iilm The Fog A behind-the-scenes look llt Warner Brothers' television production of Stephen King's -Salem's LOI . .. New versions of The House of Usher and The Legend of Sleepy Hollow from Sunn Classic Pictures. . Actor DanD Andrews retalls the makrantasticArt by ing of Jacques Tourneur's The Curse of the Demon Michael Hague _ . _a close-up interview with fantasy starlet Caroline Munro ... and. believe It or nOt ... MORE!
S
ON SALE: DECEMBER 18, 1979 Richard c.rt.on and Barbara Ruah preplU"e to face the unknown,
66
FANGORIA *3
DEPT. FA3
475 Perk AIIef"Oe South NeW" '!'ant NY 10016 totcIIencloMd: ,
MAGAZINES DESIGNED FOR EVERYONE WHO LOOKS FORWARD TO TOMORROW
STARLOG
FUTURE LIFE
Elich l&Sue
E.ch
•
~al
~Jude5
Effect. _
ExclusIve
"sue InCludes
movte (Gene Rodoenberry) a!'ld • InlertteWs
oj
lulur, tnonl!.efs as Arthur C aalke, Ray 6radbury, Tnl'lOthy • Log Enlrl6S - La!e.\ news Leary, Alvln Toffle< andolhe •• from tile e~cltlng WQflds or SF, • Splice Art - full<:Olor POrtlan,,,)'.nd SC;8nce fact' folios Dy SUCh VI.1on1lfY ••Usts as • Convenuons, compUlefS .no ChriS 1'0$3, 600 MtC8I1, Cinelfey
bItIloo.t~sc_
Ifl()Y!8
• Moyl, Previews & RevIews The N.11fl1 mlOflTIII!Ion I)Il new
,.-
SF , JamalY productlOllS • Dayod Getrold on eonl'(WerSlill
up-to-the
Thougnl~
Gerry
magic!
Anderson-,
wolung encounters WIth such
pnolO6, In[.... ~' and d,agrams
mlnul,oommenlson~c.l999
row
and
AslfTlOV, HaIry Hilllison, &"n
hIS
lulu,e project.
eorrwes -
Any sub)tICl IIIaI even
eor-••w
• TV EpotQOe GutOeS pe"pnerally touche$ the Sf • SF TV Ind Qnerna - ThtIl'lO$I compreht1ls.rve reporllllg In linn! • Movie Cl.IlIc, - DelinollYe world I. covered in $TARlOO IIlro.pKti.... on the mClS! of upcoming science-fictIOn and popular 01 SF him •• WItt. inl &" • One y..' l ublCriptlon \12 sclence-I.ct motion plctures.nd
v!.wi .rod tulf.coior photosl
T,..
• 5,,, TffIII l
SplIce 11199 lal"1 from the HI 01 SI.r
ThfI MotIOn Prcruffl, Nov" ThfI Mar/Ian Chron/C~$ and M,,1Ot • Tomorrow - A cont.nulng col· umn !ealutlng VlSIOIIS olIomot'· Dy
suen auU'1OI'$ as
lUI(:
Aldlss. Larry NI~en, Fred Pohl • Future Fealules - A pan-
OI'amlC
~
01 I.ends, tech-
"'."Y_ ........ o' __ ..,_'0..-."'IiI
noIoglee """ T ............. Aleos.nll -
ture
the city 01
.he 11,1-
HoIog,aphy, Vod9OI';IU'cl
Jacques COuII"U on space ano sea sciences. O'Neill's space 001, I.......) (II SlARLOO Include• • TV show, E>
_"" . . "..n.'.
as AI..", Moonriker, SI.r Trek- Databank news
Both STAR lOG and FUTURE LIFE feature ! Full-Color Photos! I Original Art! I Rare Movie Stms! I Interviews! Science-FicUon News! I Behind-the-Scenes at Movies & Television' Special Effects Explalnod ll Space Science Experts! I Exciting SF Events! I New Products! I V h;ions of To mOfTow l
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STARLOO IFor.,gn ....) 123.5, ADDRESS _ __ I __ _____________________________________ FUTURE UFE (\IS &. ClnlOlj ,-,.., 18 ;s-.jS'388 CITY L __ I FUTURE UfE ~FO!"'O" ""'IC') ',ear(8IUU11S) 102000 ST ... TE ZIP
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CIou'*'-V~!oI
-oe<_
o.co.n -.... _ ' ...... _"""'_1....,...,""'" lOt _
ImaglnaUon. Inc. T nmd-con5dous I'Nlnaging editor Bob Woods with some
2 2 ~o:.
Slegel venus The
words OIl the wIerd ,
47 n.. Robo~ of ""The Black
How one of Hollywood's
Hole" The men behind the
leading directors made II SF dassic-Insplteofthe
SF blockbuster.
mechanIcAl men In DIsney'.
system.
5
The Poeta.l ZoM The regular meeting-place of
51
Ihe frloerll.b at farJ9Of1O!
A HlHoryof AnI_ted Apa-PartI
7
Tho_motion simians of
yesteryear. be¢lnng wtth the InImd.abIe Kong ,
............ of "Star Trek: The Motion PIctureAn eKdusIve color pex1f* d ET'.
lhe Jacques Tourneur classic, rec:.alIed by its star. Dana Andrews.
oId&..-hom
the Paramount! Rodd
57F"'-
26
0._ of the Warrlor
MIchael Hague, and the stuff thai dreams are made 01.
R ......
12
CaroIJIM MYIVO: Fantuv
-,..
fUm', fanme f.taIe From PeDuddar Stella Stat-a comely lass who's
18 .....
- _.n..WI--'of
• "",Ihooght
""""""
wrinkIo. "'"
-~
heanI d HonoheI G. l.ewiII
From Astra Boy to VolJus V: the roots 01 II new breed of ....perheroe •.
to
38
~the
62
MOMtel' Invulou Staning the 80s with an
avalanche of big-lCJeen fantasy fare .
Set of " 'Salem'.
1he making 01 the recent TV mini· series special based on Stephen KIng's
best-seDer.
Hulline... aod EdItorial Offices: FA."OORtA M~ 475 P....k Avenue SCIulli New York, New York 10016
""""""'"
n a few short weeks, it wII be 1980, the begjnrungol a new decade Here at the FANGORlA offIcu we're k:dang 10 ttM ti05 wtth ~t anticipation. The 70s were kind of boring lOWard the end, but the &ls look like they're going to be fnghtfully fun It Iftm5I1ke Ihen!"s!P"9 to be some new ground broken In the horror film T'hGo fMr-rrI~'>M with ~o fiction has run out of $learn, and we are now ready 10 get back to basics
I
NQR.\L-\."JACOBS KERRY O'QUI:\S Ed"~
BOB MARTIN Eclltor En,eritu, JOEBONIIAM
Horror b In again Thb Ul1O.nIy ~ as no ~ II.> \D F'ongotlom,
who'w been waiting patiently for the SF aaze 10 run b coune The mere pubkaoon of this mag anab to the fad:h In ttM gem Ow tIw: pubIlshers naw. A look at the past year's hit mcMesfunhe Alshtalhl pant The summer's bIod scary films There Is a kit of money lind talent going into such productions as
MICI L\.EL I !AGUE PAULr-lA.'l'IJEL SAMUELj. r-tARONtE
RANDY I'Al.,M.ER FREDERICK I'ATrE.,,\ PAUL M SA..\L\IOS
STI:\'Ei... SWlRES "->dau PubUah....
IRA FRIEDMA.N Alllli8UU'lt PubUlibe:r
StlInley Kubrick's interpretallon of Stephen King's The Shinina !!:'!Q
RITA EISE:'\STEIN 1'."d~~U"n
,1..""."",
IkH,I)' r",dUl'
':....... .1. ... ,.... , ..... ,
FANGORIA .3); lind Carpentltr has II 51 .5 miDion budget fOf his latest ghost tale, The Fog. And If you've been following FANGORIA_especilIlly "Mono;ter Inva5lon~ -you know that there'5 much to look forward to. Sure, Ihltre are going to be a certain number of ~Anack of the KlIIer Porcuplne typeS, but If the currentinleresl keeps up, we're sure to see plenty of quality fright films In the next few year ,_ In Its first four .ssues, FANGORlA tWIS reviewed some of the besI and brightest In lhe :leld; the old masters and the up and conung The l~ . . upon us, and I"" public nasa rcncwod inlcroslln going 10 the ~ and simply being SClIred. You can be sure that FANGORIA wi be: there lOO keeping Ulbs on the !rend. letting you'know wko's doong ........ .....s ........ and taM log you behind the cameras We'D show you the good ttw bid ~ ttw ft
md ~ perIOMI TqJIin by the F_'-' -.. 'R;.\ "taIlImIJOti6iblc_
We hope 10
cc:>Wr
phenorrrenon at ft"s
lhe Rocky HOITO!' the Uniwr5al publicity kit claims to IIw COIlbfton ~d tJlIfy) The "Nosierlltu Amva~ poe«' entirely
netIeI'
bej(M - fhrough ~ from !he Jard skirts the waI reason whyvlewer1 \l1li_ 9ft lhemselw:s! F"ngongns ocross !he COI.lnIPy ( f t to _ the film It's terdIR' The Ptop'-v IPOI mUlled' .end pI1OI0800d ~on locoIoc:· was OK but f,,1IN 10 lab any bnn aIIcaI _ .he JoIIowtng oddlUl Slance on the film's corllen! or pmonnallCft Fat"pockp It! the Ivture, I 5Irf.If'9/ 5Ugge!JI you delll1 up you. act and f~ the 5Ub;ect fl'llltIe- ....... In475 Pori: AVI!OUf. 8th floor 5ude tdgmc4I' IIOd a more erWbIeye New York, NY 10016 Jim Wyncnki Pawdma,CA
THE TAll GUY
ANIM.ATION CR~ATION ~1Ions
SATISFIED FAN Your flrsI few iIsues have been OOlSl/lnd· Ing'The IIIticIes and plctura hom Down 0/ 1"DNd and PhunlOSm WI'fe OlII(:.-aen, 'Tho",.,... quality horror and SF films that come CUi. the more I WIIntto_them FA."OGClRIA. kefpup the good .....ark becMJM IhiI is the be5I
on FAJI/GORtA,
lind do..nL. _lor your COYeraQO! oIanimation A5
1M«kI' d IhG! Animated Film Srudy CoIIec·
- . . .... II..
__
~
10 _
...... 1 _
who
~rm~
our art form getbI19 tome 1I1Iqn· Ihough, by R _
~,
~ 01 its kIod'
PoInfs artdt "The New S/'Iape ci AnirM·
P,,*er PIIOdolI
",.....,u...
_ " !FA.~ It), In whidllt 1I-.d ItWII -*IOfI ~ long hOurs of peIn -..a.dIngwon..,""';!Is" 1IIborious,· Long ..-.d paItISClIkIng anII'rIIIIIon Is, but whIIt . - an form Isn't? But laborious? Any . . . . - who tell you thilt hi$ worit is
New Windsor NY 12SS0 PRAISE FROM PROS
I have jUst seen the lint
_ _ • . - _ ... _ _ A.e....blinsl'o.d.
.1IborIoI4 Pllving 51 reels is laborious Moving bnIIn 11 iIbofious, The act of aetltIon 11
Grulllwlnks lor- tIM! SIories on PfIonl(Jo:m and mytelln FANGORlA AD of us iIIKIC1IIted ch.nctet 10 1ft. to dt!COYef what makes him .,..,th the film were deIighIed by your f\r'$I rMe mow-boltl physbIy and. emotiOnIIIy- II wrItIngand respIendeol pictor\IIIlrNImerlll on _ banIg or ~, bod! synonyms 01 us.,.;!, In deed. aI 01 the tenTic forura In _ . --.g"..., _heu.o But o.k. j,'OUf eyecotChing ...... 12 Tho Tal M.lhlls .. 1Dak.~OIuIeraller .. ~. IIirtu4IIy oJbandoned his Ior-mer rwf~ pur .1.'I.d..r!.- Hor-ow&z. ill any mmiJet 01 the lUllS lirM:e Ius COWl ~r.:e. ....... he Roo.,.' a..Iet aod _ f they lin! noI -..trIg II ..oos out photor and COpieS 01 FANGORlA 10 ~ IhP. of Iht work that goes Into an model IIgI!r'ICE He now IllS houri'} by the an thai',. mMIII" 01 COUrM, think 01 It. be.Jou phone In elq)edIIIIon tNt PfuygIrl wiI almoII f\I. ~. thI: flTJl,)(iOO) That"5...-hat cenamlyCdlltum TheTailMIII'l hMlIl5oliloed lin ultunarum 10 D A Coscarelli end Aveo ~ ~,r'oul L.crva Embassy films th.'lt they provide him ....,th II low Interest for Phantasm" After l1li, he In1..01""""", CA StSIS. the hankl!1'lstl!!n monster tIad one In hit _.-bonouIIO.~~
Tol;wtngo
"""'"
CULT FOLLOWER
.." _ea
trt!(w
"'"
-ThIngi -'
jUst IIH!f1 'j the wme right now ¥<>Und the MortuIIry, AI'IgUI'Scr\mm (HOlY Guy)
1..01 Angde5, CA IOcro/ p.... tho!ne', • . !:weed 01 dndon who do what tIwv _ I , ClEANITUPI "",tho!r tIwI """'" they W15h theycould. lind III 110" ~'I" fI'\oI9I"l'IW .,..,th _ RnQo.JQh 10 Mer yetting 061011 somewhIIt shilky $tart ~ .....!wof. MIng dooeI pertw.ps you would I/o'Ith IMuoz "1, FANGORIA 12 ahofaoled 101M! conSIder doing lItIiIItIcIoI on the Rocky Horror up 10 the fine It/Indards lei by companion cult - anolher I.IIboo sub;r.!cI for most honor ITIIIQIIZine$ 5T ARLOG and FUTURE lIfE. Tho "Draculil Fewi'" spread reads more like II prell I\III"douI then II critical appraisal (Bythe.....ay. S-Goodrl
made .... _
-
.00 dv coklr pia jtI5l about
1IIue
01
FANGORtA, which fncIudes thf Inlerv\ewwlth my brodwr Alex. lind I WIInl 10 COI'grlltuiate you on the eKCelience 01 this publication It's nine o.r..oe had e serious ~devoted 10 the IlIbjed 01 horror films lind I think ~ should be: .. grvlll $UCCeI5. I certIIInIy \Ii!Sh you good Iud< ~~.
""" Gonloo Gordon Films, Inc
New YorI<. NY
ThankY<'" - and""'" USlOcongPOtu"* Y<'" In rt'Ium on tIw EuropeOn ~ o/Gordon FJrns' productJOn 01 The Cat and It. Carwy _ "nd our beSI wi5hel /t:x ICI fonhcomlng Arrrenron rekcse'
Saw your IIItIcIe In FANGORlA '2 end, IIiong with Angus Scrtmm lind ~ BIIkIwWt, .....·re wry pIea$ed Yaur pubIk:aIIon looks wry sick lind the v..-tibng is top-nodt As d this time, a $equel1O PftorDm II In the worb. howewr, I wi noI be: dndIng' ~ 1IgIIIn, and I hope I will t - anoche RIm In .....t«h your ~ mighlbe:~...--.d In 1M .-fuluft!_ Don New """""" Breed Productions l.orlg Beach, CA
We fhonk you. Don, 1'hIInlll5m'
/t:x glUng us tIw IFIIide
"""y on
FANGORIA·"
!
FOR CORRECTION
THE WARRIOR'S BATTLEJACKET '· Available In Sizes For The Entire Family To Enjoy! AI ~S!, you can dress in luMI.IIC. mll,lory slyle wil~ t .... "":IhQu,",tv W.HiQI ". Balllel.ekel M~de 01 rug · ged 100'10 COlion de~lrn. tM W.mor'S ~lIlele<:l
Is I~hl olive o,own In colO' and comes complelewlth .'1 lhe t'immings OOcoralM! el1lblem, ,.'i1She 'n· signia pons and IOCk
. Thanksfor the """,lion cI mylilm (h Fodl from the SS'lI) in *MonsIer Invasion~ (fANGORIA -lJ. HCNJeUe(. as iiOme'OOl' who worked OIl Shock Wave:< (shooting IiIIe Drath COlJISJ, I mus! point out a few inaccuno::it15 The film was shot in and around June-July 75. not 77 as stated_ As you probably know by !>ow, John Carradln" did nol live long enough to fight off any Nazi hordes. Neither Brooke Adams nor Luke Halpin arc new comers. Cushing's character dkl not have a name; the script only designaled him as Sea: because of the scar on his face. Our nexl pictur~ at P"..,bmI will be ~ Orion Project. Dave [Darth Vader] Prowse has agreed to do the film, which Will also probably ~tar Buster Crabbe and Gunnar Hansen. Fred Olen Ray Poreblrd International Pictures Orlando. FL
Balllel"ckel 10
school or bnngil1ll ,I aloog 'ocMIShtP '1OeS 10 lar
.way places, ~·s tun to dress In apace 1.S/100<1 TM wl>ei
great a" ..trnaS 00"'
Makes for A UN IQUE GIFT ORDER THE WARRIOR 'S
BATTlEJACKET TODAY !
Tid 0000gnI.... ,..,......., I' _.. _I>t.--. "","aI_K'f
S"':Oa>h.O_."'.........,._ .... THE "'''!lAlOR'S ....TTLU...c~£T
C/O STAIILOO T'AAa.NG POST '>5P_A ...... Sovoh DEPT
Dr Who. FtankeTlSlein aod The War af the WorldJo ......... among my/avont" article •. 1 do have some suggestions Theyare: 11 A regular leature showtng various raTe or unusual phot05 from past horror;md fantasy films; 2) A Night Gallery episode guide 31 An tn·depth article on the original King Kong Wilfred Pennington 80Il East K,ng Fairlield. Il62837
1/ AI Tay1or"s artic/e$ (he wrote tWO out oj lhree of your fCJtJOrites/ uwally fro/u,e rwe. never·
published morenal- we Inrend 10 keep him as CJ
regubr
<;OIlmblJtOl". ~J /15 very possible: :-IJ
Animated ape·louet"l> bke yourself should go stToiQhlto t'1Q'151 ,,,lrhnut JUI"th", d"IlIu!
RETURN OF ROMERO?
"' ... Vcwl<,NY IlIltS pi", R.2$(eaCll
FANG LOVER
.... pIocoI 01
INTO HUMANOID ... Could you please have another 1U1!cJe on The Humanoia? J thought your fir5I coverage was supem. When Is the movie comIng OUl? Richard W. Murphy Lakewood, CA PlonsJor American rel= oJThe Humanoid are currently non·existent For more details. see "Manster Inuruinn," poge 62.
••• With only two issues. FANGORIA has pro· wn to be the most importAnt eonlliburion to the coverage of horror and fantasy films 5ince th.a inc"ll~on "I.t"'nmo". Mon.12I"So/l'llmland The ~rsI Issue wasn't red (I especl!lll~ liked the tlrticle on the Crearure from the Block Logoonl. but the second Issue was bener. The covers are my only real complaint: 11 linle dIsCretion here lin terms of subject maner) wouldn't hun The anlclesarewelt'reseilrched and written, and the accompanying phologr!>ph~ ,,,.... "",,u,,'" - I n.. w. kn,,'" 'h,,'
color sliUs could look SO good in 11 magazine! SHARp·EYED READER I was surprised to fino that the second issue of FANGORIA was even better than the W. I'd like to point out one small mror. however_While you were very sharp.~ in identifying the Hildebrandt brothers as the cover artists for the boo!< seen on Mike's night table in Phanlnsm. you were wrong about !he book's title. It was notMatheson's classic I Am Legend: it was Roger Zelazny's My Name Is Legion.
Tmy Bramley St. Paul. MN
But on to the contents: How about a lollow·up articles on Dawn of the Dtrod. with a plat synop$ls? An In·depth Interview with George Romero would be even benet! William Cof!lin
2 DundH A""I'Il'"
Richmond, VA 23225
It UiOtIId be hard 10 fnrerolew Romero 0/ thIS
lime without couering much of lhe same groond 0$ the inten.oiew that appeared In STARLOG ·21. Butauoon 0$ Romero's next big prOject Is reodl' to roll. FANGORIA wiU be there!
H
The Aliens of
STAR TREK THE MOTION PICTURE
A
I lAst! Thirteen years dfter its television debut. Gene RodCl~nblm}"s
TTl"~
Star
h4lI;
made a successful transitiOn to
the big sc;reen-and Trekklng wiD never
be t!1e same ogain! Though Stor Trek- The Motion Pic·
ture reunites the full
bnd~
crew of Ihe
USS Emerpnse. their Federation mls· )lVI,
It) ~1.plort: 3Ironge new workb:' b
IUy.:"'I~
"Ilhe ptI~( cb Ihe fUm opens. 11lIi!
£nrerpmt is in dry dock over &in frllnO5oCO, 11$crewmembers scanered over lhe
globe and the gAlaxy. pursuing their per.--Id_..... ~
But an awesome force now threatens Fe
human emotional side, and believes h,mwll ready 10 join his teachers. the
Vulcan M.w~. placing his career with s •....n-. "h'M hi"" Thnw who've seen ST ~ TMP know
that Ihlf'lgS work out a bit differenlly for the logical mll'Mkd SCJence officer AnutlJ
l!OCe oppt'(lrtng In tilt'
