Cinefantastique V09n02 (1979)

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llll the EITECIIS Of THE BLACK l'lOl.E Next in CINEFANTASTIQUIZ, our incredible 96-page coverage ofTHE BLACK HOLE, the most spectacular and technimllyambitious science ction lm ever undertaken by the Disneystudios. “lnsideTl-IE BLACK HOLE" meticulously details this veyears-in-the-making project. with an emphasis on its staering spectnim

ofeffectswhichinvolvedexpertsfrom literally every department in theWalt Disney organization. Writer Paul M. Sammon explores the entire history ofTHE BLACK HOLE, from its inception to the wrap on its 185 day first unit shooting schedule, involving nearly 2% ears of model work At last. the fui story behind the making Of THE BLACK HOLE frvriltd I5 only ClNEFANTASTI§UI£ knows hum Sammon imcwkw mwhm twenty. key Disney personnel on their role in creatin the lm, including renowned Academy Award winning special effects artists Art Cmicltshank, special model photography director, and Eustace Lyceit, directorof special photographic effects. also Harrison Ellenshaw. chiefmatte artist and head

96 Page Double Issue 24 Pages of Color Photos!

ofthe Disney matte departmeni,_]oe Hale, su ervisor of cel animation special egects, matte painter David

Mattingly, Gordon Cooper, fortner Mercury astronaut currently a vicepresident in the Disney organization and a technical advisor on the film, john Mansbridge, art director, chief model builderTerry Saunders. sound effects supervisor Robert _|. Wylie, Robert Broughton, special optical effects coordinator, and many others. Also included in this mammoth, fully illustrated, color-packed edition is the rst, fully detailed history of the

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IIIEFIITBTIIIIE. FIST OFFICE

incredible ACES, Disney's millioti dollar computerized effects camera system revealed in all its intricacy by David Snyder, David lnglish, Don lwerks. Art Cniicksliank, and Bob Otto the men who transformed this automated dream into reality. Plus Sammon's comprehensive in-depth career biography of the legendary Peterlillenshaw, roduction designer and director ofpthe lm's special effectsln addition, you'll see pages of revealing, behind-the-scenes hotos ofthe production, many in fullpcolor, learn the secrets behind the lm's

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: Enclosed is my check or money ordarlor the subscription I have checked below : Rush ma my double issue on THE BLACK HOLE (oounis as two issues) and my | iron Mattiriqlylulleoiot 17x22 poster, shipped uniclded In aaluvdy mailing lube

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Twelve Issues $25

bookstore, and receive them weeks sooner. And, as an added bonus for taking a I2 Issue subscription. your full color David Mattingly poster will be P="'="=||Y sizvd and ""'"b='"d by the artist! Send your order today!

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utiique hovering robots, as explained b_v their creator George McGinnis. and study the preproduction design paintings by the world famous space artist Robert McCall. some of which were never used in the nal lm. All this and more, written with the wit, detail, and accuracy you've come to expect from CINEFANTASTIQUE, the review of horror, fantasy and science ction lms. Subscribetoday, and reserve your copy ofour exciting double issue on THE BLACK HOLE, to be mailed to subscribers shortly aftertlie film opens on December25, As our free gift for subscribing, you'll receive the stunning, full color poster shown 3b0\C, bv David Mattinglv, Disnev matte artist on THE BLACK HOLE shipped unfolded in a sturdv mailing tube B\ subscribing you'll save from S2 ' SH over the cost of buying your issues at a newsstand or

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Mailed in December when the film premieres!

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SENSE o.F WONDER

by FT¢d'l¢'k s- C147‘! It came as a little hit ofa disappointment

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lam am -- SALEWS LOT W“ hm‘ d°“° -

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worse: Warner Bros could have decided to

godthud lhénzauy 3; “T onuihplmned wi ° en T‘ I E elm’ at wen" meaning but bungling self-styled nulmr of horror who gave you IT'S ALIVE and THE -

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DEMON‘ The P°"“ "h" "my mak" °" break! 3 P"°.I°" '5 II" "11"" ""'°|"d~ and when we leamed a little more about the telelm and its producer Richard Kobritz, who is ailing the shots in bringing King's vampire novel to the small screen, the prospects started to look a whole lot better. When you read Bill Kelley‘! article on the production and his interview with Kobritz. “SAI..EM'S LOT: Filming Horror for Tele vision,“ you may start to shake your antipathy forTV, its tinypicrure, tinny sound and commercial interruptions, and work-up some real enthusiasm for seeing what the advantages of the medium can brin_g_to the

luv vs horror.

of stsvhl l§\ns'§ "Mon of

For starters, Kobrrtz hired genre director TobeCHAINSAW Hooper, theMASSACRE. perpetrator of THE TEXAS insure against gettin a “TV look." Hooper talks about the chaIlenges involved, and how his work on the project promises to revitalize his sagging career. Hooper calls SALEM'S LOT “an epic, the GONE WITH THE WIND" of its genre. Also previewed this issue are two eagerly awaited December releases, Disney‘s TI-IE BIACK HOLE and STAR TREK—THE MOTION PICTURE. Both, at the very least, promise some of the most dazzling visual e'ects since STAR WARS. The big question is, will they offer anything more? After Dianefs drum-beating about changing their image, it comes as a bit of a shock to leam ll II

um.-rHE “ACT HOLE fumm N” Fm” lilhs \'°b°"- V"\¢¢l" Ind 914 5°b- "M11 oartoon characters to tuglat our heart strings. It remains to be seen ow damaging this

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surprise ending that is rumored to be as

THE BLACK HOLE by Paul M. Summon A preview oi Walt Disneys Christmas science iiction iiirn spectacular, including interviews with executive producer and studio chiei Ron Miller, and director Gary Nelson.

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nst ep h en K’inqsnov ' elt oeev t | lsigyn, aim ncu l“3l'i'Z.§ interviews with King,_producer Richard Kobritz, director Tobe Hoogrl, and others.

sAL‘i’Etg§ eTull the- seen es st oryo I on nqnq I

9

CLASH OF THE TITANS

by Mike Chiids and Alan Jones 22 Speciaieiiects grendmasterey Harryhausen, producercharies H Schneersnddirector DesmondDavistaikeboutthetiimlngoiHurryheuaen'slatestspeciaieiiectstourdelorce.

STAR TREK—THE MOTION PICTURE

by PTBSIO NQII JOIIOS 40 interviews with the actors and iiimmskers reveal some oi the new advance: in Stsriieet, coming our way December 7 in the moat expensive science iiction iilrn ever made.

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‘ AMERICATHON

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THE AMITYVILLE HORROR

7"" |~"¢" 23

by Steven Dimeo 30

ARABIAN ADVENTURE

by Den n. Scapperotti 29

LEGEND OF THE WOLF WOMAN

by

J0" Stl"Ol'd 25

THE MUPPET MOVIE

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THE SHAPE OF THINGS TO COME

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W L06 R0"! 31

TIME AFTER TIME

by David Bartholomew 32

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PUBLISHER AND EDITOR: Frederick S. Clarke. BUREAUS: New Vorit—David Bartholomew, Dan Fl. Scapperotti; Los Angeies—.iordan R. Fox; London: Mike Chiids, Alan Jones; Perle-— Frederic Albert Levy. CONTRIBUTORS: Steven Dimeo, Lieu Jensen, Preston Neal Jones, em Kelley, Glenn Lovell, Tim Luoas, Ted Newsom, Lee Rolie, Paul M. Sainmon, Jeii Staiiord. CINEFANTASTIOUE is published quarterly at P. o. Box 210. Oak Park IL sosoa. Single copies when purchased from the publisher are $4. Subscriptions: Four issues $10, Eight issues SIB. Twelve lseues$25. Foreign subscriotioneare no extracharoe. but please peyln USA iunds only.

-=~m=~=~ W:".$":;r:-'=:~.:-'::':-a.".:*si1%:wi2;:f.;*z.°s%>Sl'ARTREl,ontheotherhand,hasnocute “W 9 ° by ' 9 C 5 9' '3"2"'11'".%*0s°#r*:""":.' ' ' "M"

robots we know n but its script does have some disappointingly close and spedc par\‘ugh m mo of gm dd “I-in ePi,°¢|¢,_ My pessimism showing of course, as always, andyetl still hold great hope to be amazed wine Deccmben U

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RETAIL DISTRIBUTION: in the United States and Canada by Bernard DeBoer inc., 186 High Street, Nutiey NJ 071 t0. Othercountries please applyiourouriiberaidiseountandtennsoisaie.

Front Coven The inhabitants oi SALEM S LOT, painted by Roper Stine. Ben Maura (David Soul) stakes Barlow at the end oi SALEM'$ LOT: Background

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Producer _Ron Miller is ‘Walt Dtstte_v's sctn-tn-law; approprtately enough. l\I§ headquarters are lu(‘.1tl'(l itt Disney's old oiec on the studio Int itself. Satttlwiclted l>etween the stttdtu's two screetttttg nmttts on the third llttttr til‘ thtAtttericatt Building. the Disnevl ;\Iilltl'r olTtt‘e extttlt-s its histttry in l'f.§§ltI.n‘L‘t§tZ-“?§§l§tt§l§l"l§¥t§5§§.t.11.

deep (rt-ant-ettlttretl rug, pJn('llt‘ll walls the real thing, with worked-tn |n0ltltt\g\ at ltasehttartl anti ceiling) on which are hung the ittnutttt-raltle citations and awards tltt- D_isttey orgattizatittn has gatheretl ttt the past are all dnnttttated lt_\' the tnassive vrttttdett desk bettttttt t-htttt Miller rutttrnls all tm ntittttttte of the studio itself. The ttverall elTect ts tme oi t|utet ettienn: of power tttatsked h)‘ gen» tilit\'. ltttt ghosts linger, tun; here, wltt-re the persutta ttf Disney hintsellis so strmtglv felt, one begins to hall-believe that Miller is |t\ertl_\' keeping the chair warm until Walt ttttttes striding in through lhedour. nodding. waving. and we.-tring that lamnus grin. Vliller 70's Ron Qinre the earlv S ' d. ' d asdt h-e Dtsnt:\ ,4 . nil tu ‘(IS ' stt_'\e UXPCUIIVC PTO \ll'l'|' O" \‘ll1\|Z \' 3 ltns and telet-isintt segtttents released lw the eottt P ;tn\‘—- on the lnt. lte ts The Man. Pltvsirttllv. Miller cuts a cttttttttantling prestwtce lty the latt ttf sheer hullt—at six [not well aver tanned ' h 3 udsotttt" ve ‘ ’ ‘ 100 pounds. lteappearstohettt the sante impressive shapethat enabled him to P luv football as an etttl at t';tst~s_ .t

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USC and. later, spend a year with the Los Attg_e|t's Rants durtng the early and ttttd-50's. He also ts cordial and willing to please. Vet one ttever forgetstltat this_is.ttttatt who ts one ttl the lust living. tttttntate (‘t1lttpt)t|(‘|tlv of tltt- intricate Div ne_\' legend, ll mega-husittesstttatt ;'un<;;.\tt‘tll\' t|;rett_t|tltg the Pow‘ of

,§lL',',.ti3.‘tt$ltt.,'.ll' tlt't'l“,..-“§t..§t'.5.t'tft'seems lirttt and tlt-t'isi\'e, but with ltttle of that glnrial itttlillerettu: sn often exhtlnted bv kvv corporate persttttttel. lt's that last qttatlity‘ perhaps, ttne that Walt l\iltt$t‘lftrt';!suI('t‘l so, that trtggers a ltttll-lttrguttett .tnecdote in we begin tltsettsstttg THE autctt nous. ttttttttt» t~m_r\ttl1er wed Diane. Walt Dtsttt'_\"s eldest daughter. and lt\~ all .tccttuttts the cert-ttt0n\'wasa ttmdest allitir, umsiderittg the father ttf the bride's status. But not surprtsittglyt it ntattaged tu tnrurpnrate tme stnall Disnev tnuch-- the gures tut their wedding cake. detailed as anv stu~ din drawing, showed Diane
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In umlrrlnhtvtg n prtyerl ltke THF Bl.4!.'K HOLE. tl a/'P mu Illa! I)Ltttr\ u A

making n ttutrrtutu r/[at-I In Itmadrtt ttt popular up/mil, and Iltrtrfurr Us mmmrmnl appml. Wuuld um agrrr trtlh that? , Yes. I guess that ti s ntkett tne .

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producer Ron Muller and dlrector talk about Disney's gamble.

i/e that in tlii- past we‘\'e been Iiinited itt our appeal. That l|lIIllilllI\ basic.\ll\‘ ineans that we've niissed that atitlieiicebetween the ages olI3 and IiII— the aiitlieiicetliat saw and loved CLOSE ENCOUNTERS OF THE

THIRD KINDtwoortlireetiinesaiid who loved and saw STAR WARS six tir se\'t'|t nines. lor that inatter. And. lI(I|\l'lllll\‘. with THE BLACK HOLE. we can reach that ainlience. But THF. Bl.-\C K HOLE I\ onl\~ the heginniiig. Bevoiid thispictnre. I\t't'\is reaching th.it sanie .indienee with some other lillII\ iIi.it we've either got in the slnioiing or planning stages. projects \nt Ii as THE LAST VOYAGE OF .\‘OAH‘S ARK or WATCHER IN THE WOODS or CONDOR MAN. So we‘ re ll'\’|l\g to ntake TH F. BLACK HOLE—I hate to nse the word “sttplttsticated." because it's not—liiit we're trvnig to niake our picture inst that itiiich nioreappealiiig to all ages rather than to the Iintiieil age we have been appealittg to for the last It-w \‘t'All'\. .1 Ithnug/i i1‘r hrniming mt ittrmiiingli mmirtnn imliirm lvrtui, Ihr rmgimilbtnlgrl V1/S/T ~ IVIIUIUII mi rue BLIIIK IIOI.F rrrtutnli rr/vmrnlr unr uf Ihr hrut irrl l!|lt‘SI"Il'!IlI Imuri hat I717 tmulr H71 ll [riiliirr /ilm hid mu mtltzr /mm Ihr hi-gtttiiiiig lhiil tl tear going In hr Iltts

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Oh veiih. even going hark live. six vents ago when we lint started wotking on it. ivhirh was a (‘l\IIIplelt'l\’ tlilTerettt \-t-rsitiii than what we have tndav. F.\'en tlieii we kttew it was a \'er\-, \-en espeiisive picture. Fortnnatel\'. we did not tttzike that \'er~ \IOII. In the lirst versitiii. the black hole didn't even ntake ;iii app:-.ir~ .tiice. It's rt';ill\' liertiiiie .~eretit‘ltpit\'.

Hate mart)" reienlrr Iia.t the rm/Ilgmte !IimiigIi7 We've had at least live or six

rewrites. But as I say. it's heroine serendipity. Because all ofa sudden. when wecanie up withtheeoiicept of the black hole and the black hole itsell becaine a very integral pan ol the \|(Il'\‘, suddenly. he)-oiid our control or anticipation, cot-er stories on hlark holes appeared in Newsweek. Time. and all these other magazines. And inst as suddenly. e\'er_\‘bod)' itt the world knew about our BLACK HOLI-Z. So there‘s a great curiosity about hlatk holes. and there's a great cnrinsitv about onrpictiire right now. In l;tct. I was at Pinewood Studios a lew weeks ago. which is outside of London. I'nt iti the laboratory and all ofa sudden this total stranger coines tip and sa\'s. "Ah. you're Mr. Black Hole." Wherever I go now I ' in Mr. Black Hole. Which is great. I inst hope that I don't disappoint all these people. TIIF BL-HIK HOLE vngtnally began (Ii nftmdnrrmri u/Ifinilari Htbln, tehapnr iiumi ISL-l.\'Il .4 T THE TOP OI" THE

woitui /I7!’

I)UII!_i. trtrmng ullterx. Hate Jul Iltr pro]!!! rernltmII_\ ram! under \‘0IIY

mnlml’ Two guys. Bob Barbash and Richard Lantliiii. caitte up with the origiiial idea. Tht'\' presetited it to ine in l“\‘ olTit‘e and I thought it was worthy olonr consideration. So I then called Hibler in. who I thought was suited lor the protect. You see. lift)!“ where I'in sitting. I do a sort olrasiiiig job. In IlI\' opinion. certain producers are tnore titiiililietl lor doing ctiinetl\' and titlierprodiicers art" ttiore qualilied lot tltiiiig science licttttii. Sti as I rt-r.ill. I had \\'utstoii roinein and lis-

“They called me in late November of I977. They sent me the script. I read

it—and tumed it down.“

Gan‘ Nelson, Director I1/I; "ax, III! !au'r1I'I|g mho! rhir/lint ieliu rnrn Ihr

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ten to the preseiitatioti-it was very short, really. two or tltree pieces of their artwork ola space station—and from that we started de\~t-loping ilie

projectwiththosewriters.Wewert-n‘t

altogether happy with what thev had conie up with. so lmni that point it was just a series olattenipts to l'lIII\l' tip with sotiiethittg better. l'nlortunatel_\‘. Winston passed awa\‘. and I inst took it on solelv. And I think that we have finally eotiie tip with ;i script that‘s both cotiiitiercial and eiitertaining. Wax tl ruin idea In tttt'n[t‘e Prlrr Eufllihll‘ 1|! lhr /imnrliun rlrrtgnn um! dirrrtur nfsprmilrjfrrlr mt THFHI.-It.‘A' HOI.I~"

Oh, delinitel_\*. l knew how talented and creative Mister Ellenshaw — he'll love that—is. Reallv. I'tii sure he Caiiie out of retirement for this because he lound it a t hallenge. ttiore ola challetige than anything he's ever been confronted with before. I don't think he'd have conte out ol retirenient |nst to do "another picture.“ Ir TIIF BL-l(.'K HOLE being mnrkelzdtn a mnnnerlhu!distingutihrrtlfrum nllirv I)i.trirj\' /l1ms7 We hat-e taken a cenain low-key

approach insofar as the title THE BLACK HOLE is ntore protninent than the words “A Walt Disnt-_\~ Pro» dnction." instead ol'\'ice-versa. But it all gets back to the sanie thing. You can spend S50 millioti on advertising and ilyon don't have word olinontli. it's going to lnin your piunre. Your pictnre has gm to stand on its own ttierits. Tht' rst wave tilpenple that go iii to see THE BLACK HOLE~as h.ippelted with the lirst wave which saw CLOSE ENCOUNTERS OF THE THIRD l(IND* il‘the\' conic out and tell theirtieighbors and friends. “Boy. \-on'\-e got to see this pictnre right awav. it'sgreat.“ thenthe\"re going to go see it and it's going to he an oi-ernight success. But il \-on have an ;lkl\‘('f5(‘ puhlit‘ l’l'Jl'Iit7I\ to it. I don‘t care how ninch money \-on spend on advertiiiiig, it inst won't do it. Now our pul’ilit'it\' departntent tloesn't agree with tne. Thev think that il J pntitre is successlitl it's lit-cause of the advertisttig eaitipaign. I tloii‘t quite lielit'\‘e that. Inm Ilirtiei plmi tin rxlrtirii-r /m» nmlmtml lir-in iiihtrqitrtil In [he relrnsr nf THF IlI.I!'K HOLE’

We have a lot of tie-iiis. In fact we‘\-e gut ninre coniniercial tie-ins on this picture than we‘\~e had on any other piciiire in the past. One olour advantages over. sa\'. STAR WARS and their Black Falcon I.td.. is that they had to create their own II\(‘F chandising liriti. We have_onr own

tnert'h.1ndisiiig division. piihlicatioii di\'isit>ii. and e\'er\'thiitg else we need right here. The l7isne\' Studios are equippetl with lonr sound stages. Entering Stage 3.

wht-reTHE BLACK HOLE’s

elIet‘ts are being shot. one's e_\'t- takes in the the nsual No Admittance When Red Light ls On and Quiet! sigtis. But\‘
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Danger! laser in Operation! This relers to a low-wattage laser ainiing systent which is being used oti AC ES. Distie\’s new ttiillion-dollar computer roiitrolled caniera systein. Though the danger itsell is ttiiiiiinal. the signs aiitionncing the p()S§ll)llll\' are qnitt

linti.

Inside the ('i!\‘('fl\O\lS, seint-dark~ etied building which inspires the hush tila cathedral, Art Cruickshank aiida small technical crew are shooting .i sequence of the Probe Ship against an eiiomtoiis blue screen which ows lroni lloor to ceiling. To their Ielt is the titanic Star Field—r0nghli- 20 h_\' 300 lV('l‘l73g3IIISl which the main Cygnus and Palomino sequences were lilnted. And farthertotheleltol tIiai.a small group olnien statid clustered around a Movieola. going over sortie dailies Ian idea olthe incredible \'tiliinie nlthe usual sonnd stage can be grasped il _\'lI\| consider that Stage 3 houses all olthe preceding plus an area where seqiiences llI\‘(Il\'iIIg"ll\'C steani" dnring the Cygnus break-np were liliiied. a sniall model slinp. a storyboard area—and still retiiains nearI_\' il quarter t'lItpl\'l. Mv guide. iitiit publicist Mike Bnttiler. apprnacltes the group. §3\'\ soiiiething. and returns with a dark. niiistziched. yoitthfiil-lookiiig ni.in whoiii I attt later surprised to learn is in his IIIl(l-l‘Ul'll(‘$. This is the director til THE BLACK HOLE, Gan‘ Nelson. Nelson started his directorial tareer iii tele\'ision. when an act|ti;itni.ince he hail \tnick with ztetor Richard BUUIII‘ t'\'l'l\I\l.|ll\‘ led to his diretting

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some segments of that actor's HAVE GUN. WILL TRAVEL series. At the time. Nelson was only in his midtwentirs. and unlike the current trend. his relative youthfulness worked against him— the chance offurthering his craft after the series folded were practically non-existent. and some ean years followed. Eventually. Nelson again found himself working in television, this time in comedy. directing. among others, several episodes of GET SMART. His rst job with Disney was a two-part episode of that company's long-ntnning television program. titled SECRETS OF THE PIRATI-1'5 INN. featuring the late Ed Begley. Nelson's rst feature lilm. FREAKY FRIDAV. was a Disney production released in I977. Since then he has directed the mini-series

WASHINGTON BEHINDCLOSED DUORS and TO KILL A COP. a gritty I978 NBC-TV telelm featuring_]ne Don Baker in a chief-of-police versus black revolutionaries plot. which spun-off as a I979 fall series called EISCHIED. Nelson is calm. soft-spoken. seemingly unaffected by the enormous complexities of the project he has devoted nearly two years of his life to. During our conversation we both laughed frequent— ly, and easily. Nelson. incidentally. smokes. Kools. On a lm ax rartly and ptesttgiout at THE BLICK HOLE, war there ever any hesitation on Iitnng a director that ream ‘l a "name"? Probably. because I wasn't the rst director to become itivolved on the project. It's been around for nearl_y six years now. As you know. Winston Hibler. the original producer. died after working on it for a

couple ofyears. The project was then shelved. STAR WARS came out a few years later. and they subsequently brought THE BLACK HOLE Off the shelfand assigned anotherdirector to it. john Hough [THE LEGEND OF HELL HOUSE]. But it took tot) long to get ready. and he bowed nut because of other commitments. and it went back on the shell. Theit the script was rewritten. By now they thought it was in pretty good shape. and they called me. in late N0\'t‘tt\ber I977. They sent me the script. I read it—and turned it down. What /inally zontttnrrd you Ia do it?

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4

’

"P bl!-IIXIIWIII rule Ma-t l7/ the twat. After a couple of conversations with the studio. they asked me to come oyer and take a look at the miniatures and to also look over some of Peter's [Ellenshaw Sr.] pro~ duction illustrations. I was lming at the time. solcame in ona5aturday.I was tn tneer with Peter. as he was coming down from Santa Barbara. But it was the weekend ofa horrendons rainstonri and he could not get out ofthere. So I came in by myself. ntet with the producer. and then. when the_y showed tne Peter‘srenderings, I fell in loye with thetn. Peter's renderings tunied ine on. It was the concept. the look ofthe lm. plus the iiniqiteness ofall the hardware we're usitig that convinced nie to do it. Then dayau concert‘! of THE BL-lI.'K HOLF or betngpiitely an exercise tn rpmal ritual e/fem’ No. I don't. The emphasis is obyiously on it heitig an effects lm. but effects alone won‘r carry it.just asthe plot and the characters will not carry the lm. lt'll he a happy hlend of story. characters atid effects that will

Ivlaltt‘ the lm successful. You earlier rnenlionrd mu! tftrtnltr fltrlioii It‘II'I Ihr rmpl. Dtdieiti dantty imrk on tlvyntirrrl/7

I'h-huh. Total rewrites. witlijeh Rnsel’irook.oiieofotir strccttwriters.

It became at different story. That was the rst thingldid when I came here. It was tny feeling that the story they had when I caine in rlidn't completely worlt. So I attempted to tr\' and inalte it work as a film. I feel that I perhaps guided the story ttiore into an area of mystery than was origiiiall_v presented. Also. we went intothe black hole itself. which wasti‘t there before. plotwise.

built

by Danny

In and rm Satutilns. I2’! t" 1",,

War there any on-rel teutnting, ramething done on a daily Iia.rt.r' Sottie. but it was pretty minute. That angle was retry much settled before we started) lming. Didi-an randurl anyprfronal rereatrli on the Iilark hole phenomenon before you ttaried work on the/iItn.7 I did as much as I could within

the time frame that we had. We met with an awful lot of people frotu national observatories. and also some scientists from the_]PL. I had wanted to go to England to tneet a fellow named Stephen Hawking. who is probably the greatest authority on black holes. but I was rinable to do it.

There seems to be a Illdl .Il"l|Iotilfybetttteen 20.00L£iGl’ES UNDER

TIIE

SF.-i and

THE BL4 CK HOLE. flavor anyway. I think that the fla\‘0t’ of it does have that siinilarity— perhaps becausethe characters in THE BLACK HOLE have a slight parallel to those in 20.000 LEAGUES. Yes there does. in

For "IS/tI7Ill'. you could equate .\1a.\'t-

mtltiin Sihellk Rrittltatdl iritlijatner .Ilarot1'S Citpltitn .\‘etno ~ thri both r/tarra tlt.t~ ttttrttrr mrgrilntntttitit Tliey do. and yet it's not dt'lilierate. Iitleaii. we certainly rlirln't rtiti

tht-old

‘2t).ti()0 LEAGUES hert-at the studio or dig up its script atitl say. “Well. we‘re ]\ISI going to polish it over and retuake 20.000 LE.-\Cl‘ES in deep space." It's just that our story happens to lend itself to what we're doitigwithit.iustas20.000 LEAGUES did, and subsequently there is a slight parallel between them.

Hate [orig ii-rte you imwltni tn the pnnripti!/iIiotagretph_\' I ht-lieve it was I35 days and. for the most part. it ran sitioothly. Every

uieigliing

tm

‘M. poiiliottedfar/ilinittg.

clay was a problem. though. eyery

day. Fortunately. lI\OSl(7f(lI()iI'PI’(‘Il3lenis were anticipated. so it was not like we walked into the sitnatioti blind. We also knew that there was

only so much preparation you could do. We knew that a lot of what we were goitig in be doing on the rst iinir had tn be done on out feet. When shriotittg. you are confronted

withawholedilferentseiofprohlems you don't anticipate.

ll’; I'f\‘ easy lo overlook the tart an a ptrtiirr o/Ihtr type. Hate it-rte the actors? The cast was s\lpt‘I'l’L They reallv were. And they all enioyed being here at Disney. Theyalinost tonsider~ ed it a holiday. Disney's a iiiiiqtie sttidio in which to worlt. The)‘ (fY1UIf\' had a lo! 0/ garlgett Ia tooth uillt. Right. Especially for Maximilian Schell. His favorite carrooti character is Dopey. by the way. Schell used to wander for hours through the archiyes here. looking at old cels front the past. Sthrll it rt rltrrrtot himself o/ mutt: Writ Ihrrr am /rrrihall ltrltreen lite hm of you

tlunttg ptridii1Iiun7

Quite a hit. yeah. We had a good rapport. It started wlieti l inet httti atitl totitiniied all the way through the ftliit. I)iiI /tr

rrrr attempt Io trtt/ntrr hit

mm

trims?

He didn't impose theiti. he merely sttggcsted thetii. He was not a tuati to

strotiglyor willliillytiuposehisitlt-as. He did throw out a number rifthings to hroaden his cliaracter. tnaiiy of

which I userl. hecarise he's a map of good taste and good ideas. It would have been foolishoii my part to reiect

continued page 36

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Pslng a lud as young as Mark Petne IS In the b00l<, DCCZUSC y0U'l'C I19! SI-lPpOSCd I0 put 3 kid that young in mona|je0pardy__a_|th°ugh they do d . h b . . e soap " Just a out eve‘), ay ‘n t left 0!" 0P9T35- sol“? things Wei? because of time, some because it"§ te|evision_ My favorite scene in the

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Tha‘ won I be on TV‘ obv|°usly' slC|Jh€I‘l King,

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Author

lms he produces. His three major alteratinns to Monash's rst script were: To charac~ terizc the vain ire. Barlow. as a hideous. speechless eiid. not the cultured villaiti carried over from the novel; to have the ititerior ofMarsten House. which looms over the town of 'Saleiit's Lot. visually resemble the vampire‘s festering sotil; and to keep Barlow in the cellar of his lair. Marstcn House. for the final confrontation with the

herotintliebook heis billetedinthecellarof aboarding hntiseonce his mansionisinvaded. aconceptKobritzwouldlatersay.“. . .works in the book but woiildn‘i in the film."]. Kobritz also ushed the killing of an iin or-

tant female vziinpire to the climax. to givepher death more impact and provide the film with a snap ending. With the example of sttcli turgid. dratnaticall_v inipott-nt "t'vil-in-a-small-town" miniseries as HARVEST HOME beforethein, Kl)l)I"II7. and Monash were determined to make SALEM‘S LOT work despite the televisioii restrictions against frightening violciice. The )I‘OiEL‘I would be dcsi tied as a relentless niood piece where tht-gthreat of violence— rather than a killing every few ininutt-s~sustained terror. And it would he cast with an t')‘t' toward good actors rst. and TV niiint-s st-coiitl. But still, there was the matter ofall those stakings. and a relentless murderer with no redeeining virtues. . . “CBS worried about at few things in the scrt't‘nplay.“ King explains. “Tht'y worried about using a kid as young as Mark Petrieisin tliebook. becaiise_\:oti're not supposed to ptit a kid that voting in mortal jeopardy— although they do it eyeiw day in the soap operas. “Patti Monash Iinally sent them a memo that I think rovi-red it. He pointed out. for one thing. that CARRIE—whit‘h was a CBS network tnovic~\vastheonlymoviethat ever cracked the top live in the weekly ratings.“ Ncxt came casting. From the instant Barlow was designed to s_\'nihoIizt~ “the essence of t-\'il.“ Kobritz had in iiiiiitl Reggie Nalder—whom he reiiit-tiibcretl from Hitcht'ock‘s THE MAN WHO KNEW TOO MUCH. and gt-tire buffs recall from that film. Michael .~\rmstroiig's MARK OF THE DEVIL atid Curtis Harrington's THE DEAD DON'T DIE. Kohritz‘s idea was to recreatethe Max Schreck vampire from Mtirnau‘s I922 NOSFERATU. In a quirky touch. Kobritz also hired

IO

genre veteran Elisha Cook._]r. tHOl'SE ON HAUNTED HILL. THE HAUNTED PALACE] and former B-movie queen Marie Windsor to play Weasel. the town dnink. and Eva Miller. thelandladywitliwhuin he'd had an affair years before. “That was an insidc_|oke wethrt-w in right from the start." Kobritz concedes. “l‘in a Stanley Ktibrick bitff. atid oti purpose wt-‘ve reunited them 25 years later after THE KILLING. In the script. it says E\-a and Weasel were at oiietiiiietiiarried and then got

frame. and one death in p3fII(:\llill'— Bill Norton's lIII]Ii\l€IIIl'III on a wall ol _antlcrs_ would be seen in graphic detail, whilesliot in a iiiarkt-dly restrained fashion for tt-Ievisioii. Bt-cause of his oft-stated goal of having SALEM‘S_LOT like a feature. not aT\' special [whether II‘ was to be released tlicatricall_\' or nol]. Ktlllflll and his staff hand picked prodtiction personnel capable of providing the right texture and depth iitider deadIinepre.ssure. _]u|es Bu-iiiicr, who had shot the int» pressivc NBC miniseries HELTER SKEL-

i',‘..°.§ii°?;§§.'¥‘i§‘ZfiZTEli§$"§§‘1iZ§'$ iilll" now divorced—butstill living together. Itwas also the first time since then. I think. that they‘: worked in a tnovie and liatl scenes to er er.“ gThe rest ofthe casting was less frivolous. and reected the seriousness with which Kobritz wanted the whole enterprise to be regarded. Kobritz scnt_]ames Mason a copy ofthe Monash teleplay. offering him the role ofStraker. the Euro ean aiitit uc dealer who has Barlow sniuggldd into Malrsten House— and whose character had been expanded in the absence of a s eaking Barlow. Mason

l§‘§5..l'§'t‘.§“ .1";Yiiilll"l1115§§i”lIi‘Tl'.“ii1§§ industrv who was‘ art director for Sydiicy Pollack‘s CASTLE KEEP tfor which he and

loved the part and Fagreed to inake his rst appearance in a television drama since the inediuni‘s earlvdavslseveralvt-ars earlier. he had not been told that I97~'I‘s FRANKENSTEIN: THE TRUE STORY was iioi iiitended for theatrical release]. Key stipportiiig roles went to Emmy nominee Ed Flanders tBill Norton. a coinposite character who became hotli the heroiiie‘s father and the town tloctori, Lew Avres (Jason Burke. the local teach:-rl atid Geoffrey Lewis tMikt' Ryerson. the gravedi erl. Boiinic Bedelia. an Oscar nominee l(§g§'t'i|I'§ ago

forTH EY SHOOT HORSES. DON'TTl>l EY}'. was cast as Susan Norton, who is oti the verge ofleaving'Salem‘s Lot before she nit-ets Ben Mcars—playerl by David Soul. David Soul? Though the hiring of Soul may shock or disa i mint readers ofthr book who know him 0IIi_\"lhI'()llglI STARSKY AND

HUTCH. it marksaslirt-wdinoycbyKohritz (wliiclt is disciissedat letigtli in liisintt-rvit-wt. Soul's acting ability may soint-titties have been ctmct'alt'tl in STARSKY AND HUTCH. but it wasn't in the tclclilin LITTLE LADIES OF THE NIGHT. which happens to be thc highest rated TV movie eyt-r made. His presence therefore guarantees an audit-ncc. “I think the casting tif David Soul is fine." says King. “I have no problem with that at all." Sotil also olfers a strong counterpoint to Lance Kerwin [who starred in the well rt'viewedi but poorly ratt~d~ I978 NBC series. ]AMES AT I6). selected to play Mark Petrie. Kerwin has a hroodiiig prt-sciice that undcrcuts his superficial physical reseniblancc to Soul. and the two ;ictors~wlio ioin forces to destroy the vampires at the end ofthc filni— project a strange cht-mistry when seen togetlier. SALEM‘S LOT was budgeted at $4 million—about norni for a prestige miniseries. with nancing split ht-tween CBS atid Warner Brothers~and a European theatrical release was planned frotii the start. It would. natural» ly. be shorter than miniseries length. but it would also contain violence not included in the TV version; for example, the staking of vampires would not occur belowthc camera

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was hired as production dt-signer; and Harry Stikinan. an Oscar-winning coinpost-rlSONC WITHOUT ENDI. who wrote tht- excellent

music for SOMEONE IS WATCHING ME and whom Kohritz dt-scrilics as "a former cohort and irotegr of Victor Young." was contracted tti score SALEM‘S LOT. And Tobe Ht>t>pt'|' was enlistt-tl as director. Following a chain of events Kohrity. describes at length in his intciwiew. Hooper was tl(‘(‘III(‘(‘I the only appropriate person to direct SALEM‘S LOT. Kohritz had scrcciied for liimself one recent horror film after another—itsually films by highly praised neophyte dirt-ctors. Some of the fcatures

Kobritz fotindintriguing.Otht~rs,likt-PHANTASM. he retiiembers with a shudder of disbelief. None iin ressetl liitii like THE TEXAS CHAINSAW? MASSACRE. Hooper was called-iii for a meeting with Kobrit/.. and was signed. It isiniportant tonott-that tlit-st-It-ctioiiof Hooper did not signify an attcnipt to ininiit" thc intensity of TEXAS CHAINSAW in a television show, which would lit- frankly impossible. K0l)I"Il7. was searcliing fora filmniakcr with aconfidciitvisiial style. atnastery ofcaniera nioveinent, and an ability to follow a script and 2l(llIl'I'L' to a tight §t'lI(‘(lIIlt‘. There was. apparently. never any concern that Hooper would not l)t' able to dirt-ct a film that did not contain a large quota tifviolciicc. “l think it goes without saying that if a maii has a strong visual style and is also able to inect those other qiialificatiotis. his skills encompass more than the making ofyioli-nt niovit-s." says Kobrit/.. “I knew Tobe was our man front the day l met him. Atid he's ctitne through like zi (‘lI€IIIIp."I Hooper was signed in late spring of this year. atid one of his lirsi tasks was ll fit-ld trip tothelocatioiitliat would lieiisctl formostol the exteriors of ‘Salt-m‘.\ I.ot. In I977. Tony Richardson had directed ti Warner it-lclin. A DEATH IN CANAAN. tvhich was Slipposed to be set in a small, contt-inporarv Contit-t"iicut town. Ft-rndalt-. a iionlierii Califoriiia town I6 ttiilcs south of Eureka. and 75 tiiiles sotith ofthe Oregon border, doubled perfectly as a bogus Coiinecticnt liicatioii. Anna Cottle. associate prtitlticer for SALEM’S LOT. had been Rirliardsoifsassistant. She remenibered Ferndalt-~ atid paniciilarly the cooperationofihelocal inhabitants. After a briefscouting trip. Ferndale was chosen for SALEM‘S LOT. But in all of Ferndale. there was no house which could be used as a dotible lor Marsten House. so Rahinowitr. and his staff were

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"I uscd In! (ll-|IlZlSl(‘I'. sn I ruuld llIi!l1(' hugc cr.|u*r.s .|ll uvrr lll(‘ cntirv srl and liirilillirv so |h;n ii Inukcd as lhmlgli ii was |mck~|I|;irl;v\l. uml lrnni smnr ulilllesc largrr uprnings in [hr walls I pm 1| kind ul vpoxy ur re-sin‘ and In ll drip as iI'ii \u-rrm>¢i1|gli'u|\i lhv inu-riur. us IIIII were an upon wuuml. We \\'a|m-ml :1 rotting, sirk ?lPp(‘il!‘2lHl'('. zilmusl as illiin (Iis<‘ussin|1s with llu: KlII'l'L'llI!' and pm(I||u-r—w1' \\’l'I'(’ looking inlu (hr I:<|
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in the background. “Tlierc'sa dark. greenish tint to the interior. We put dowti glaze after glaze after gla/.0. for the proper atiiouiit of sht-en, and then various shades ofgreen, tnixing itupwith other colors so thaiitwastftsolid

green.“ Two other important tltities for Rabinowitz were the btiildittg of the antique shop lStraker‘s business front) atid the small South American village whert-the begiiinitig and end of the film are set. “The Latin towti was shot oti the Burbank backlot and the Sati Fertiando Valley Mission,"says Rabinowitz.“We usedtheinterior ofthe inissioit church, atid I btiilt an adobt-style native httt oti stage. “My decorator, _]erry Adatiis—who is fantastic—was responsible for most ofwhat yoti see inside the antique shop. Ninety percent of what you st-e is his taste initially directed by me. But the itidividttal pieces—

all]erryAd;utis. I also have-an assistant, Peter Satnish, who is only 28 btit is brilliant. He's the soti of Adrian Samish. the producer and former head ofCBSAwho was tint popular

among many people. So Peter has not gotten where lie is bt-cause of papa; he had a very rough time. But he was just so creative and inventive on this picture." Rabinowitz, a stickler foraccuraty, fotttid that one ofhis most perplexing assignments was to come up with a coffin for Barlow. “Ii was dt-signed special,“ he notes, “because tht-re was no way to find anything like that. The rest-arcli was diffictilt to come b_v—it‘s a 400 year-old coffin~but once I did litid it. our czthinet shop and otir antique shop here is so superb that they gave me exactly what I drew tip. right on the nose. IfI'd had to work at another siudio, I don't think it would have cotite out as well. because they are stiperb— inst the ttest in ottr business.“ Rabinowitz tries to be a perfectionist. A proft-ssional painter atid sculptor, he has taught iii UCIA and USC, and spends six tnoiiths of each year at his Santa Fe, New Mexico studio, painting and sctilpting for galleries. At 53. he is still excited by what he terms"that marvelous madness that is Hollywood," and he still finds his work there a challenge. For SALF.M'S LOT, in the rttsh of production for television, there are things he would do over ifiime allowed. “There is one ititerior of the Glick boy's

bedroom," Rabinowitz confesses “where I overdid the color and blew the gag. I abso-

I2

ltitcly telegraphed it by mtiking the rootii a sombre brown, st) when the scene opens ' l t lill IHOU ll TF3 <1 rt IF“. \\' t \(‘l1l I ll‘ YOU - T? ll! vampire arrives, it's tint as big it surprise. It's still a very effecti\‘t- scene, but I'd have totied down my pan of it more." In his iiitsyvicw, Hooper s|,1;ai$_ of II;tl'IIlll|I(' 3\\'l'. [I |l\U\\’ll7 lI\D\\'l Z \Kl worked closelv iiith Hooper, and feels he developed ati -understanding of his persoiiality. “He's very good-natured, extremely so,“ says Rabinowitz, “very warm, htit very laid back. He's quite shy. B_ui once he gains yotir confidence and you gaiti his. that stops. Was he articulate? With me. ves. Hewas verv articulate. With others, not so tnuch. It took time. It‘s a personality kind of thing. But he knows exactly what he wants. Bttt getting what he wants was another matter etitirely for Hooper, panicularly in the case of David Soul, who was also under pressure to perform. According to Soul, Hooper was articulatein relatitigto him what

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he wanted.

“I believe he isagood actor's dircctorand believe he will be even more-so." observes Soul. “I thitik the problems of this film, which were primarily the special effects, the vampire obviously. atid the fact that we were shooting out of continuity. made it difficult for him to spend the kind of time with the actors he'd have liked to. "Man_v, many titnes we'd pull each other aside to talk and he'd say. ‘Goddammit, David, I'm sorry we cati't spend tnore time working otit these relationships. but thisjust isn't thetime to do it—sojust hang in there.‘ He was concerned that everybody oti the set was happy. Ht"s a very entle, very, very bright man. This picture, ifnothing else, will seal his futtire. as ati itnportaiitdirectoralong with the Steven Spielhergs, thejohn Carpentcrs, the john Badhams—people like that." Sotil, who was cast two tnotiths before the start of prodiictioti, was able to make suggestinns that helped define his character a little better, but he feels some inconsistencies remain. “Yes, there are a lot of iiit'otisisteiicit~s, btiilt into the script because the producers felt that since it's television. there needs to be this reiteration of the ft-ars on Ben Mears‘ partiso the audience is constantly aware. That for me is not givitig the picture everything it could have. There are only so many times Ben Mears can say. ‘Did you ever have the feeling soinethitigisinherently e\'il?‘,you know? There are a million other ways to say that satne thing. I nitich prefer the scenes such as the etitrance ofStraker with his cane, which comes far closer to creating trite terror than dialogtie can." The scene with the cane—tlie rst nieetitig of Mears and Straker— helps ilhttninate Soul's working ‘l3tiOt\§lllp with Mason. “There was a certain kind of awe to my working with Mason,“ Sotil explains. “and I used that for the relationship between the wvo characters: Mearsisintimidated by Straker. It sounds situplistic, bitt it works. I tlid not try to get to know Mason better, soitwas asif, in ttiy early scenes with hitii. this imposing stranger could be the evil coinitig frotii the house. Atid only as we got further into the picture did my curiosity as David Soul——and certainly as Ben Mears— manifest itself in a kind of relationship with the character. S0 I I

kept away from him in the ht-ginning. Also, the way Tobe staged otir scenes heightened 1' Th Q‘ SC ene wherl ' I h (' (' I CHIP!“ O f §\lrPI'l§(‘. meet him as he's walking with the cane is verv well staged by Tobe, because I'm staring at the house and feeling all those disturbing jiisasqionslaqp ltyiemprilesaagddlcgacksouy

-" OH I\ C S D "IQ DU I gasps—“there he is behind me. These kinds of cinematic devices helped a lot, and that's Tobe. “I was impressed by_ both Tobe and Mason. There werea lot ofinipressive people oti this film. actors especially. Lew Ayres was the same as Masoti in a way, though he was a little difficult to crack. He's a very orthodox atid tough actor. He wasa niatitiee idol, atid he considers himself still to be a star. Btit once that was broken down, it becamea very wann relationship. “Mason is fascitiatitig. He's better than most TV actors atid he's also a personality. He‘s got a mystique that he's built tip forty years and that's what you're watchitig also, and what you're playing opposite. I was surprised to find otit how organically he works— he had a whole history for Straker. His conversations about the character were vety intelligent. “How did I change tn_v own TV personalityatid still playa hero? It'sagood question. I don't have a pat answer. Obviously. they're different characters. I think the accoutrt-— ments changed me somewhat—the glasses, the clothes. Also, I cleaned tip my speech pattern a little bit. I sound likeawriter, aman who's at home with words. In STARSKY AND HUTCH, it was always dip-dip
sort ofhalf-finished sentences, astreetjargon atid repartee. This time, I stuck with the lines atid the disciplitie of a well-written script. There's also a mysterious quality to Ben Mears and I tried to work with that. I didii‘t socialize a lot. It was a rough pan, and in a setise, I let the neurosesthat were btiilditig tip in David Soul because of the pressure work for the character. "That's one area in which Tobe was very helpful and utiderstatiditig. He listened. “Have I seen THE TEXAS CHAINSAW MASSACRE? No, but I do watit to, very ttiuch, after working with Tobe.“ Hooper, who's career literally reached a standstill a year after his arrival in Hollywood, is a living testament to the difficulty of maintaining a career in the horror genre. Sliortl_v before he was approached by Kobrit/. for SALF.M'S LOT. Hooper had even met with Italiati producers over the possibility of directing THE GUYANA MASSACRE. before his agent blew the whistle on the project (“God bless hitti," Hooper now says). Hooper openly admits that SALEM'S LOT pulled him frotti obscurity. "Look." says Hooper, “this is a quaiittiiti leap for mt-. SAI.EM‘S LOT is my best picture, anti there's no question about it. It's a major studio production, l'iii working with a fantastic cast atid crew. And Kohritz is wonderful. This is a rst for tne.“ Bttt is it the same Tobe Hooper in SALEM'S LOT that we saw in THE TEXAS CHAINSAW MASSACRE or even EATEN ALIVE? Can the same audacious spirit run through something created for televisipn? “Oh, I think so,“ Hooper replies. “For one thing, my style is ingrained in me. ltdoes

Q? not change. It improves, perhaps. bttt it does not change. Also, SALEM'S LOT does not rely on the same kind ofdynamics as C HA I NSAW. It is scary. it is atmospheric. but in a different way; I do not have to cheat the audience to bring it to television. “The stvle ofmy films is not their violence. Violence has sometimes been an ingredient in them, but because I shoot it a certain way. people may have thought that is the style all by itself You know. l matle a number ofshort and feature films before I entered the genre with TEXAS CHAINSAW. and they didn't contain violence, but my style was develop» ing nonetheless in each of those films. “Pan ofthe idea of SALEM'S LOT is to bring the audience into the movement. in a way; the catnera tnoves altnost constantly. I am leading the audience on, but l'm satisfying thetn, too— I'm not cheating them. They're not going to expect a dollar's worth of scare and get 75¢ worth of talk. And you can do that without slicing sotn eone up with a chainsaw." In fact, there is relatively little dialogue in SAL!-ll\‘I‘S LOT. The narrative is advanced primarily in cinematic temis through camera movement and editing. attd through scenes that establish perspective in a strictly visual way. Kobritrfs desire for this ell'ect—and his need for a director who could add to his and .\‘lottash‘s ideas. not just carry them out~was the tnain impetus behind the hiring ofTobe

Hooper. One of Hnoper's tnost striking scenes of barely glimpsed violence is the murder ofDr. Bill Nonon by Straker. who picks him up and heaves him across a rootu into a wall itnbedded with antlers. Hooper's camera carries the audience right along with Norton, holding

on a close shot of Norton's horrorstruclt face up to and including the tnoment ofitnpact. Because the actual impalement is not seen in a wide shot, the scene is teclmically acceptable for network TV, and Hooper's surprise trick ofdragging the audience along on the victim‘s death ride assures both shock and terror. In another sequence, Hooper and his special effects team t'tnplo_\' a colT|tt's-e_ve\'iew of the inside ofa grave, to in\'ol\‘e the audience in the resurrection of one of the

Click brothers. In his interview, Kobritz explains tlte mechanics of two of SALEM'S LOTs most elaborate clfct ts: the vampires‘ contztct lenses and the shot-itt-rt-verse leyitation scenes. Hooper discusses their emotional quality. "I invented those." Hooper says, “working with the make-up and special effects people. The one with the eyes has to do with hypnotistn. I was going for an effect that would implicate theattdienceiagain. l guess it's my interest in psycho|ogy— rather than have thetn walk out of the room for .1 drink when the vampire turns to lt_\‘pn0tilt' sortieoue. Those are generally very boring. predictable scenes. Tap; Mark Prlrir (Inna Krrwin) and But

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Soul). haggard and ntnm/mm their nighlrnarith experimrr in S.-Il_£.\I ‘S LOT. rtdmlau inride a imallhantlrl rhurrh in Gualrmala, at lhejilnt opms. Bollam; The body 0/Jlarjnriz Glirh I Clarina Kaye! mum bark lo It;/r in the mnrluarjt‘. and a!!arh.t Dr. Bill .\'orlart (EdFlandzr1I and Bm Hmrr. nthn haw bent hnpinga vigil over il. .4: Hm lnurhri hrr with n emu madrnnt Iwa woodrn lurtgur deprnrort, ihr vaporize: be/are their (wt.

T eight wars"). Hc openly admits that producer Richard Kohrit/is call l'or hittt to direct SALI-'.l\‘l'S LOT rescued hint from oltst'urit_\'. Most articulate when discussinglltelct"lntit’al sideolihis lms. Hooper speaks slowly, with 2| deep. grayelly voice that projects a low-key charm. He de\t'ril)t's his present career stage tttt‘ " ' ‘ : " Il'\ .' the setotttl |'u\t one scntentc with '

"I studied what I had heen exposed to asa

student anti tnnviegoer. from the old Universals all the way up to the Hatntner Films. No tnatter how you try to explain those away or make allowances, it's always just Chris Lee with those damned hloodshot eyes. I knew our hypnotism would have to he sotnetliing that is t\ot easy for an audience to cotttprehetid. Well. wt"\'e all had hlondshot eyes. So what we came up with was a kind oi‘ contact lens that just glows attd glows and follows you, and is obviously not an optical done tnvthe lah. and ts tltereiore strange and Iascttiattttg to look at. “The result is that it |]1;|l((-gygu look in hi; t'_\'t‘s. too. and you just wonder attd look and look antl look." And the lt'\'ilati0n seem-__in which the yatttptres _Ilo_at througlt the window to prospctttye \‘|
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The pliotogrziplty is yen‘ good. Mort Rahinowit7's art tlircction is inst remarkable; SAI.I-'.i\I'S LOT will look like a Ie;tturc." S.-\LEl\l'5 LOT wrapped shooting on August 29. Hooper asst-ntlilctl his rottglt t’ut witltin at eonplc oi‘ weeks alter. CBS has ztlrt-.ttl_\' begun to prtttntttc the miniseries. and will air it on two sttccessire nights during either the Novetnher ratings "sweep" rwhen network ratings arc closely monitored to determine littttre ;ttI\'t'rtising ratesiattd the ltest specitlls are conse
THE TEXAS CHAINS/\w MASS-’\CRE~ Hooper is otte oI'se\‘eral _\'oun}:. t‘ontentPol‘-11')‘ liltttm;\kers— Bn'an D1-Paltna andjohn Carpenter tnnong thettt—who acknowledge at debt to Alfred Hitchcock. But Hooper reali7es that Hitchcoeltsahilityto shock is in many ways the least of his gifts: Hitchcock is one ofa handful of Iiltntttakers who. early itt his career. integrated at mastery ol'tt-chniqne with a strong story sense. Howcyer powerful Di-Palma and Catrpt-ntcr‘s lilms may occa§i<>I\1tll_\‘he. they have ntililrccctitly. rctitaiiied essetttittlly derivative. Hooper. on the other hztnd. has fused his tetqhnical skills with the deep psycliological base of his liltns. and \'i\‘ltlillly created a new genre. Hooper lives in Los Angeles with his l3_\-ear-old som“I'ttt di\'ort"t-d. . .l was married very yottng and I've heen divorced about

yearly contract to develop something. Well. lherc was this hook. SALEM‘S LOT— and this was hclorc Stephen King got real hot. But there was a conllict l)('('2l\lS(' Billy Fricdkin. a Iriendoltnine and ottc oInt_\' tnajortnetttors, was at Universal. I tntule the decision to go to Universal because of Billy. Attyway, things tlidn‘t workoutat all Ioran_voi'ttsat Universal at thetimc. Thetitning was wrung. Ispent I8 months on two scripts—genre srripts—whit'h were never filmed. The_y were development deals. The majors will give young. protnising talent a tlt'\'clopmettt deal, and if it meets theirt-xpectatiotts_ nr their standards, or what they had for lttnrh. yott can acquire lrotn thetn an interest. Then you're on to something elseandanother script. Iditl two scripts over an I8-month pt-riotl oi‘ waiting and politickittg and so forth. In the tneantitne. Billy left and cattietowarners. Also. S/\LEM‘S LOT had Come up again tltcre. I had gtme to work on a project at Universal with Tttrtnan attd Foster that tlitl ttot work outilor any>

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Irdo more. I guess I've got a few rules. Number one is I try to nd a director who has never directed television, and who has probably never directed a union lm. but who has directed a non-union featureiin Carpenter's case DARK STAR and ASSAULT ON PRECINCT I3, and in Tobe Hooper‘s case THE TEXAS CHAINSAW MASSACRE. It's kind ofa strange process I go through. It's hartl to nd something you really want to do ifyon don't have to do one. so you tend to be choosy within your own paratneters. I generally gravitate toward the same kind of tnaterial. you know. horror, terror. something like that in a kind of Hitchcockian mold. To put it that way sounds very egotistical. but I don't mean it likethat; I‘mjust trying to get us into clear categories. Anyway. once I nd that material we progress to the screenplay and in the meantime I try to see every movie I can. try to come up with somebody who is young . . .and who is inexperienced with all of the 1

problems of working a heavily unionized major studio operation.

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Wlrr is Ural? Because I‘rn looking for somebody who is visual, who isn't wasting his time worrying about the politics of what the unions are

doing—that's my job. More than anything else I want a director who is visual. who knows how to tell it itt terms ofcamera. not in terms ofdialogue, or not in terms of conventional camera coverage. There are two mles I always stress. and in bothjohn and Tobe‘s case, they not only embraced what I said. but that's the way they would have done il anyway. I don't want a zoom lens on that catnera. . .and I want to keep that camera moving. That's. unfortunately. become the way oftclevision. So what I try to do is a small feature within a shun shooting schedule— which is dillicull. but that's television. lfltal changes did you lratlr I0 makr rrr llrr novel in srriplirrg S.~ILE.'I|'S LOT n Irlrvtsion? We went with the concept of a really unattractive. horrible»looking Barlow. We went back to the old German NOSFERATU concept where he is the essence of evil, and not anything romantic or smarmy, or. you know, the rouge~cheeked. widow-peaked Dracula. I wanted nothing suave or sexual. because I just didn't think it'd work; we've seen too tnttch of it. The other thing we did with the character which I think isan improvement is that Barlow does not speak. When he's killed at the end. he obviously emits sounds. but it's not even a full line of dialogue, in contrast to the book and the rst draft ofthe screenplay. ljust thought itwould be suicidal on ottr art to have a vampire that talks. What kind oflyoice do you pul behind a vampire? You can't do Bela Lugosi. oryou're going to get a laugh. You catt‘t do Regan itt THE EXORCIST_ or you're going to get something that's unintelligible. and besides, you've been there before. That's why I think

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llris Notienrbrr. Dr. Bill Norton (Ed Flandns) impaled an a wall o/antlers in the upprr lrall a/Marstrn House. On lrlmirion lhr srqurnrr will brairrrd on a reaction rlosr-up 0/!-‘landrr's ler as Shaker seizes lrirn andlturls Itiin against Illa wall. 17rrrIlsIto! shown here is being mmrrd/or l'|( lm’: theatrical release overseas. Ballornc Producer Richard Kolrrilz (riglll) with director Tobe Hooper duringlnting. Kobrilz personally selected Hooper to ltelrrr lite inintltnia ta give it a non-Tl’ look. by CBS

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“'l'°" "°°‘“"° °"°" I" "‘° b°" °' see them,‘ we wanted lms you to $9! 3 feeling of floating And the CITCCI IS llOl"l"iC, IDCCBUSC y0ll Itriow (here are no W“-e5_ It has 3 very

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thejames Mason role of Straker became all the more important. And he is, I must say, perfect. That sounds like puffety, but he was well worth it. We wondered if he would be available, if he would be attracted to the material. . . and he was available, and he loved the material. It's just an incredibly good piece ofcasting. We were fortunate. It's a \'ery good part. but he gives it so much himself— he's such a classy actor. What was Stirling Silliphantk involvement? He’: listed as executive producer. Diet he also do a script at any time?

Hewroteascript forthe theatrical version, which was never used— and of course, it was not used for this one. In fact, he has nothing to do with this picture. There is an agreement with the studio because of his prior involvement with the project. He made some encouraging phone calls, and I think showed up a couple of times to say hello to people, but he has nothing to do with the production. Iurider.tIaridthere'.ta Writer.t'Gur'ldarbilration underway (hallertgirig Monash’: tola credit on the smpt.

We should know the outcome of that soon. No other scripts were ever considered. Monash was never even offered the other material. Obviously,the source isthe same— everybody read the book. everybody wrote his own screenplay. This is the one we went with. lwould hope Paul would get sole credit. Ofthe threeotherwhat we'd call “contributing

writers," Stirling Silliphant has not protested, Bob Getchell has not protested, it's just this Larry Cohen. . . who had a really lousy screenplay. That was back before we were ever involved with it, back when the feature department had this very hot book. went through three screenplays and could do nothing with it. What other change: were made from book to xrremplay? The changes we wrought from Paul's original draft-which was very much like the

book—to what we ended up with from him make for a very classy movie. The major changes included Barlow, and that the Marsten House must never be clean and immaculate inside like Straker is. The house was very crucial; it must look like a veritable cesspool. I even put the line in the script myself that it must look like a shithole. only beingthat graphicjust to get the point across. I wanted the audience to say, how could this man of Edwardian dignity live in such a place? And yet he does. And the third point was not to have Barlow in Eva Miller's cellar ashewasinthebookattheend. ltjust doesn't work. lmean, fromapointofsheerconstruction in a well-written screenplay. he's got to reside inside the Marsteti House. He's a major star in the picture— the third or fourth most important character— he's got to be there. ll may have worked in the book. but not in the movie. That houseisthe essence of

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Almost all physical effects, very few opti-

. — Ii.'§n',§'“'i"“.lTi — u i',§i§,.§’lt'lT.I"it'L‘Iil“°§.I.-’iZ§§’ the death ofthe last vampire tothe eng ofthc lm. There were three violent deaths right in a r0w—Straker, Barlow and her—and all ofa iudden, thealkiilling andhthe devic: of killsing ecame a re v. . . not in , vou now. o g ' changed that. ' In what way doe: theiruide nfthehause resemble

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of honors. . .I don't mean with ghosts and that, I mean the dirtiest, filthiest house you've ever seen, as opposed to being pristine, which it is in the book. I like that dichotomy of Straker being immaci» lately dressed all the time, without a piece of lint on his lapel, and yet you walk into this mansion with him—the interior we created on a stage—and you know the plumbing doesn't work, the walls fairly see with moisture, and you say to yourself, they must defecate on the oors and in the comers because you know there are no bathrooms in here. And that all adds to it. Ijust couldn't believe the beautiful Victorian Gothic mansion inthe book— it was like the last scene in 2001, and I felt that would play against the horror. It worked well in the book, it wouldn't work for us. I believe that to be a distinct improvement, I really do. One qfthe gossip magazines said David Soul was drinking on the set.

No—l didn't notice any ofthat. It'savery diflicult scri t in that there is very little dialogue antfthe story is very intense. The

pressure was hard on him. I even told him one day, “Let the neuroses play— it's working for the character." He was not doing a normal script, with a lot of dialogue and everything explained. He was doing a very serious genre piece, dealing a lot in effects. -I don't mean special effects only, but where scenes tied into other scenes because we're going for a special optical and stulflike that. In the same way that Cary Grant could question, in NORTH BY NORTHWEST, “Why does my character react this way? I would never be walking into a wheat field in my suit"—and finding five very logical reasons why not to do it. But that unfortunately is the way it has to be done. That's the whole thing with that THIRTY-NINE STEPS. SAB— OTEUR, NORTH BY NORTHWEST, MAN WHO KNEW TOO MUCH genre of Hitchcock. By the same token, we were going for a genre piece herethat was not always t'xplaiiiable in normal script language and normal dialogtie, and I'rti sure that would be very frustrating to an actor who takes his work seriously. Ditiyou realize haw miirh Lance Kemttn and Saul iuouhi look ali/te?

Yeah, but they really don't. They're both blonde, but, David is int'rediblyso— he's this blonde, beautiful, California voiitig man. Lance is also lighthaired, but‘ there's this astonishing kind of forlorn. haunted t-xpressioii to him. And he's a remarkable young actor, without a doubt the most talented young actor I've ever worked with. He is good, that hoy, because there's an innate sadness—not as a person, but as ait actor. He's able to portray a depth and a profiindity you just don't nd in kids that young. You mentioned (ed: a mamerit ago. Were there a lot afo/ztieals, or mostly plrvttml eerts?

opticals. There’: a superimposition ofBarlaw's/are on the .' moogtnéhellastpageg/thzenpt. wrote t at. e re testin it an ea , we'll sec if it works out. I put that in nliyselfas a blue page, only becatise I kept thinking ofit and finally I decided. why not? Let's have a nal little laugh at the etid. For the rest ofthe picture there's no Iatighs at all, and this is kind of cynical and a little ironic. Another eert is the disintegration 0/Barlowwillu-e reethat? On Tlf ltSIll1ll_)‘_Ylt see it but it’: ta abbretitaledv I know. I hope you see it. We shot it. That's obviously out of my hands, but the network approved the scriptat\dit'sittth('rt‘. There‘: a rtillofEdFlanderr impaledlaa walla] antlerx. I tart’! imagine haw we'll xee~ You will not see that. You'll see what's in the script—we Ily up to the wall with him and the moment ofimpact is in his face. The long shot would be strictly for European theatrical. like the stakings. How diityau show the lawn burning at the end? We never show it. . . for two reasons, la] .

wedidn‘t havethe money to showit properly:

and (b) it's too time-consuming to show that. I really want to wrap the picture by that time. I think the audience has caught up with us as far as what vampires are, the killing of vampires, the appearance of vampirei; ill 8 sense we must now go to the ending in Guatemala as quickly as possible. A nother change was the use afhawthame instead ofgarlie. Yeah, you knowwhy? Iwastired ofgarlic. And I was tired of every cheap joke, is it gonna be an Italian vampire, all that kind of stuff. So I said, let's go with somethinga little different, and our research people came up

with hawthorne. I'm just tired of all the NIGHT GALLERY business where you hold up garlic and he says, “I'm not Italian," ora crucifix and he says,"But I'ni]ewish"-—Ijust didn't want to get near a line like that, to wind up with an unintentional laugh at a moment when I definitely don't want it. You obviously did more than just "produce." Were you on the set?

Constantly. Arid that didn't bother Hooper? Not at all. I doti‘t want to put words in his mouth here, but I think it added a bit of security. It was a very good collaboration. Things were discussed when we shot, before we shot. It was a very close relationship. I'm sure that doesn't happen much. .-lndyau shot an laration. Yes, dtiring _]uIy we shot two weeks in Feriidale, just outside of Etireka, sort of a New England Victoriana villge, about I00 miles south ofthenortheni California border. Then we came hack lit-re and shot an additiotial six. The laration bringsto mind H.-IRI'ESTHO.lt£, the .\'B(.' I|Il|Sr'7'Il'.I based an Thoma: Tr_wn's book That it-ax like /our hattrs a/ horedorn tt-ith a halfhearted IIIIIIGX. I)iilymt ire I did, and that was |I\_\' let-ling, too, unfortunatt-ly. Again. I tliitik we have better

ll,

material going in. Nuinht-r tint-, the st'[eenplay is liettt-r. Tlit-y jttxt liatl Bette Davis and were hanging their hut on one |>t'ffI>I'1llBIl('(‘.

What we've tried to do in everything from our vampires to our head vampire was to be different. We're using a remarkable contact lens which is like

half a ping ong ball, ts

over the whole eye. and can only be wom for I5 minutes at a time before it has to be removed to let the eye rest for 30 minutes. They're not just bloodshot eyes. I wanted an

in VILLAGE OF THE DAMNED and its sequel CHILDREN OF THE DAMNED—I wanted them to be sick and decayed and, 1 hate to use the word but. . . us-lled.Wealsoaddedoneelement which iiad not been done before: we put a reective material in the contact, and when we turn our lights on it, they glow back at us. That way we didn't have to do bum-ins, we didn't have to do opticals, all of which you never have the amount of time to do thoroughly. I looked at VILIAGE OF THE DAMNED three weeks ago when it played here, and l realized how seldom their eyes really glow in the picture. For us, when there's a vampire, his eyes are shining, and that is important. Another thing was that we didn't fly our vam ires in on wires, because e\'en in the best ol)films you can see them. In THE EXORClST_W|l cart Yes, exactly. We wanted a method whereby we could actually fly a person in through a window. So we took a normal crane. like a Titan crane. and we put along pole at the end ofit, and we put the actor in a body harness at the end ofthat, so we were able to shove him into a room. and at the same time control his body movements. He could fly in, he could straighten up, he could tilt to one side, as long as the pole was not visible in the shot. We wanted to get a feeling of floating. And the effect is horric, because you know there's no wires; we're shooting the whole window including the sill and wall above it. lt was also something we were very nervous about, because you haven't got the time. in a television show, to make a special ellects mistake; it had better work. We also did something else—we shot the whole thing in reverse, and are projecting it forward, in the levitation and oatation scenes. because we want the smoke to be behind the vampires. That way we have more control over it. I think it turned out better than we had even hoped for— it has a very spooky. eerie quality to it. And the kev. again. is getting a visual director. because if you read the script, you'll see there's not much dialogue. That's not to say there aren't those expository scenes, those getting acquainted scenes—but for a fourhour movie of the week. it is what vou‘d call “light on dialogue." And that's alllthe more reason why it's got to be visually strong. effect like the eves

'

Ronni: Scribner as ltalphic Glich. levitating into brothcr Danny’: bzdroant an the evc of his awn jitnnal. tr scquntlc ntadc all the ntorc chilling via thc use of ingenious tpcrial ccls: no wires. Above, Scribner is shown preparing rr the rrenc. getting a touch-upjob on his death-lihc mahmp. as director Tobe Hooper and producer Richard Kobritr. loah on. The/lrccc an the boy’: chest is the lining o/a t'orsrt
T‘ “My pl‘0bl€IIl IS ObVl0USly going to

belsmlldards and Pmcticest_what .

theylre golng to allow us to 5h9w and what they're not. The script went by [hen-|_ Thgy approved i( But I know theysre going to come back and say they Want 3 horror lm but they dOl'l’l want I0 SCZFC people eithen I just donut want to _why Stan cutting out the honon . . make the damned thlng ln the rst |Jl3C€?“

RlClI|"d

K0bI‘lll, Pl"0dLlC‘

Areyuii shooting it hard and a raft version, to accamodate the foreign theatrical release?

Not in terms of nudity or anything like that, hut in terms of intensity.

You mean. in the Tl’ version. a stake will be driven through a vampire‘: heart and go out of camera range. while in the European theatrical the audience utill SI! the blood and ~ Exactly. We're protecting ourselves. It's a

different niarket out there. one where you have to pay. not where you see it for free. But in a horror picture done primarily for televisioii. you've got to deal in scares instead of blood. which is what we'retryingto do. What we watit is to have the bogeymanjump out of the closet at the audience every few ntinutes. If it works, we're successful. If we're not successful. . .we're not successful. And that's the hard part—trying to lind someone who can pull that off. I've been lucky. In Carpenter‘s case. he's a guy we'll come to recognize.

notjust because ofthe success ofHALI.OWEEN. but in the next few years through universal recognition. as a major talent. And the same is true ofTobe. Becausel happened to like THE TEXAS CHAINSAW MASSACRE, which I think is hrilliatit. I saw it a few titttes—atid I know they did it for $100,000

in 20 days with a student crew. and all those things that don't help to itiake a picture good—atid stilltherewas anincredible visual quality. What was hinted at and never seen really intrigued iite. 17iere irn‘t that much outright blood undgare in TEXAS CH.-IINS.-III‘. You/ust thiiihyoii tee it. Exanly. There are some beautiful touches. My Cod. I saw the way the camera was ttioving. thewaythe exteriorofthe housewas established. things you don't noritially see in big features. let alone television. I)oll_i-mg in under the swing a/trr the girl as the enters the house.

.

.

Right»that scene in particular. Icouldn't believe how well that lm had been titade. especially under those conditions. But oticel saw it, I had my director. Hnu- did you nd Hooper? A/ter losing his l/niverral contract. and the asco with THE DARK.

hejuttdirappeared. I didn't know anything about a Universal contract or any of that. I heard about that later. For me. I lind the best way to operate is to find the project first and then the director. ljust rati a lot of filtiis. some of them by

peoplewhowerevery wellhyped.Somewere okay, some were really terrible. and there were just none that compared to TEXAS CHAINSAW. I hadn't seen it before. when it came out. It was just a title I knew of-it's obviously a very memorable title. I knew it

20

had made some money. I had heard Billy Frtedkin had liked it and had recommended Hooper, that he'd worked on a few subse» quent projects, some ofwhich were aborted -—OI'IC, EATEN ALIVE. was made. That t never did see. Butoncel sawTEXA§CI*'IAlNSAW. my mind was made up. I didn t even know whether Tobe lived here. We foutid he hadanagent. andwecalled him up. Obviously Ihad to havea meetingwith Tobe. to tellhim

how I worked. which was'probably totally different than anything‘ he d been eitposed to—even atamajorstudio. even atUni\ersal. I said I work very closely. It's essentially tny decision what the nal script is. Not to say your voice woti't be heard. but— But you're the lion. Right. and this is what I want to make. Last year I did this kind of picture. this year I'm doing this kind of picture. They're in the same genre. but it's a dissimilar subject matter. I like a very fluid camera. I want incredible visual style on the picture and I also want to make sure it is cast impeccably well. We naturally have to deal with some television names to satisfy the network. but I really want to make sure it's aclassy act we're

putting together.

77tat'.tan unusuallLtL Iwnuld neiierexperta TI’ producer to my he wants ouid camera. he doesn't want zoom lenses. Was Hooper impressed? I don't know. Well. yeah—I think anybody who hears that is very surprised. I know I can keep a pace going and there's certain things I can change or modify as we go along. But Icarethatthethingends tip lookitiglikea feature. that itjust is not sotiiethingthat looks like every other television inoyie with a modernjazz score behind it. Then again. it's a subject matter that I've always liked and want to see dramatized well. I'tii not into that. I don't collect stills or atiytliitig. I just feel I want to make ati interesting horror tnovie— one with class. with belieyahility. Afterl tnetTobe.Idet'ided hewasthettian to direct SALEM'S LOT. So I went to the network. they said okay—I don't mean they were overly enthusiastic. They didn't even know who a Tobe Hooper was—atid I just

said.

“Doti't worry."

Was any other director ever rimxidered?

No. There were a lot of directors that wanted to be considered. htit weren't. The hook was originally ptirchased by our feattire department. which then had several screenplays done on it—and this is going back a few years ago—and not one of the screenplays worked. The president of our TV division thought if we could sell it to a network as a four-hour. we might put otit another screenplay with a bratid-iiew writer and see if wicould lick the problem. We got Paul Monasli and structured some things very tnuch different than the book and totally different from the previous screenplaysil niean, they were just bad screenplays. In a crazy way. SALEM'S LOT works better in a longer version than in a normal, theatrical version. Not much happens in the lmohir therst hal/I and then everything explodes.

Also. the itiore you read of Stephen Kin —I'm like you. I've read most of his stulf—he's damn hard to translate to the screen.

The characters all think to themselves. . And all those internal monologues that give you goose-esh while you're sitting .

alone reading are a real problem to deal with cineinatically. So we had to work on that.

I heard SIJY7It'Il'ht’T€ that Georgi‘ Romero was considered to dirrrt.

Well. t always liked NIGHT or THE EIVING DEAD and his name was one that I d thought of. But I never ctiiit;tttetl_ him because I ve got all the probleitis of. will he tome otit here, can I convince the network whenantan only makes pictiiresiii Pittsliiirghr‘ Itvwas easier with Tobe. But tiioniiiiiportant. Ijust liked TEXAS CHAIINSAW ')(‘lI{’I'.- It s a lilm that has gone. I tliitik. beyond .1 cult stattis. which it always had. In theatrical/eatum today. it’: probably mto tar no hnldr are barred in explicit horror. Since. on

TI’. you can't Shltl that. and eiwi you muld. you'd panic the average home I'I!It'!I, (an S.~II.!.'.II ‘S LOT satisfy both the horror bu/f and the rnaittslrmm oudinire? I think we can. It is really superbly cast. Eveti in the supporting roles. we always went for actors instead of stars. We have in Ed

I-'landers—whti plays Bill Norton. the doctor —a man who just got an Etniity iiottiitiation fur TRUMAN AT POTTSDAM. We wanted

complete credibility. complete lielievability. That to ttie was the real horror. a nice little town that's slowly being eaten alive by vainpires and all of a stiddeii wakes up to that realization. We had to get actors ofa calibre that could give us the credibility. not just tiice TV names who are limited in tlieit acting ability. That's Number One. Niitnber Two is playing Barlow the way we ditl. He's tint in conipetitioit with Frank Langt-Ila. not in competition with Bela Ltlg(isi—il'.\' hack to German Expressionism in the nal analysis. .-Ind it'll be the/irrt time marl people It'Iff have rem that. unytiiay. Right! And again. trying tn give it believa-

bility by not having hiiii talk. He's a titonster. fiend. Atid one last point. to tite~zind I've heard this before and never quite believed it. but now I dn~yiiu're friglitened tnore by what you doti‘t see than by what yoti do. The credo of the I'al I.(Il'l07I /ilint of the a

l9~l0's.

.

.

That's it exactly. There's that off-screen noise. . .aiid you doti't liaye to seeaperson's neck ripped open. just that quick cut of the vatiipire or whatevt-r. II hand coming itito frame. is more frightening. HALLOWEEN was the best horror filiit I've seeti in the last live to seven years in that respect. because you were jiitiipiiig otit of your st-at every two tiiiittites. and eveiy set-tie was iiiaitipuIated— btit it was a valid scare. And that. tn itie. was iiitportatit. You really weren't st-einga bloodhath tip there. It was alnittst like seeing :i 3- D inovie. because things were juiiipiitg out of the scret-ii at you. In a way. I think that's what any good horror filni tries to do. Spericiilly, ll"ISI' iilrti It‘!!! the .\'()SFER-IT!’ l00h' yutirt, Haopi-r'.r. /he Ilttlkllp niiiiit Mine. We brought the coticept to the make-up artist. and he iiiade a few sketches. . We'd say, “No. wt- want tlte t-yes darker". and it was hit and iiiiss. trial and error. It went like that until we had what we wanted. And early on. I knew who the actor \\';l\ going to be. Even back when I ivorked with Paul nn the screenplay. Barlow. once he was determined to be ugly. was always going to be this one actor in iny tiiitid. if he was living in the United States. Reggie Nalder~ hadyotiseen him in M.-IRK OF .

-_ TI/I" /)I' l'll.7 Nu. I rt-int-tttht-retl hint lrotn Hitt"h~ t'tu‘k‘\ liltn THE MAN WHO KNEW TOO .\1l'CH. tlte retnttke, ztntl l thnttght he had a rt';tll\' tt|t;tttrat"ti\'t' litre then. He was the one liar ttte.

(fttrltt Httmngluu ttml hmt m 1| Tl'!/ttnttnt/rtr ttgtt, IYII' 1)/".~lI) I)Ot\"I' l)II~f 119741. Rt~.tll\';’ He t>l>\'it>ttsl\' works sporadically lterttttse ulltis l;tt't', nttlnrttttttttely. Bttt I knew thttt il the tnztn \v;t.\ itt tttwtt and ttvttilahle. that \\';t\ nt\' Bztrlow. Nt>lmtl_\' else was eottsideretl trr t'\'t~n tli\t'ttsst~tl. .\'n um IrIr.u'npnI [hr hank 1t gmt! rlml—

mm

Irtmmnl tltttlugur, rnrrthtmvl rhnntrlrrs. Only lat-t';ttt§t~ tltt~rt~ was nn way of doing e\'er\'lmtl\' itt the tntvn. t-apt-t'i;tll_\' when their latte was rt~l;tti\'t'|\' the sttnte. lt's a stnall town til 2.00!) pt-ttple ttntl we tried to ctttteetttrate on the tlortnr itt the tttwtt_ the sherillin the tttwtt. the tltildren in tlte tttwn. and sonte other pt-ripheral t"ltat':tt'tet's—:t representative ('rtts\-s‘t't‘titt|t. Bttt where pnssihle~ex(ept in tlte t'lI\l' lil \\'httt t\'nultln't trttnslate t"inetnatit';tllrttr\\'tt.\ just ton lttttgiweztre \‘er_\' faithful tn tht- hunk. l~ tw‘\ bmlt" I 't'r I/mkrn In mt S.~ll.E.\1 '5 LO Trays CB3‘ mtnlt I/tr trmtttr mt tn .\.'m't'mln'r. !.'ttn yntt do .

v

t

,

llm/7 l kttnw tltt'\"tl ln\'e to pttt it on during tlteir Nu\'t'tnlter rttlings sweep. and l thinlt it's at gtmtl piere ttlitttztteriztl lttr at sweep week. But I .tI.\t> ltnuw that in this sort nlntnvie. a gtmtl. tlttltusplterit‘. ttltl-lasltiuttetl. Bernie Ht-rrni;tnn tvpe store is essential, and we've gut tn get that done vet.

I)n_\ut1!lttt|k lll‘ ntnxmt (IRS might be mt.\'|tms ta mt m .\'utwnhrr ts Ilttjv tlmt'I mm! 11 ttamptrz mnmr mt ttrr F17“. Hm! /he rrrxl tt‘tllhattt'pa1ted.7 Nu, I dttn‘t think that's it at all. This craze ts going tn gn l';tr l1t'_\'ntt(l the end olthis year. E§p<'ti;tll\' wht-n t't>tt'\'t- gut so tnan_v important tntt\'ie.s cntnittg out, itt particular Ku-

gr!

‘

t1

hrit’k‘s THF. SHI.\llNG~anntht'r Stephen Kittg novt-l which l'\‘e got to l)t‘lie\'t' is going tn he ;t tttrtsterpieee tltat'\ going to lead all oltltetn. l \\'ottl going to (arty the genre t-\‘t'n lttrtltt-r in sttrress antl lottgevity. .-In‘ ‘wu mnntrttrtl ttbnu! Tl' (¢'rtmrsht'p of S11 l.1*.\l'S L017 Well, tn_\' probletn is
Top: Barlow tllrgir Nalrlrr) Italtit Mark Prlrit (Lam! A'r|'w|'rt) in Ilit grip in Ill! srquntrr wllrrr hr kill; Mark‘: parntlt and ron/mnls Falhrr Callahan. Producer Rirllard Kobril: (hut! Io ga bark In Illr look 0/F. H’. .\Itu1|au's

NOSFEIH TI’ tr lllr mar:-pl 0/ Barlow brrautr It! tttartlrtllltrttampirr in SA LEM 'S LUTIO be Ill! rumrraf mil. in Iarl tn well at in ap]|m1‘n!t(r. Botltnrt.-_/ante: Mltmt tltlditi Mt S/lI.I'f.H '5' IDT tlfipl in hit drrtsing mam brlzuun trrnrt, willt hit tutfr (.'lnrina Kn_\'!. wlla play! Matjarir lilirk. artr a/lhr ttampirrs srm in lltrlmt .'Ha.tnrt play: Slrarr, BarI0ut't smtan! and arolrlr.

Will CLASH OF THE TITANS

be the film to take Ray Har1yhaitsen's Dynamatinn process from citlt following to tnass audience 3('&'t‘pt— ance? Budgeted at SIO million and boasting an all>star rast including

Lord laurence Olivier. Claire Bloom Maggie Smith. etc. [see 8:~I:3ll. producer Charles H. Schneer ought to be justified in his optimism. Little word has leaked from the production apart from some carefully word-

ed press releases and some prestige publicity shots bv Lord Snowden showcased in one British tabloid. The Daily Mail. and a glossy Wnm» an's weekly. The fusion therefore. of talented actors. an able director (Desmond Davis. renowned for his

romantic lmsl, a strong screenplay adapted from Greek mythology. and Ray Hanyhausen‘s award-winning Dynamation stotp-motion animation technique. coul .and should. work. Theeffectswill be integrated into the lm. not just set pieces holding togethera flimsy foundation. which has

three Stygian witches. who share tnie eye between thent. the rwo~ht-aded wolf/dog Dioskilos, Medusa. thegor~ gon. antl Kraken. the primeval sea tiionsier. It was in the last weeks of shnotiitg the live action sequences that we visited the sets of CLASH OF THE TITANS at Pinewood Sttidios. Tlte protliictiott was in the process of filming a scene where AtidronietI.t‘s spirit fnnn is being nianipulated by the evil Calibos. which ultimately etids with a Harryhausen vulture carryitig her off in a gilded cage. While the set of Andromeda‘s hedroom was beittg draped in black velvet for double-exposures to he sttpered-iti later. we spoke to director Desmond Davis. CLASH OF THE TITANS is his debut in tlte fantasy genre. Bnrn in Londoti itt I927, Davis began his careerin films as a clapper boy. and duritig World War II served with the Army Film Unit. As a camera operator his credits include A TASTE OF HONEY.

pieces Wl'Il(‘lI one has

l)lI\'ltIIl\l\' atl-

mired. by people like Ray and nt.ttiv others in the effects eld. But I have never been itiipressed with the standard ofactingthesefilnts usually contain. and as oftt-ii its not tltt'\‘ haven’t het-it very well tast.

lllmltl tau no trmrr qflhr hutlgrl hits gum In Ihr tlart mllin Ihmt llir r/frrlt’ For this filni. tlit- lnidget was stratied into an over tIu- line hitdget aiul an underthe line hudget. The

ttitderthelinebiidget. which incliid»

ed all the special effects. reitiaitied

untouched. MGM increasedtlie over the line budget to .iccomodate sortie of our artists. so nothing has been sacriced for the sake of st.tr n.tnies. Hurt‘ aunt-rrabIr1n.\1(;.\1 are

tan’

sitppose tlit- director is t-ter~ nally exposed and answerable to Metro. but we had had longnieetings before the film began. I went to America to rast the tnale leatl and ntet theni there. Win um Harry Hamltn rhntm and tvltni did you 51411 an !h!lm7 I

will oiil\ etili.iiu't- the Ulletls and in.tkt- tht-ni ;ill the niore believable. At lirst. I lonntl II hitrd to dirt-ct thelilnt on Itelizilfof IlI(‘il(It)I'\. How do you gt-t .tn itcntr tn react without let-ling l}ttilisIi_ when vou .i\kiheintn \l;t|\tl there and get stmngletl hv stniit-tltiiig that i\|\'l tliett-9 I worked with them ti lut tn overctniie their n.itiir.tl—— shall we \.i\'—eriibarrass.inct-s.

nient .tI>nnt ghtiitg nothiitg. The whole thing Itt-mines very l7l73fI’t'. pltotograpltiitg thein with six-foot httrdhoard ctti-outs. Yoitjtist have to work hard to inake that sort ofthitig st-eni possihle. If vou take on a pic» titre like this. it does inake cenattt lnttit.ttions. Sonic sci-iiesjustcan'the tltnie .1 different way ht-cause of the extensive pre-planning and the fact that the cainera has to he locked-off in certain positions. It is frustrating at times. when the camera set-tip sottit-tiines isn't the one that you wottld ultitiiaielv choose. I always rehearse on the set and sometitties before, ifits a major sequence. By its

Charlos H. Sohnoor, Ray Ilarryhauson. and dirootor Desmond Davis, tallt about filming

“How do you

get an actor to react without

feeling foolish, when you ask them to stand there and et strangledgby

something that isn't there?" Desmond Davis

tho latest Harryhauson

Facial Pqc Iiluu o/lite ktteld Chnletll. Sdtnm (wold) utdlay Hmyhntuti

l

ftKall'nIt.

Ilud: Diltor

nu-mid mitt was Magi!

~

Saiilh and Umth Attdmt (vigil) on ML Olympus mt Page:

Filiiiinganyolilitt

.

at Pennu. int hit yttnl. ewuing the lion Styx.

Interviews by Mike Childs and Ala.n_]ones often been the casein the past. The story. echoing Schneer and Har1yhausen's previous filnijASON AND THE ARCONAUTS (I962). tells of attempts by Perseus (Harry Hamlin) to win the hand ofAndromeda(]udi Bowker). Hamlin. an American actor. was last featured in Stanley Donen's MOVIE MOVIE [I979]. and played the lead in the TV miniseries STUDS LONIGAN; Bowker has been seen recently in BBC-‘IVs production of COUNT DRACULA, starring Louis Jourdan. The gods Zeus [Laurence Olivier] and his wife Hera [Claire Bloom). along with Thetis. god ofthe sealMaggie Smith). Aphrodite [Ursula Andress]. plus sundry others played by Burgess Meredith. Susan Fleetwood and Tim Piggot-Smith. look down at Perseus from their lofty perch on Mount Olympus and decide, according to whim.whether to helpor hinder him in his pursuit. Perseus is aided in his task by Pegasus. the winged horse. and Bubo. the owl, to overcome the so

22

-'

_

1:

_

THE LONELINESS OF A LONG DISTANCE RUNNER and TOM ]0NES. In I962. he directed his rst feature. THE GIRL WITH THE GREEN EYES. following this with I WAS HAPPY HERE. THE UNCLE. SMASHING TIME and A NICE GIRL LIKE ME. His most recent credit was the British television version ofWilliam Shakespeare's“Measure for Measure."

Int’! this a slmrigrfilm n you In be directing? Ajler all. you've never dime a znlaijylm befnre. Yes, this isadilferentlm forme. but I do see it as a mixture of myth and fairy story. like the sleeping princess scene we are shooting now. I've always done more romantic lms and I see my role in this lm as presenting rst class chatacterization. lwon‘t bestressing the romantic element so much as making it complement the special effects. The

lmsofthisgenre.inthepasbiflmay

review them. have relied solely on set

-—I started on the film in january [I979] and cast it then. I hadn't seen Harry in MOVIE MOVIE; I had just

met him. We saw about 300 young American actors in New York and Los Angeles, and I was very unimpressed by most oftheni. You know. they were all archetypal 'spacernen' and Starsky and Hutch-type cops. Fair enough. though. That's what most of the work is for them at the moment. But I chose Harry because he was an actor front a classical background. Why do you llttrtl you tune charm at dim-tnrby Schrieer and Har'lInurm7 One of the reasons why I was chosen for the film is my technical background. It proved. I think. that I could work with Ray very closely and not become totally baffled by all the double and triple exposures. the mattes and blue screen work and puppet animation. With Ray and I working together. it means that the real characters. which I believe I have brought out in the perform-

effects tour do force, the Graolt myth of “Porsous and tho Gorgon's Haatl." with ii Iiig budget, all-star cast.

very nature. the filtn has few long dialogue settttences. but I always nin throitgh it and try not to go beyond thethird take. as I dotftwaiit to lose that freshness. Why tent lhz Iille thzingrdfmm PERSI-'l'S.-t.\'l) TH!‘ GORGO.\"S Hl~I.4I)' Oddly etioitgh. I'd itever heard that title hefore until you ineniionetl it just now. I wanted it to be simply TITANS. hut MGM's market research team foinid that the general public would think it was a lm about l)\l§lIIl’§§ exeentivt-s. MGM thought that the more vulgar title would he itiore than compensated by the cast list. I've pondered the fact that the film might appear dated whett it nall_v opens. what with all the science ction lm competition around. but these lms do seem to have a great deal of sta_ving power. Columbia re-releases all the old Harryhaust-n's year after year. and they still seem to nialte money. , Davis will tiish

an assenibly

'4

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“There are not many picture makers in the English—speaking world who have devoted their time and attention to stony material set in Greek mythology. We did that once before in JASON AND THE ARGONAUTS,

and now, seventeen years later, we are doing it again in CLASH OF THE

'

TITANS."

Charles Schneer

rutttglt tttt \\htt lt wtll then lte |t:tssed tttt In R.t\ ll.ttt\lt.ttt\t"tt llte re|e:t\t' tt.ttt~ lu-tut: t..1t.-.t ..t».-ttt .tt the ttttt~ tttettt t~ Sttttttttet l‘Ihl htr the l‘ttttt~tl

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24

“M°§[ of thc cects in

CLASH OF THE TITANS HIE in lnlCg'l‘3l P311 Of the Mo‘-y_ They‘!-e not just -

Fhrovffn In

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Fhe sake of l€V€lCd

l[ IS 3 CYIIICISITI

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at our ‘lms’ g

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lot ofpirtures do happen thatway. of course. but they bought the story, the ingredients. the magic ofwhat we can put into it. and all these famous stars fell into place—may I say they iumpedat it with alacrityi-—and nobody in this picture was paid two or three million dollars. if you get my mean-

least ten or twelve ieqiieiices where they'll be used. Ray and I tttkea long

time to develop a project, and when we go into the inarket place with it. we have it eittiniioiisly well re searched. very well designed, superbly costed— which is a ina|nr factoreand with a blue ribbon tied around it. The distributor has very little to say to us once we bring it to them. They either want it or they tlon't watit it. We find. fortunately, that we have ntore than a sufficient nuitiber oftakers forthe ltintloffiliiis we have made. We're happy to say that our track record is very, very unusual, and it is the first time Rav and I have combined world-famous stars and. now after twenty years. a world-fantous process. Do you /rel Ihal CLISH OF THE TITANS

uill

appeal only la your cult

JASON AND THE .4RGONAUTS. The story is a natural development from JASON. There are many Greek legends—this is a different Greek le end. It so ha ens that I ll (TC al'(' K"OI manyplcture ma (‘TS tn the English-speakingwnrld who have devoted their time and attention to story material set in this mythology. We happen to have done that once and now, seventeen years later, we are doin it it a it ain. We chan it ed the title because the word Perseus has some kind ofstrange connotation in the American market. It's one of those indelinable reactions—I think few people are born today that are named Fannv, which wasaverv o on't u I ar name in ictonan times. Idpp think we would call any hero today, American, English. German. Italian, any bov, Perseus‘ We needed a title t at i n'tre | yont h at name. CLASH OF THE TITANS is an interesting combination of words that causes a great deal ofintrigue,

zllautngf Well. I can tell you Olivier has cult followers: so does Maggie Smith —theyallhavetheir own attractionto various audiences—but I think that this is the rst marriage of major dramatic talents with major special effects. The consequences of that marriage are yet to be determined as to how acce tableit will be. Wethink I C PDWP U lflgff d‘ll'l\l§ ll IS I Hg that any (picture could have. All it lacks is a og and a baby. Everything else is in it. ll'lr\' dalyou rhaore Desmond Dam? He has a great facility for handling P eo P le. I saw a P icture of his a number of years ago called THE GIRL WITH THE GREEN EYES. I remember it verywell because, atthe time. I said heshoiild direct a picture for us, but we had nothing for him at that “"104 When we came to this is name y is I was given picture, ' agent‘ So I said that's the fellow we'd like to have direct if the material a eals to him. and itturtied out that e's a one a super _|o . it I . FIRST MEN IN THE MOON Ito: been your only lm in Panatition Year: ago, lltal tau.ted complications. Hat lhu

lltu tlm7 Certainly as much. After all, every picture goes about I20 minutes. and we have a Dynamation sequence in every reel. so you'll end up seeing at

Oh! There's room alright. but it presents optical complications to stop-inotion photography that. in all honesty, Ray doesn't really want

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legends’

luiee you returned la lhe Greek I! seem; like a throwback In

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urlnl Mmdilh,

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changed? It there roam in your lm: recent tmioeationt in lhe e eclr ell!’

in Olvllliart garb. an Ioealiall utllll

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to rope with |C_LASH OF THE TITANS ts being filmed Ilat]. I renieitther many. many years ago. when we rst startetl in this business, Ray telling me he was fearful of moving from black and white to color. I had to push him into it at that timeand he was very upset with me for goatzing him oti. Iwas not as sensitive tot ese prohleitis as he obviously was. I eitplained to him that the future ofthe

businesswasincnlor.andthathehad

to gel used to it. He then said that I'd better put a bed alongside the caniera because he'd have to shoot all night long to nish the sequenres before the temperature changed from day to night. He's been sIeepinga longtime now with his bed next to the camera! Ir your 1|!.\'l proprt going Io be Sl.\’BAD GOES T0 MARS’ We always have projects in mind. We talk about these things for a few years and then nally it germitiates. We do have a story? some of it we like and we're still working on it, Columbia is after us every fourweelts as to what it is. Your long partnmlttp ietllt Ray i.i almor! unique in the motion picture buttnext. To iehal doyau allnltuteyoursurcen

l!Itn7 DR!

see.-a.iaciQ

Two things. First of all, we have enormous respect for one another. Secondly. we're diametrically opposed on everything and we agree about very little. The one arrangement we have between us is that we have to agree to agree sometimes, because if we continue to disagree, nothingever happens. Sowe havethe right ofveto over each other and that fomuila works very well for us. It's often saitlthat familiarity breeds t'ontempt, iit in our case we ive exact I y two doors away from each other and have done for not-nty years. I would sav that those two doors have ntade “ab sence ma k er l1 e ll eart grow ron d er." We have a unique arrangement. Our interests outside the movie in» dustry are widely diverse. I can't think of any area outside of our mutual res P ect for each other on which we totall_v agree and that, I think. has kept its together for this length of tiine. We don't infringe on each other‘s specic areas, and on

b'

.--

ipintioii picture industry has vs III

iilly recognize. He is a ina|ort ent in a niaior eld, but being away from the establishment. which is California. althoitgh he's a native-borii Californian. he is not part of that establishment. although he has been recognized for what he has done and his books widel_v read. His comments are witlelv notetl and his position is mily establishetl among people in that eld or trying to arrive at a position in that eld—_|iin Danforth is twenty vears younger than Ray. There is nowhere you can go in the cult field orthe professional area that does not know his work—workthatis highly regarded. There are major cameramen throughout the world who have written to us and called us totalkahoiitshots.Thereis no higher tribute _vou can pay toa niatt who has three Oscars for photography [sic] when you get that sort o response. Doertlgelltardertolltinlo

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Charles H.

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Pt’! Ilmdlhe[I7 Hf! ]('ll)S is to remind Ray U

dinrlin Dnntalll Dtntit. Righl: lord Intlrmrr Olittln a.t lun.

“W

that basis we've got along very well. atttl ‘I set-_ no eittl in sight tn that relationshipas far as out professional careers are coiiceriied. Whvtlo you think Ray LI tlill the Wl11]l1Y me in llte animation eld Ioda\'7 He has a unique talent which thi-

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One of my

during story meetings whether he's

used ideas before in a picture. I've got a long memory in that respecthethinks he'll piilla fast one. Irefuse to re P eat ourselves. He can write in his book that there's‘ nothing new under the sitn. but if I've seen a picture with any similarities. out it goes. It's not a conscious thingon his part‘ He has usually just forgotten. I will 'osh him about it, it's all ood un, iii insist we t in o something else. I'll say ‘how about this.‘ He'll say he can't and that means I know he can. I'll tell hint to gure it out an d , sure enoug ll , two or t ll recdays later he'll conie back with it all worked oiit. This is how our partnership works— it's very productive for

fJbI"

h'kIg

both of us. lion‘ do \‘l7Il eel about Ihe amatml o lime il taker lo zamplrlr your pictures? It's exhausting. Sometimes you can't see the forest for the trees. Very often, if a picture is in the editing .

Srlllllrl. and Ila)‘ llarvyhautm relax

-

an llte trl.

av"-.' stages. I won't see it for six months. and then see it with something fresh to coturiltute. I generally retncittber every shot and fraitie and see all the ntshes IIItITl'Il13ll a|iybt>cl_\' else. I see

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them three times to most people's once. and with very few exceptions.

I

don't forget anything. Although I‘ll tell you Illlsi see one olotir lms on television. from fteen or even

ifl

ve years ago. I won't remember it. I have to look to see ifit's one ofours.

Once it's till the line. that's it. I wouldn't be able to tell you the next shot unless it's really spectacular. Ray can. He's got a videocassette machine so he can nan his old pictures.

We hnaat ane a/yam /at-ante iequencei tn any 0/your/ilmi u the rkeletan

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SEVENTH VOYAGE OF mainly because af Bernard

Hemnann': ntusie. Ila you have a ram~ n CL~1SH OF THE TIHII/S7 When we start our pictures we generally feel that our composer hasn't been bom yet! By the time we get to that stage. two years have usually passed. I don't really like to think about it until I can say to the composer. "Here's the movie." It's /rater tn mind

"O".

got to lit. Music is a most integral pan

of our whole \'isual presentation. Obviously. we would like someone of the calibre oliohn Williams. but we don't know w at his availability will be—we haven't spoken to him yet. but when we're ready. and if he's available. we'd hope that he'd be interested. He is a man who certainly has a proven record for great con-

temporary music for this particular genre. which is what we need.

What do you nd interesting about u-reenturttev Beverley Cum’ mark?

We make a classic kind ofrriovie on a classic theme. and he is Dxfordtrained. speaks Greek and is steeped in Creek legend. He wrote JASON

AND THE ARCONAUTS as well. and rather than look up an Oxford Classical dictionary. all I had to do was tum his pages to know I've got a fellow who knows what he's talking about. Also. he's a super dramatist. and he'll gure out ways to make the story work. OI course. he's worked with me for twenty years. He also worked on HALF A SIXPENCE with me. I'm a great admirer of his education and his ability to work with us. Incidentally. he is not the reason Maggie Smith is playing Thetis [they are married]. She doesn't need him; she's not looking for work! We spoke to Ray Harryhausen in

double-locked workroom in the Pinewood special eflects complex. Working again in his usual veil of secreqz the only indications of his work on the lm were the xeroxed storyboards. oil painted production illustrations of major scenes. like the lloodingofArgos and the emergence of Kraken from the sea bed. The latter scene. incidentally, is one simi> lat to the Neptune sequence in ]ASON. The on y model in evidence his

was a beautifully-crafted Pegasus. the winged horse.

one of which is to be used for longshots. Other models are still in the process of being made. Harryhausen is well known for not wishing to discuss his work in detail. particularly in the

Ifrrllilg

llle iplnidat a/it

pelt rity in an ancient tmrlil

formative stages of a film's production. Neyenheless. he was more than willing to talk generally about CLASH OF THE TITANS. Why were yau an the ret thilt manttng was a simple super-im/>o.ttttan7

/in tehat

There were a number of scenes this morning that needed double exposure. I like to control all ofthe lm's special effects. What doe: the large budget mean ta _wu?

It means we have a wider scope. Apart from the Dynamation se~ quences. wealso hayethe ooding of Argos. which is usingabltie screen 75 feet b_v 25 feet. Actually though. we had a larger screen in the last picture. but this one will be more complex. involving as it does a number of people walking in the distance. etc. Hate many snakes will the Gargan'r head contain? Twelve. I think I haven't counted them. otherwise I'd be very fright-

ened about doing it. It has to looklike a complete head of hair. It won't be like the tentacles in IT CAME FROM BENEATH THE SEA. where we had

toskimp. Medusaisamajorproblem but it will beovercome. The pictureis full of problems like Pegasus. the ying horse. Strobing seems to bother a lot of people for some reason. I think it's a fad. It isn't important to us at all. It's never been aproblem that couldn'tbeso|ved.At the moment I'm working on all the effects myself. We did talk to Jim Danforth about doing specic things. He's come up the hard way. a fan rst. Mostdrop outwhen they realise how much work it is. When we finish shootingthe Iiveaction. it willremain to be seen

ifl need help.

an example 0/ l‘Itl!7_\"||IIl.t!Il't

What other e[?tt.t dayau hatteplanned

the/ilm7 A scorpion is beinganimated. It is being built. as the real thing is fartoo small to use in the same way that we used the crab in MYSTERIOUS ISLAND. The Stygian witches are a large sequence. but that is all live action and makeup. Bubo. the owl. is in fact three things. A live one. a radio-controlled one that aps it's wings and rolls it's eyes and a puppet one for further characterization. It makes it easier for me. A ntotnrized robot is yerylimiting and the anintation will make it more exible to the dentands ofthe script. We cut ellects down in otir last picture. Most ofthe ellects here are an integral pan ofthe story. They're not just thrown in for the sake of it. It isa criticism levelled at our lms, but I think ntost of our pictures lend themselves to this integration. Haw rlasely are you working with Ia appear in

Desmand Davis?

Very closely. We discuss every problem and nd a happy itiediiini. Once you leave a location you can't go back. My production drawiiigsare very important. Everybody seems to think we have excess money on this

liti. We've always been in the position ofgetting spectacular elfects for far less than other companies would have done. Sometimes that's not al-

just because you spendalotofmoneydoesn‘tmeanto say the ellects will be better. ways appreciated.

utilizing any of the neuter the/iela" There's been very little technical advance in my department. Some of our more shaky matte lines have to be blamed on Eastman Kodak. You are not always blessed with accurate Are

_vau

techniques in

rm tttiltm

budget at tiara

sprocket holes, but we do the best we can. Dayau thin! the M1110! rtarr cart tn Ihe lm I41” legitimize !)_vnamattanY It has always been acceptable. but I am still undiscovered hy the vast majority of audiences. I run across

people all the time who've iieverseen my lms and when shown them are very intrigued. particularly by the amount of work involved and our film's very unusual qualities. People prefer to see perfomiers theyknow of in a starring part and that's what we've attempted to do. I think we have an excellent cast. all suited to

their roles.

Yau 0ht't0|trl_\

still tile the challenge

thesejiIm‘r /imrn! at vaii titauldn‘I

rtill he

dairig them? Yes I do. I don't think ahotit the four years in front of me. otherwise I probably wouldn't tlti it. Von have to

take an attitude about the im ortanre of the characters in the lm. Some of m_v stop motion characters have plaved very intportant pans. What ahaut SINBAII GOES T0

.\HItS'

We were working on both at one point. but not now. SINBAD has been abandoned for the time being. until we are well under wav with this one. It tttight be otir next project. it depends. The Space tycle may burn itselfuut. It depends on how quickly we nish this one. and the money of course. We would have to go in a different direction for the creatures

on that project. What abautyaur batik? They wanted another chapter on the last SINBAD and this one, btit I think we'll have to stan again and dti acompletely new book. Theprohlem as always is time. U

27

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TIME .-\l>'l'F.R TIME opens like the kind ol sehlock shock inovies that have detailedtht-sorditIadventitres of slash inurtlercrs lilte_].tck the Ripper: an obvious ladv of ill repute wanders dr\tnkenl_\' tutt into ii ogg_v. deserted street. The poitii of view camera watches her lot a wliile. tlieti with echoing lootsetps strides oil towards her. She stops. re-arranges her dress. as she r¢'t'ognizes h\' the "line clothes" a potential cttstonier. accepts a gold coin. and leads the pointed-out way into it dark allev. She -tsks the naint'.the liettertopers
passion. A voice savs, “My nante is _|ohii" Ipun intended], theti continites with a Bloch-ian “But tnv lrieiids (‘all inejackf" A plunging, tearing sound. a squirt of blood. and the ladv. eves staring. Sll(l('S out of the lratne. But there the resetnhlance ends; TIME AFTER TIME is a rohiist. spl('|\(litll\‘ detailed entertairinieiit that with its siiperh t'ral'tsinanship aeeotiiplishes the rare. il often atteinpted. feat of mixing rornant'e. cntnedy and horror. Thetime is“L.1te IIW3.“ and we cut lroni the altennath 0lIII\lH‘ll‘f—

by D3Vld B3l'tllOlOITl8W n.

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mitt

the nal view is a grittil\' ell't-ctive shot of the silent. mistv street. .i stream oililood working itsw;i\'niit tn-in the .tii@\-- tt1alttglt\'i('lt\tiatt dining rootn and a tliniier partv hosted liv none other than H. C.

Wt-llsiMalt"olin ittt-[Jim-I-ti». tiitltke the other Ripper movies. vrliirli are

IY\\'\I('!'ll'\. there l\ no dtnibt in TIMF. as to the identitv of the cttlprit. as David Wariier soon enters. late. atnid nntrh inention of his ttitnic. John Stevenson. -I re~ spectedphysnian. Wells snort heads his guests into the lItl§('I\It'l\I, where his latest creation. it time machine. sits rather lorlnriils, looking like 4 sqiiashed-together 60's Caddy. The guests scolT. httt when the police arrive and find Stevensoirshiig with its hloodv gloves, the |lItlCl\ItI(' is It‘§ll liv (l\(‘ Ripper, who ilI'l'l\'l'5, acrortlitig Ill the time indicator. in Sati Fr.iiicist'o on Nov. 5th I970. Feeling responsible for unleashing apsvchotic tniirderer on theftittire. Wells follows hint to try atid luring him back tntusticein his owntinie. Writer and. with this lm. lirsttiitie director Nicholas Meyer has niade a healthy living usitig historical and/or other people's latnotts ctional characters in newlv created advennires, chiey Sherlock Holmes. whom Meyer has always roiisidered. along with Watson. asreal-lifemeii_ in The 7 Per-Cent Solution and The West End Horror. two elitlionttelv at'cniitttetl-lor “resurrected. iinpiibltshed ntanttscripts" h\'Watson which Me_ver tlaims to have only "edited." {He alludes to the intportanre olHnlmes itt his career hv havitig Wells. wheti things get rough in I079 and ht- goes to the police. ttsing Holtnes‘ naine: storvwise. it is a detritneiit to his nwti credibility with the hardened Cops). Unlike in the novels. whirh function on the readers sttpplving a hearsav historical eiiltureihow accurate it is makes no differente to the enji>v~ ment ofthe stories). the concept of realitv is rentrtil to TIME. Ittdeed. Mever gives us two realities in the liltn. with the rst the resplendetitlv rerreated late \'ictnrian era. designed lav Edward C. Carfagno. Fora lime. the opening street set [the weakest ol the lilnii designed

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lrotnthewittviiiterpl.tvitignl l‘liint~

iner and .\l;isutt\, This tinie period is wt-ttv pm-~it~.tl ';\lIl\‘, .itt|it»ti,;tt

as at hiidding liitiirologist he feels toiilitied antl lII\pill|l’l\l with it. \\'el|~. ltmks lor,

hv teiiiperaiiieiit and

.

.

ward tn using his new ttizieliine to tr.ivel Iorwtirtl to the liitiire. to (lI\— his predirtt-tl“ittttpiit/' What cover . _

.

he ltntls iti\tead is dying-7ll s San Fl'Ill\l'l§k'l). The eitv is a ('\lH(I\l\l\'

good ('l\l\\tl' of ltIt’t|l(‘ hv .\‘lever in V\l\l(h to place his LllI\(lIlI\-lJI‘I\llI.|f Ripper, with its green parks. divt-rse .

.

-

-

.

populationattdttittiltvrtttlilelet-ling, of all the large Ainericaii (‘ill(‘\_ til open spat'e\. ltalsn hasaiiotiirititis_ t'.tr(‘l\ill\' prti§t‘t'iht'd sleal.t-area, in North Beach. as easv for the Ripper to slide into and out of as his old Sohn hatittts. If all inovit-s, even dociinit-ntaries. are itnreal, ollering only a .

lininaker'sinterprt-tiitinnol"'re.il~ itv". Mever gives its clever and ronciset'harat'teri7ation t>lthet'li.i~ otit. at tinteslitt-rallyahsitrd quality of tnodern life. We watch Wells fiimhle for a grasp on it. as he comes up against automobiles. traflic lights. Hari Khrishttas. McDoualds. molded plastic lables(“l never saw wood like this heI'ot'e"l. escala-

tors. and movies. tWells hides itiider his seat tlirough“Exorcist IV," while Aniv Marv Steeiil')iirge|i\. the wninati he lallsin love with,t‘hideshiin, i

“It's only a m0vie.I. The qiialitv of lift" seenis siitntned up hest in a shot

ola conflicting pair olnewspapers:

tabloid beside ti legitintate nt'w.\'paper that heatllitie-sereanis “Colts Matti Rants." Toa stranger, especially otie from anothertime, it is as ileven language itsellhas conie apart. M<‘Dowell'sWellsisnotthe stitrdv adventurer of Pal‘s THE TIME MACHINE. He tells his dinner guests that despite his curiosity, he will tisehis invention when ht-“works itpthetierve." MtDuwell hritigs alt iniineiisely elTective_ lightlv slapsticky phvsiral grace to his role. He ret‘ngni7.es that tititil he gets his bearings in 1979, for stirvival‘s sake he ittttst imitate the hehaviur ol others. and in the film's brightest come moments. he hails a cab and orders food at Mt‘Donalds. MtDo— wellssenseofsurprise andastonish~ ment lcoiild his predictions he so v-'rong:‘I are wonderfully adroit. like his discovery :tt McDonalds I Frenrh fries are pommes frites!"l. More imptirlzsntly. McDowell also endows his t'harat'tt'r with a tttore serious shading, bringing out the dilemma between his love and concern for Amy atid desire to protect her. and the grim necessity of his task in capturing the Ripper. his former friend. And cutting through the romantic coniedv at various points is the very grininess of that dangerous chore. for the Ripper has begun to murder again. Meyer does not shy away from the violence of the Ripper‘s deeds. Thus. TIME carries a genuine shock value. at the risk of ollending a general audience. that a sex

adds iitiiiit-iiselv to the nveritll lilni .iiid grants it gt-tire niiporuinu-. Its l\ItNI(l\ .irt- l7flllI.|l\ll\' rellt-tied in

JIlt>\l!l'fllII('\tlItl'lt\'hlIkltI\Rt>I\..I ttlthoiigh lI\\ work l\L'fl‘l\l\lIl tip to

the l"(t[II|\II(‘l\' ni;istt-rliil level oi PRO\‘II)I-'.\l(II~‘.i. The Ii|ni‘s \t'l\\l' (ll llI.|f.\A'lI'f l\ strong. [mt ht-tore Stevt-ttsoii'\ t'ttto the dinner ptirtv in ItW'
l'l'\plIII'sllIllIll('.\ l\l)t‘fi\IItIII l’I\ltlll\. She tells liitii. "Mi" work i\' niv life." vet the evitleiit e til the iilin hardlv siiggeststhat. And slit-'\ttititewilliitg to ht-trav that eihit hv retiirniiig with Wt-llsto lIl\IlIl\('. iOl ttnirse. it alsontakt-s.tsii.tppv littppyt-ttdingi. In giving up her ltle lnr love, Mt-vet rather plLtt‘t's her itt tlte giiise of Cothit rotnance. Di-spite.tiiintelligent perioriiiatirt-. the lilni lor the .

.

-

inost pan itses Anivasnit~ret'otiveii— tional love interest. Most retnarkahly. Warner atltls a dimension to his role. The Ripper is a timeless ligiire ol iinretlt-t-med inenaee atid evil, attd ntost liilins have treated hitti as stith a Sllfk ligtire. But Warner in|et‘ts the pre~ t'ioiis element of st-llawart-ttt'\\ and inner tortneiit. At the eittl. he .ic~ redes to his fate. helping to deter» mine it. hy hesttating in pushing the titne tnachint-‘s roiitrol whith allows Wells to ptill the rrvstalline control pin. without which l\|\ a liit

of lanciliilly illogital plnttingi. he will tinie~travel iincnntmllahlv to iiilinitv. without the machine. Meyer has elicited compelling perforinaiires from all. Otie of the film's liest moments is its niost stihtle and chilling. the scene iti

which Stevenson rt-~eiitt-rs Antv's hank to exchange more gold sovereigns for dollars, In a cross-cut llit'keritigol't-ves. ititowhirh know» ledge totnes like an epiphany. Ste~ vetison realitt-sthatAiii\~is tht- one who has tiirtied Wells onto his trail. and at the same niotnent. Anti" rcalites that he knows it. and that she will probably he one olhis next victiins. Somewhat itnexpectedlv. in light of Wells’ eotnit llotindering in San Francisco. Mt-ver ronies down stirprisingly hard oti 70'slile_ so inuch so that when Amy leaves with hint at the end. we truly want her to estape this crazy, grimy lile. It is a rurioiis response, as we're stuck here with it except for tnonientary esrapes itito nostalgia. The film‘s rst sequence insidioiisly places its— a 70's attdtence—in the shoes of ahsoliite. lthy evil. 0fcourse,that thrill is preciselyone reasonwhy we go to movies. (‘§pC('I3ll_V violent ones. to participate in evil‘s motives and forms for entenainment‘s‘sake. In the lm's rst thematiecrux. Stevenson explains ttiWells, asthrywatrli

-Q’? rimtifs T1‘ iimtitzigv tll inimngc lmni thv ttiliinltnts l0llI(‘\'|lll(‘I\l. tli.ii iti thi- 7U's lii- lllh liittiiil his llllllll’. "I .tiii tht" liitiiti-. l"ll'Y(‘, I .ini lint aiii .iiii.ttt'iir." Wiliait-st1~n hini pli\'\|i.1ll\' .ii'i'littt.1tc lastcr. .t|\pt-.iriiig in \iiiigl.ts\t'.\ illlll timlt'ti:'i‘l: .tn
agvs that

truck ll\'l'T tho

U

iiliitmtt iinagrs mitil'\'l'lIl\ iti

puwtl nl |nmtl\- nrgativc histurv,

fnnii Wilts ltl .l\\1l\\lIhlll(II\\

ltl (ll\tl\ll‘f\. 'l'lit' (‘llfl\' .\l‘('llU|\.\ ol ilk‘ ]U\lH\(‘\' \l\l' §l'\'(‘llIl of P;il‘\ t~llt~i'i\: intiiprt-isiiig ttntc lw showing tlir spiiniing clurk li.iiiili and !pi(ll\' rising illlll wtiing siini. l\l('\'L'f thus pilsils ili.it \'N\l{'l\l‘l' tsthruiilv si.il)|t-i llCll'iIl'l(‘!'l\lIl iilall til lllI\t'\ tt\'|lt1.t||nii~. l'ht' t'\'ani~ stunt l|\léllll\' tililm ll1(’tI\t’, ltII|IlIl'(l in

ll\t' iiili-_ l\ pintinli-il thrinigh in

lIIIl'U)Il\pl(’Xlt|\‘t'l’(‘ll\(‘1]ll(‘IIl'L'I\\’l\('l\ Aniv \.i\'\ how nnirli slit" (l(‘l('§l\' rmlt-iiri-. hvr \l£lll'II\(’l\l tin iii with Ill!‘ prt-\'im|\ "\U\'ll' \'ltIlt‘I\\'L‘ \ln(‘l\|ll\'('\l i"F.X(\f(l\l l\"'_ ih wt-ll 4“ lot its, TIMI“. .-\FI'F.R Tl.\l l~.\ its wt-ll as Ill!‘ l'll!'l‘t'lIl rt-;il—lili- \('l’\(‘\ til lIl\|Ttlt'[\ .intl l4l3ll\' I0 lirr nwii pr<~lll\'lt'lllll‘.lll\\'lilllll'Il('\\‘\|I-l|Il‘f stun: l‘lti~|.ttt¢~nli-t.iil ‘ iil1l\.tI\tItl|t'rttt')3.t[|\‘L‘ w.iil ltl 7lI‘~ llll'I I\(’\\'§|);ll\l‘f\ tlnii‘t .i|w.t\'\ it-ll ll\(' ll'\lll\\. Di-ipitcsiii ll ll!Ifll'illl'\l\ll1\lI'lI!|{

rm nltndrmui grriir I.\'iIIlIII Krill in .4.U!I.4,\' .4DI'F.\'Tl'RL.

\‘l§l'll his “Utopi.|“ iti .1 trilugv til wnrlts ht-gitiiting with Antit‘ipations. wntti-n iii 1'-ll. Thclilnt liintsthiit l\i\ I979 \'l§ll l'
lnrluiln 1-/W4 .4

,

-

~

the dci-p pt~\-

,

-just another T0‘-"In? ma[in@e feat“;-e_"

tlnintm design". Elliot Snllt. Spnul rri tn \U|Il'I’\l\llf,(;Il'll'(;Ihh! Mailrrlln-rt\lCIil‘[ ‘§:l|"‘ml";""* l‘:’l|""“('_‘- Chill" 53'1"‘: B-1:‘ PH="|;-i‘;ir."":»it-m:';':':r:gm‘:’:"'

Hl'll\('lllIlL .\lL'\'(‘YIZl|\ill\U!'('\(Iflll) the niust (l\lIlllll\' in.tntpiil.it|\'t~ Ill lll\l\'tt‘ tin ks. llll(' ll\l' iuirimn mlil dmigiiili-t.til\i>l lllt‘Illilll\|lIl'I!(‘(‘tl(‘ll In m.itt~ llll‘ pllll \\'titli Hr .|l\l!

Sllllhlll and luss uflaith iti iii.iii hr l‘Xp(‘l'lt'IlC('(l Il(‘il!llH‘('II(l ufhts life. ti-lli-ttctl in §lll'l\ harrowing, WW ll—ittll\lt'titt'(l l'1tl
II\l\lII illlll ln-lii~l' itt innit, ilIl'l('l\' .inil tltt' fiitiiic. which l\('\llIl\'('fl(’(l

rmm Hlil

thrtnigli her .ip.|itiiit~nt ll\' Sl('\'<'n-

W79

llIl't(‘\\l\ll)\A'.ll\'ll)\Ill\'ll('lllK\ll-“I'll

still. ll|\.|ll\' hiiliiig in .t t‘l(l\t'l_ A \('l'lll' l.ttt'r. wv st-i~ .i \l‘\‘l‘H‘(l .iriii .ttitl.i lui ul hlnnil Olitiiirw, /\Il\\‘ lllH\\ up .lll\’(' .|nil \\'l'll. itnil wr

l('i|H\llhlllll(‘\’ll'llIIIV\'.l\ll(‘Yl!'ll'IItl lrnni tht' h.inli_ HI\'Il4'll m-rt lot diiitn-t ||\ .t llrctnig t-.irlii~t \(L'lIl'. .\li-\vr‘~. wtnml tht'iit.tt|i (NIX lfIL‘\. llI\\\llH'\\lllll\, tn tiniiiti-r.ii't thr pi-s\i|iii~in nl thc ltliit. .i\ \\‘i~lls siiggrxts ih.it lli||\pllll'\\ .inil l4I\'l' Mr tlw unl\' s.|\'iiig gniirs ul .in\iivili/.ttiuii ".-\ll.igt-s.m-tlti~s.tim-. 0l\l\' lll\'l' iinikt-s .|ti\ nl iht'in ln-an .|l)lt'" Thi- \l-lll'Illt‘IIl, ll(l\\'L'\'t'f. .

that-s IIIUYK‘

in !'l'\'l‘-ll \‘\’t'lls llwji

l0lI('lillt'\\ll1ilI\ll)ligl\|t‘I\llI1'llllXI'\ ni~gaii\'t' portrait ul'7lI'\ lllt‘. Mi-\-ct lid) \l|Il|Il\‘ pili-il up tun II\ll(l\ t'\'l~ Klt'l\\'l' ll) pron’ tlii- f('\'l‘l'\l‘ .-\\lII l\\\IItl\'I‘l\‘\\'l\l(l\iIf(‘Wf\'l\' l0()lI\(IH‘(l. Mt-vi-r l\ llllll'lllI\t|ll‘l\‘ i’lt-vet in his pl.i\'nig with

llhllllill

In thc intist-nni. hr h.i\ \\'t-ll» nnisiiiglv t-\'t- .| sign <‘IIIl!l.|IUIIl'll with tlir iiili- nl ilit- t'\llllIlll(II\I “Wt-]l\ .t llhlll lit-lnrr hisiiini-." Ho cits, ht|wt'\‘t*t'. iii li.i\ing \\'i-lli pmpoiiinlnig llh ll\('\lfll‘§ tiliinipiii iii 18%. \\'lll'll lii~\v.i>.ii ilit~.igi-M27, |"\| l'¢'l1"\""IK .i t an-1-t -l\ -I |tnItth\l~ tit ainl WJ\ living nut in Yiiiiitiiiii \plt'II(‘llIf \A‘l\ll'lI tho lilin iiirnntitds hini with lnii in ('ll'\'\ll!I\lIllI('l'§ inst up liruin poi-t-rt_\'. ilt w.i\ UlIl\' .il'i¢-r the turn Ul the ('(‘|\lllh' that ht~ hi-i.nitr .1 F.ilii.iii mrialist and d¢-l.it"t.

prt-tl.itt~\

tn

liliii

lilttltms THINGS TO coma. It l\ itiililivlv that givt-ii his lll‘l3 visit iii

lirniitltl wt-th.|\-t'ht'cn|ni-.iti

upiiiimt :ihinit ni.iii‘\ putt-|iti.il. llU\\‘('\'l'l'. 1\n:v'\ it-tiirn in thv iiiiit' nt.it'liini- lll\IIl'll\' with Wells’ tit.1t|:\'itig r\lII\' Catln-tint‘ Rlll')l7llI\

llllll

:lns si-ciitiil V\‘ll('\ in Mcvi-r niust-s that his t-xprvswtl l'l(‘\'l§|l>lI ticvcr again tn use thi- .ipp.it.1ti|s

pt-ili.ips \LI\'(‘§ hitii lrnni l|t’lI\|{ kiinwii liisiurit.ill\' its an lII\'l‘I\lI>l' filllI(‘l’llIillI$ElWflll'l’t Htst0r\'sav\ it Il(’\'l'f wurlnt't‘l. Although tht'iiia('lll|\(' tivcds nu "ignittoti" lirv. it is siirprisitigtliiitttuniiinittlirnniseitni nriii llii-prr\'|i>tis\'cats tliilti'tt"linth into it. il ll|\l\' iittt nl tiiriiisity. and llll(lll' with thr dials atid ll'\‘l‘f5. \\'lIIl'l'\ spring ll\(‘ thr iii.it'hine iii\l.ll!ll\' in ltlc in tht' lIlll§l'\lIIIli

H<~ ti-lls .~\im' near tltr t-nd of ll1(’lf .l(l\'l'lll\lf(‘ llhll ht" hopes his llH\l|'(' wining will hr nu\*t~|. \Ht' rtntlil h;i\'t' ast'i-rtaiiicd that hv glaiiutig through the iiiusriini exl\ll>ll\. lndet-d, lll('_\' wen-; itt an .ini.i1ing lectindity til thniight and i|iini_ Wt-lls prodi|c<~iL among mli-

The Island of D1. Mon-au illlllhi, The Invisible Man I897). Thr War of thr Worlds tllwttn Thr FitstMrn lnthr Muontl‘4Ol\. -""l Tl" Fd Oflhr Codi 190-lit <-rs.

i

And,

n,,,,,,,“",,, R,,,,,,. ",1, |M;‘,1,,,,,,,|D"|_ Pllllllllrtl lI\ Jnhll Dark Duritrtl

lI\' Slrrrn

""K"'" r"""'" *""'"I‘l“-l""" “"""‘

"""‘"""""““"""”"'- """ "‘""' '""

hispvriiiilnlittt<'tisrtipti-

lint Alt-x.intli~r Knrila in the

til unirsc

i

tine, The Timr Machine, pithlishccl in I395. Mt-wt ll'Jl\l'\ its with the thought that it (l\\ll(l haw l){'(‘I1 a srirtttilic lf, ilii~pmululatlicury. and tint xi iriritttlir ction. El his rst

rur nun or s.u;mn

nltlii-priiiivsstti in.trri;igt*tl hi-i.iii

tii.iii iiimitislzitiuryl'iiturt-iiia\-li.i\'tlii't"tt rt-spuiisililr

Al

"11""

"""'“'

~

Fl_\'|ng

(‘l|\‘r'I TII|I|\

P""'f' ‘"1 J""" “‘""" t'.trpt‘t.\. liri- lirt-atliiitg

iiiuiixtuts. J iiiitrtlriiitis gt-nit; an L'\‘ll wizard, .in l'llllIlIl('Ll island and .i tnzigir ntirmi lnil to \.|\'t'

/\R:\Bl-'\N.'\D\'ENT[lRElH1lI!l)(‘ingjmt -lIll)ll1(‘f nnitint' klllllk‘ iii-st»

ini-r li-.ittiit'. l‘ruiliiit"r Jllllll Dark .tml iltrt-(tut Ki-\-in Cn|i|iuit\\'r\R~ LORDS OF ATIANTIS. l'l'hJ|).\

inllin~ntt'tlhvtlii-\iitit'ssnllihi-R.|\' H:itr\'li.tii\t'ii t-pits, lia\'t' t‘k'ciila-d tug“-1' tht'Aralii.|it Nights a titrii iti

.1 llIlIIl_\' \'(‘ll(’ll \'(‘l'\lUl1 til THF. THIEF OF BAGDAD. i'nl
haiist-ii lms‘ Hasan. a prince fmin lar 0lT B;igtliid_ visits tht' tits‘ til jatliir, nilcd lt\‘ iht- iytaiiiiiral wizard. Al-

qiia/;ii\Christtiphi-r Lcrr. Hisarri\'al k'l‘IlI\('|ll('S with a hall ht'at1t'd ri'ht'l|iniiwliii'li iit|ttjclili'suliLl\tt'tl

iiiagiral whirlwind. Altniazar lrarns lmnt his tttagic mirror. J('llltill)‘ his tiwn good sell llIlpTlM)I1('Kl iii 1| it-llectitig tut-la, that Hasaii ran he \lSl'(l in st-(tin: the i-tirhaiitcd Rtiw nl Elil. whirh will inakv him the most powerful wizard in thr world. Hasan mvcts the beautiful princt-ss Ziileira. the wtzaitfs sltp daughter. and lalls in lnvc. Alqiiazar has tln' prtncr taltt-n prisiitier and itrilics a bargain with thi- _\-mnig HIBI14 Hr pmmisrs Hasan tha~h.|iiil hv

.1

by Dan R. SCEPPCFOIII

liriiiigliztrktlii-i-iiili.ititt-tltmc-.H;i\— .iiiil. .i
\llll' (ll tho l\l!'(l'\ Ul ('\'1l. illlll Pl'lt'[ (Iusliiiig, in ti t .inii-ti \l|IPl'|ll" ilII\l' .is the lIIlp!‘l\lbllt‘ll ili-pint-il li't|tlt'r (ll _l.|(l\|r ' .tn' III lint‘ lurttt ‘ hut the r('\l Ol |lll' mu .itt~ sirirtlv lmin |1lI\'t‘H\' row. Mtrlu-\' RtIUIIl'\’. in .1 ('JIIlt‘l) .I\ Dtuil KI Stir. thikm-pt-r til ilit' thtt-r liiigr nit-tal inimsti-rs, is itiiitite-lligililv. (Iniimir .iiul D.itk lhl\'l' \lHI\A'I\ in tln-it |)H'\‘l(lll\ lilim, [AND illlll PFOPLE THAT rttur. manor. that lirt~ t.iii lii- .t nimt rt-lialilr \|wt'|al i'llt't't. .inil tln- I\('t‘(l liir lalw <~x\'itt'iiii-tit has .tg.\|n li|li~t‘l thi-ir \(fl'I'I\ with pvriitt-t'liiiit\: .'\l(]llil' tln-

/;ir'\ l2l\'l' l\ rtigtillcil iii llantr; whi'n Hasan ainl Khitsiin H(‘iIf thi-

islaiiilulthrrust-th<-\'.|rt-iittilm|ittniitistt-i\ whirh \P(I\ll llanic §l'lllIIgll\(‘lll|l~ tr\'sitli- un lire. Thr irvaititii-s tttrii out IU l)k' iiiuihatiitiil \t.t|i|i~\ in|i— lfUlll'(l ll\' LI verv iiitiilrrti lnuliiiig wricsiilgt-arszitidIt-\'i-nvmrlii-tlla‘ gilihrrttig RlllII\('\'. Tltr llving taipcl §l'l|\ll‘II('l'\. wh|t'l_i nniltl lhl\(’ l)L'('II iht~ hight-il l)\' thrt-0 httgr int-t.il

El

lightultlii-liliit‘ ZlH‘>lll l\IlH>lI\'l(tll\-

l\'III()(l(‘l§ iti llI(‘l(II\g§l1lll>. lllllllll‘ rlnseiips ulilir ltvi- ntturs in llight hltnd tin'<'lv with tliv h¢lCkj{TUlHI(l \-ia gimd qu.ilit\' rt-at pin|i-ctitui wtitli. ll\lt'l’lUI‘ srctirs with tht- tar pets, hnw('\'('t, air POOL The tex-

turciil'ilirrt-urstrcetiitrtititirliit-sti'| llhllfll with thi- auim astnde thicarpet. In DIN‘ \C(‘ll(‘, asthr rarpet is

about tti lt'a\'t- the p.|lu;ittli' at the umi'liisimi is f('(llIL‘('(l tn liiirlvsqitc with thv iti-

lI(‘lll\1('Ill\l)liIlfll|lll\fll\A'llIgllglll.

St'h|ioi~r and H.ii'r\'li.|iist~ti can Sll‘l'p t'a§_\' il this ii thi- ht-\t Dark and Connurranciiim-iipwiih_ D

29

_ E52]

THE AMlTYvILLE HORROR “An incxplicable chain

But the_realism ‘here is strangely disaffecting. Brolin seems too susceptible to the suggestiveness of a

mp: thangayezr

cinem_atogra'pher Fred _|. Koenekamp s care ully contposed shots, for instance. the axe George wields to split more and more irewood

tplayed bya painfully ittiscast Don Stroudl. and. in the end. lieing struck blind. Even so, we never k;\t1W3Ik\1l:|illg3l)l)lIlD(‘l3llt'}"§ p;\$l

°f "ems ‘hm "miss fUl'lOllSlY, bill Sigl'llCS

2: ‘1l°§lt.i°‘i§I,'I.s|.§'§‘.'i-..>

‘Li

ili.°l'.l’i§t’.§§'§§lfj1iF£.§§i§f.'§i§Z

ZJI§i.i“i‘II3'hat'i‘.?§Z ‘ZI>t.'§.°.lL”t‘§.tl't§ similar to that of Father Karras in THE EXORCIST. In point of fact. Father Delaney never really serves any purpose at all in the Luu story. We see no (ll‘I‘l\l‘|Ii§ll'3ll
nothing

_"

El‘: :,Tqllf;l:fu‘:(_)g;?,‘b:a::i:|:;

Prndurrd b\-Inland Saland and F|||n|G(|lillsf l7I""¢4 by 5W1" lvwtltrrit-itrvv j’_;YAl:‘l“f:_":‘"‘:‘f:'t:;"l:T;';25:‘: .,r|,i..,,,,l,,,,|,y_|=,,4J_a,,,,,h,,,,,_,t,, 4,.

I"‘t"-JII'I$"M-Vitvalrffrsdnilm-dhy

wl"“"‘ C"'“" C(t‘|rgP

Lutl

...-......--...._]IIIleI lrolnt

L‘“"'~' "“"l"" FaIherDehney...... Fm,"

Q

Amy.

|.,|m________

. . .

..

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ously taking out repressed hostility towards her new father with her invisible pig-like companion Jody. Even when Kidder nds a grizzled neighbor at her door, eager to welcome the family with some beer one minute ‘ then 3 onethe next ' we . wonder if her paranoia might not be ultimately founded on a real-life hoaxer. Ceriainlva human intruder better explains the ‘problems Brolin has keepinglatche the door to the boat moorage and that incident later when both the basement and front doors are found broken open from the inside. Likewise, Satan and scatology may be linked in folklore. but theodorand strange wall seepage in such art old house beside a lake seem here to derive er). These instances only bring to more from a backed-up septic tank light just how desperate the lilmthan from the Devil. makers are to add artificial life to a For openers. Rosenberg begins flagging screenplay. the movie with an effectively long The degeneration ofFather Decut of the face of the house itself {Rod Steiger) perhaps epitolaney in Toms home a similar (actually the film's weakness. It is a mizes to be up made Newgersey. River. heenproperlydisconcertingwhen skullThe e original). oft replica to be only house. the bless ters to us shows night like side against the attacked by an inexplicable swarm only the ashes of light from the of flies {this despite the twentygun through the windows as DeFeo degree December temperatures makes his way from one story to outdoors), when that room's door another. A nice touch. Even during shuts by itself, and when a disemwhat would otherwise be the audibodied voice moans, "Get out!" recovery emotional slow ence‘s For those who don't already know taken are Kathy and when George Beelzebub means “lord of the that the realtor. by through the house flies," though. this scene, however Rosenberg cleverly intercuts the spinetinglin , suggests an advermundane with rapid-re shots in sary in the ies that never again each respective room as seen appear as anything close to a direct through the eyes of the killer. It threat. From that point on, Delanmay be a little heavy-handed. but ey's efforts to contact Kathy beis clear. message the come a relentlessly tedious catathe transcend to Attempting logue of strange happenings: brooriginal ofthe episodic limitations ken phone connections, stigmata story, Rosenberg and Stem also on Delaney‘s hands where he Contrive suspense that. even if the touches the receiver. a steering characters cannot, pique our curiwheel that locks when he is driven osity enough to carry us from one to the Lutz house by Father Bolen scene to the neitt. With the help of .

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Put siniplv. LEGEND OF THE WOLF WOMAN is a noisy mess. Direnor Ritio Di Silvt-stro's idea of a gripping narrative is to take a scenario of cloddish expository dialogue and interrupt it regularly with brutality and soft core sex, Logic bedamned.Thecontinuityis so ragged the film looks like a trailer reel for coming attractions. As with other inferior ltalian thrillers. there are lots of meaningless zoom shots. a brassy, incongruous score. garish lighting. andapetvad> ing atmosphere of sleaziness. The latter is panicularly evident during the rst fifteen minutes. as Daniella masturbates in front of a mirror, hallucinates that she is making it with an iguana. and voyeuristically enjoys her sisterand brother-iii-law screwing in bed. This girl's got problems! An epilogue tacked onto the nal cre its infomts us that LEG pntiior THE woltr V‘ti!(3MAN is ase on an actua sor i case in Italy in I968. Though not in evidetice here, the real facts of the rampaging niurderess and her crimes may have provideda skillful screenwriter with some interesting material. However. this WOLF WOMAN fails to meet even the simple dettiands ofan exploitation feature, and once again brings up an issue that haunts the jaded movie-goen must genre completists keep subjecting themselves to these atrocious ltalian honors? El

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The year is I998. Americans. without gas for nearly twenty years, havetakentolivingintheircars and jogging to work. The White House is under lease to the big unions and the President has rented apantnents in Los Angeles. He has also put the American economy over a barrel, burrowing S40 hillion front the world's richest man. an aged Chero~ keewho nowwants his tnoneyback. This is the setting of Neil lstael's AM ERICATHON, in which the President stages a telethon to hoist his country out ofdebt. It is a supercially htimurous film, successful as often asit is not, focusing on the manner in which Americans are itiisled by their hetter instins (i.e.. patriotism). Like a telethon. which tries to be all things to all people, AMERICATHON isatypi-

cal seventies comedy; it tries to he

all things to all college students. It is an undisciplined satire in need ofa teething ring— its bite never reaches the nteat of its matter. Despite the lilm‘sfuture setting. the art director haslirnited allfuturism to the 1980s or thereabouts. Music hasn't evolved tnuch past punk rock (the score is pretty good y contemporary standards]; fashions are something like today's, with the exception of gym shoes. now added to every ensemble. But AMERICATHON is not out to corner the science fiction market. For reasons of drantatic thrust. Presidential advisor Vincent Vanderhoff (Fred Willard] is hired by the United Hebrab Republic (following in the united Hebrew>Arab cause) to sabotage the Americathon with rotten acts and performers, so anti-American interests can pay the national debt and nile the country.

Vanderhoffbooks thirty days‘ worth of veiitriloquist acts. marching bands. and Vietnamese punk rockers. He also hires as emcee the aging. pill-popping celebrity Monty Rus more (Harvey Korman]. star of the transvestite sitcom "Both Mother and Father." Fortunately for America, media genius Eric Mt'Merkin (Peter Riegen) is called in to fortify the tele than with top acts. to save not only the countrv but the lm as well. He books -a man wrestling to the death with the world's last gas-

fueled automobile,aboxingmatch between awoman and her son. and

by Tlm

LUCBS

auctions off San Diego to tht- highest bidder. It wouldn t he rt-vealitig asecret to SL\\'ll1LIIllIt' Ainerieathon raises the S40 hillinii despite Vant‘lerhofl's sabotage. as the filtii is told in flashback like a history les~ son (to allow for ati iiicoiiseqtien» tial epilogue); ttor would it be telling to say that Rushmore has to literally hleetl to put tlietn over the top, because that's a stale idea. Aesthettcally speaking. AMERICATHON is ultimatelydefeated h_v its uncanny knack for tlepthless insights ittto the greed and trickery DfAIIll'Il('ill| ideals. With its screeiisized flashing neon “C-IVE!" sigtt and bright stage. the Amt-ricathon is a flagrant display of lost dignity and triumphant greed. But all this gets in tennsofscript reinforcement is a iiioitient when Harvey Kornian shouts. “Dignity?” pulling down his pants and adding. “There's your dignity!“ One almost laughs. but initnediately thinks better of it. In fact, it is Korinan‘s perfontiance that sulTers most from lsreal‘s indt~ cisiveness over what AMERICATHON is about. In his first starring role, Korman tries to inject itiuch pathos into the hollow Rushmore chararterlyou may ask how a fading star in search ofthat last brass ring can possihlvbewritten without feeling, but they've managed it).

Shotldy characterization is the

lilm‘s major prohlem, lt is equally cleariii Nanty .\1organ's l.utw'. who

starts tnit as the Presidt-nt‘s emptyheaded lover and ends up on the wayside with Mt‘Merltiii. as she utidergoes a hearthreztking iiietaitior-

phosis which promises a volcanic pavoff—but she all hut disappears frutti the last reel. Mt'Merkiii. hero and narrator. is the tt\t>\t minor of the leatl characters. liitiited to recititig the st'n'pt's serious lines and carrying a cliplinartl around. And _]ohn Ritter is lousy asthe President. a weakjerry Brown parody. On the hright side is Zane Buzhv's Vietnamese piittk rock singer M0uliiig]acksoti,aLinda Ronstadt tzikoolf by way of Patti Smith. a t"harat'teri1.ation that stays aoat through a cheap rentle1vous with Ritter that shoultl. h_v rights, have foiled her mystique. Richard Shaal as the Vice-presideiit is given little to say. his portrayal limited to grunts and pantomitne. hutprtives himself aconiedian ofclassic potential. lastly, rnuch credit is due Chief Dan George as the S40 billion Cherokee. who exhibits the talent for sa_viiig the sattie line (“I gotta eat too. you know. Does that make nie a had guy:“_'] over andvover, making it funnier and funnier each time.

If /'t‘MERicATi~toN

has ati_v

strengt s at all, it has the ower to entertain the first time alr?ound— but it leavesasouraftertaste. Hadit stuck to parody, it would have been truer to its intentions. Satire is tougher. it has to hurt a little. AMERICATHON dot-sn'i sting or even ruffle the hair of its many targets. And when it accidentallv makes the audience think it leads them only to problems it has no . ambition to solve. lt‘s enough to give you the red. El white and blues.

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37

1

Burroughs’ Mars Series To Flhn At Columbla -

Cultititliia Pictures prodticcr David

Chasnian has optioned the ttitivie rights to the Edgar Rice Burroughs Mars series, including A Princess of Mats. Warlord ofMars atid The Gods ofMars. all leattiring swa.shbuckling adventurer jnhn Caner. passuti Rav Cl)ll|IIIl)i3 also has rst . Harrvhatiseii s projected SINBAD GOES T0 MARS. It seems tinliltelv that the sttidin will now hack two birllllilgfl ellects pictures that are so sitiiilar. at the same time. There has heeii speculation that the Harrs-haiisen Sinbad project was merelv a mde natiie for a Biirrotighs Mars saga leattirtttgjtihii Carter. a pltiv being iised tiiitil the rights were tied-tip. Wheti aslted ahotit this ht-a ('lllS(‘il\§0L‘i2Il'_ Harryhatiseifs only euttiitteiit was “Ftitiiiy htiw these rtitnors gel started. istt't it?" David (ihasiiiitti. W-l\l)‘;l('q\lil'l’(l the rights for (_olttntlita lrtiiti the Btirrotighs estate. liniilv denied any connectttin with the Hilfl'\‘lI;.\lI5l'lI project, liitl ll(‘l'llIIt'(l to cntnnietii lttrther. -

_

CUll\(‘il'l(‘l\lilll\'. Harrylhltiseii has stripped prt~p.iratititis on SINBAD GOES TO .\l.-\R$ wtirk which he ‘ had I;lvlit‘Il un with stitne tirgentw .iiitl with a great _dt'ti_l til hardship

ll\lIll\]lll\l‘ill1\lJll|llIl|I\gt1lClJ\sH

OF THE TITANS. Spet'til.itiuti is that Ciilittnliia has ttirtietl-dtiwii the Harrvliatiseti Mars project and plaiistti pl’0t't't‘tl with :i_]uliii Carter

liliii UII tlietrtiwii.

l:l

continued from page licate

37

olthc oating city niotlel, ati

etieniv air-base in the desert being shot, and artists working tin paintiiigs for BUCK ran Escher-lilte reilingl attd MAXWELL SMART tan

Alpine lodge). Ma.snnite is tist-d as the "canvas" bet-atise til the at, sitititith siirlace that dot-.sii't need a lot til prepping: glass is tiiilv tised is rallt-tl lot, when a bacltlit shot . .

.

tiecessitattng st-raping awav stiine sections of the painting. Miiiiattireasteroitls covered most tilatititlter sotiiitlstage_ hanging frtiin

lratnewnrk itt front til a lilack barking which itself was covered with smaller lirtiwti nicks. The var_vitig §llt's1lII(l _illtision oldepth give ti good ld(‘3‘ (ll a plaiiettiitl Sargasso Sea. eveti iii tlit- iinllattt-ring llorescent light tif the stiitliti. Beside the asteritid ht-Ii, an eneniv l'ightt-rrocket sat raiitetl in .i 30" arc. Cahles ran l'r0iti the tnodel tn a itearliv elecirnitit" setiip. in whieh an ellet't.staitit‘ra was also attached. While wailing in Carher‘s tillice. l glaiirccl thrtiiigh the iiinetv-page a

treatinentnlCHlLDHOOD'SEND

Phil Dt'Ctierrt-, and even in the 3l)l)l’l‘\’i3Il'(l, short-ltand stvle t\'ptcal ola screen aclaptaii
tnarlt.1hl\'t‘l
Whether [)eCtterre cait titaititatti the ptietic iiitages antl ideas til the sttirv thrtiitghuiit endless rewrites and tiltimaielv piit them on liltit. retiiaiiisiti lie seen. Tarltt-tl tti the wall lit-hind Stnttli is a peti~and~inlt

til an O\‘t-rlttrd Iiir the liti: rluveii feet. goat's-legs, and high. ribbed wings. “lt'.s being litidgetetl," sa_\'s Sniith. There's talk that ii may go leattire. Bin it's still at a very expltirattirv stage. Ntithiiig is liriit sltetch

eitherwa_\‘. Right

iitiwltliitikthev‘re

htidgeting lietween fteen in twenty million. htit it‘.s all tip in the air." An itifttniial discussion with a few of the crew at the Hartlaiid Fanlttvsliowed eitthitstasin lnr their work. btit not partictilarlyl
llll

.


.

.

of the siippnniitg players

lrtnti BUCK ROGERS in a cticlttail lotiiigt-tiiiVenriira Btitilt'vard.Wltt-it we asked ltir an ttpiiiicin of the shtiw. the at'tt_>r shotiklits/her head, giving its an indulgent smile and

a

thtimbs-dtiwti gesture. Wayne Smith, when aslted his npiiiion til BUCK ROGERS conitiieitted clipItittiatit'all_\'. "I haven't seeit the slinw.

l]

Director Jeannot Szwarc wraps Richard Matheson's SOMEWHERE IN TIME. "It l\ .i ptire rtitii.iiitit' laiitasv. atitl the IlNl\I tiiiiisttal film this tttwii li.t\ st't'tt iii .i liiiig VlIIl\l‘." Dl'l1l)l'>]('iIIIl\lIl S/wart tsiil t'tittr.se referring in ltis liltii .ttl.iptatitin oi Rii'li.trtl Malltt-stin's Bid Time Rttum. tttiiv iii the prtict-ss til lieing .-.t.tt-.t at l'iii\'ersal. Matt\'til)st't'\'t'r:‘ are prt-dieting that SOME\‘\’HERI~I I.\‘ TIME ivill tiirit oiit IU he a sining aiitl htghlvlavtitzililt-siirprtse.

Thesttiditi.it-ellaw.irt-iliaiaspectal lilni reqiiires spetitil liaiitllitig. is taking its tinit- iiicart-liillvplanning ltir .i release that will l\t)l he set lieliire late spring. at the vi-rvearliest. “The wav it ha|i|ieiit'd.“ said S1w.irc.“wastliatIliatltttsiltiitshed >|.~\WS II. aitd was getting .t ltit til tillers. Ray Stark calletl me in lor .1 titet-tiitg. He had this hig. big prti» |ett— kind til .t sp.it't- tipera—aiid Aulliur Rirlinni .\laIIieiim'i enllm mlr.

l\l‘ wantt-tl tti get itteiitvolved in it. l told hiitt it was not that I wasn't

ititt-restt-ti, l)lll that I didn_'tw:iiit Iti dti ilIIUlll(‘I’ htige ptrtiirelriglitl alter J.-\\\'S II. He asltetl nit~ wh.it I was ltttiltitig liir. and l said n rtiinatitit l'.uita.s\*— sotnethittglilte PORTRAIT

or]r.N.\'it: 0l’THE GHOSTAND .\IRS.

Ml'IR. Stephen Deiitsrh was

handlittglitisiitessallairsliir Starlt's ctiiitpaiiy. Ht-prai'tit".ill\-jtiiiipediit the air. and said Il\t'\‘ had this htiiilt by Rieliartl Matliestiit, litit itti I|Il(' hatl cliclted tti it yet. I read it that night, attd called back the next nitirning to .sa_\‘ I wanted this iii he niy nt-xi project." Detitsch was the titie who had rst indicated ait interest in the hook in Miithestiti. .ititl three years later it hecatiie his rst tippiirttitiitv tti prtidtice.

"It

picttire tti get oil the grtitintl_ etiniiiieiited Szwarr. "Vt-rtta Fields liltt-d the prti|ect and was t-erv siitiptirtive, hiit it was iitit stttttt-thing the sttiditi cniild readilv ttiiderstaiid. We wanted tti gt-t .i gt»-aliead withtiitt a east. We did, hiit we had to tiialte it lur prire. Then. getting Chris Reeve was tint

an_\-

east‘

Z1

t

S

.

._ .‘._g

w is 'i ht 1 lirt-alt liir._"its " _l ‘ ' vl" Reevt was tiiitia t .ittraitit to the proteet ftir rt-astiiis that went liet-tititl his liking the niaterial or his career-t>rit'tttt-tl tlt-sire tn estab.

‘-7__

lish stinte qtiick distance between

-.t.

i as

hiitisell 2ll\(l SUPERMAN. Taking risks is stiittt-thing he relishes rathcr than avoids --ind this stt>I'\' clearlv belonged tr» a genre that is perhaps the IIIQSI (llmClllI tii bring till well. Ret-\'e's character in the liliii is also ~

.

.

the ltirztl ptiint for tiecessarv changes

inadaiptiiigthetiovelltirtliescreeii, Cutie is the character's teriitiiial illiit'.s.s l"lt \!\'Ulll(l lI(‘('(IlIIl' tine of those mot-iediseases." says Szwarc. "wlirre vnti never ltnow what the person has. We didn't watit that etIipha.sis."l. replacetl tit» .-t vague dissatisfaction with his present life. atid a qtiest alter stiitit-thing he can't ttttite tleline, sparked by the hatititiiig image in a painting. tila lit-aiitihil.it-tress lroiiitheearly pan olthiseetitiitsz At'cnrtlitigttiS¢ware_ earlier iitdicatitiiis that tht~ hntik‘s fantasy elenient wiitiltl he toned (l\)\\'lI tin lilnt are errnnetiiis. The lantasv is implicit in the premise, rather than needing in he stressed in ait l)\'l‘Tl_\’
tintetravel with itiat'hines." Reeve's ttnie-tripping will he via ll\l(‘Il.\(' cniicetitratititt r!i— a stiprenie act Ol the will. Otltl as this inight sotind. it is said tn have ht-en captured ctinvincinglv on filni. Richard Matheson. also the aitthor of the script. was present UII Mackitiarlslaittl locations alldtiritig liiiiti 7' Siich I4ati event(Iis extrt-tiielv k. rate_ltir_ Hol twond ilinitia tng. Szwart" htit iitdicatn-e ol the way prefers tti wiirlt. In his view there was iititineinore qtialilied tn handle anvolthe polishing or revision that inevitabl_v crnps up during acttial prtidtieiitin. Ftir his part. Mathesnit re P tirted this bv.‘ far the best lilni experience of his career. Sn much sci. iii lact. that he was induced to l] take a sitiall role himself. ~

rmitilwrd from I-""l\'

‘l""\""

Page 36 1l'}"' l'i"' ‘I 1" *'""'

"'35-

“l"l"' "'.h"' mm “"“' l_'“" '““|vtuii|'g_'l"" to .illn-wt-il Iiiiit ll) do

t~iiilt~.itiirs. as

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we

a satire. We tinted tltme deals m W, wuh Cum KN, bean“ _|HPm_ WM, |,~m| |hm|“_ W. MIN,“ “;‘,,Hh,“ s|0,0ttii Irtitii tht'|tt Int TV aitrl |t.,.,. ll\l‘ilIf|t‘2l rights nnly That \llll lell IN _

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tli.itlieistaltiiigihea|i\tttitsatiisliet-atise B‘

M-|F-N FACTOR W1!

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way you wish. We persevered, and fought, and insisted, and we gm to keep the

ending.And still we don‘t know who was right. We'll find out in Derember." Harold Livingston

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“We would ask Paramount all the time, ‘What is our budget?‘ To he rreative. you need some parameters. and then you ran gure out what solutions are possible. But they kept saying ‘Whatever you need. whatever you want, you've got it." Lee Cole l1]I: An nmn 0/ alilm. iurzlnx "lam! rulnr" in lhr npmirig in San I~'mnri'im.

[J[m@wn@w§

[bay E'P[r@ssir@nn tN]@@I] 4J@|m@§

ROBERT WISE [>)r?@@@|?

HAROLD LIVINGSTON §@L?@@unw[?@[?

DEFOREST KELL ‘”’lL@©@\y

HAROLD MICHE LSON AWE

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WALTER

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PERSIS

KHAMBATTA

shoot from a low angle il we waittetl. Usually. on T\’. thev don't fool a~ round with ceilings, thev tistially put the camera pretty straight on. A cotipIt- of other things are attrihtitable to me. including the Recreatioit Roottt. Wheit I vatne on the show, I saw a iitiniher of the old episodes. and I was stnttkwiththe fact that they were always talking about having a crew of

fotir-hiiittlred-sixty or something.

But all you ever saw were the inaiit characters and .i few extras walking around the back. Thev didit‘t have anv scope. So I felt it was verv imporiaiit that there he one place in the picture where we would have a big rec rooin antl see a gootl part of the fotir-huntlred people in one group. soweilltistrateihe \i7enfThe Eitterprise aiitlthat it's manned hvallthese people. As a rt-stilt of mv strong leeling. we have a big. two-storv rec rooin with a matte painting on top. .-\iiother plate where we had that opportunity to reveal the Ertter]1rist~'s scope and slit’ was in the cargo dei k. Altttost never in the TY show did voii ever see eanh. and I Ielt it was vital to CIIIPIIBSILI‘ the scene in San Francisto. When I first readthe script. that scenewas fairlvlimited. hutlfelt it was extremelv intportant. particii~ larly siitce our story is supposed to stan oit eanh. be about the saviitg of earth, before we go up tothe heavens aitd never come back. So we got some inan-elous shots of the futuristic San Francisco. and we ave Ca tain Kirk a much more dyngmic enpirance by restnicturing that scene and having

hittt come in at a ittontent olconllict. This gave him a sense of direction and |IlU\‘('IIlEI1I and a goal. 0,/course. you mutt liner effected mart)‘ other changer itt the tmpL When I read the script. the major difference from the old series wasthe fact that there was no Spock in it. Front all I gather. Leonard had said that ht- was itot interested in doing another series of “Star Trek“ TV shows. I had not beetia trekkie. I was itot glued to the series when it rst canieotit. or when it weitt into s_vndi~ cation, so I was not really aware ofall of its facets. And evervbody I talked to. iitcluding itty wife aitd her datighter aitd soit-iii-law. who are trekkies. said. "You cait't possiblv think about doing ‘Star Trek‘ without Spock. I mean, that would he as bad as trying to tell it without Kirk. It‘simpossible, it‘s crazy to make the lm without hiiti." So I came back to Paramount and said. "People t'lt>se to me and others who followed the series think that it's absolutely idiotic to think of making it without Spock. There mttst be soitie way to get him." So. I was oite of those responsible for getting

H] .

think the fans who

,

did" I Want

U5 I0 Change anything will fee] (hat

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we Ye on

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Dimtiu lobar Wu: and tt‘i'lIi'itni Shanta Ml llte t-tiurpnir Indy. bfhfl

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talet.

him on the pictttre. Fur ieliirli iz man uf"Star Trek"zru will uridnttlztedly be gmle/ttL After we had tht- press confereiice which announced the picture. pltis the fact that everybody in the cast was back together, and I would betlirecting. Igot a number of letters. It was interesting how they broke dowit. alinost fty-fty divided. One halfof them said. “Don't you dare touch a thiitg. don't fool around with ‘Star Trek.‘ leave it alone,just do it." And the other halfsaid“Thattk God. now it can be dune right. now it can he done properly." So, that's what we were faced with, and I hope that we've done the right thing. lthinkthc fans who didn't want to change any-

thingwillfeelthatwe'veonlyimproved the original in terrns of the look andthefeelofthething. Ibelievcthat

the people who wanted it upgraded will feel we did a proper job. We'll just have to see. Speaking t] impmemimtr, it it tnu that in merit teak; than have bent time .

.

maker?

rehot a scene we call the space walk. involving Spock and Kirk outside the Enterprise. We had already shot about half of it. at some considerable expense. It wasjust not very exciting. it wasn't movin . we were concemcd aboutit. We haga lot of it yet to shoot when Doug Tnimhull came on the show. so we talked to him about it and he felt very much as we did. He had concems about it, so he came up with another approach to doing the scene that would be much sinipler but much more eective and visually excitingthantheone Yes. we

we had.

That's what we've done. Weelimtnated the original space walk and reshot the sequence a couple of weeks ago with Leonard and Bill. Doug was with me. because he has to put effects over this footage. In fact. he routined the sequence. and then I put it on lm. Then we did long shots with the dtiubles. and Doug shot blue screens to go with them. and all that is coming together in the new space walk. which will be three or four minutes long. as compared to maybe ten or twelve in the old one. and be far more exciting. What main lite di/[neural The original sequence was done very literally. with rather slow-moving space suits going past pieces of set. The new one is going to be faster. with Spock in a thruster suit that propels him right into the center of what he's investigating. Images of what he‘s seeing are going to move by very fast and be reflected in his face ittask. It's going to be much faster. more visually exciting. with visuals that are done on the multiplane with marvelous graphics work. It'll bevery exciting. For over three decades. Harold Livingston has written for television. lmslESCAPE FROM MINDANAO. THE SOUL OF NIGGER CHARLEYI. and occasionally produced for television. but he feels the most pride in his work as a novelist. Ofhis seven books, one. The Heroes Are All Dead. was filmed in I962 as THE HELL WITH HEROES. Another. which he wishes had been lmed.

7

aitd which won the Houghton Mifllin Fellowship Award. was Coasts ofthe Earth (yes. it sounds like science Iietioii. btit it isn't— it's about Anterican voluitteers in the Israeli air force in I9~IIIi. As producernftheill-fated STAR TREK revival series. Liviiigstonworked with Gene Rodrleiibcnv and writer Alan Dt-an Fosteron the development

ofthestorv—hasedonaRoddenberry ideafforatwo Itotirpilot. The result was the basis for what is now STAR TREK—THE MOTION PICTURE. for which Livingstoit will receive solo screenplay credit. The story for the litt originated as a tale called “Robot‘s Revenge" desigitetl for Gene Roddenherry‘s short-lived GENESIS II. Elcttwnts frnitt STAR TREK episotles “The Chaitgcliiig“ and “The Doomsday Machine." draniatired in adifierent fornt. caitalso be fotind in the nal script for ST-TMP. Did you ieork teith Glf Riidzlnilirm an the !!|A'71l(7

Gene Roddenberrv aitd I worked together very closely. I didn't know enough about "Star Trek" to do the “Star Trek“-isms. aitd I coitldn't fool with them. I just didn't have time. Gene did that. and lled in all the jargon. I had screened every episode at a rate ofabout two a day. but I still relied on Gene's expertise and expcriertce. Thcrewerecharacters which Gene had lived with all these years. such as"Bones" McCoy. that I didn't know. There were characteristics. and cadences. and attitudes in all these ople that Gene couldn't help but Eftow more intimately than I did.

Al Ill: tame Itme. wneyait nblz tn bring a /rerh. more abyctiue ttietepiitrtl In the cltamrterr?

I felt that I wanted to make them more mature. The television series had been designed for a cenain audience. and it was on a level of mentalirv that didn't panicularly appeal to me. I wanted to dimensionalize the characters more. I wanted to give Kirk flaws. weaknesses. human characteristics. andlthinklsucceeded in that.And when you start writing him that way, then every other character must relate to him and to each other on that basis. so you have character growth. which makes an interesting story for the viewer. Gene and I debated this— he certainly had good points—but basically I think he agreed with me. After all. a decade later. our society has changed. and Gene will now have a more sophisticated audience. Didyott it-ark at (lately with the nrlorr

nryau dtdtettlt Roddmbnvy bezretlinatirig

rlamd!

I worked with the actors before and during shooting. We literally wrote on the set. There were always changes and transitions. The actors were extremely helpful. I've never met a crew that helped me this way. As the story progressed-and we shot it almost in seqttence— they began to feel more of the story. Then we ran into some terrible obstacles. holes in the story that had never worked. and we had to work all that out. Particu-

larlytheending, whichwas oneofthe

'

great betes noin of all time. I give full credit to the cast and director. because nobody could have

T?

donethispictiirealotte. Noone mind

could have conceived it. it's too goddamned big. Ifan_vbod_vsays."Thisis

niypicture." that'spatentlyuntnie. It hundred percent collaboration. more than any show I've ever was a

worked on. The oneactorwholthinkcnntrib-

utedtheinost tothis project

is Leon-

ard Nimoy. He was very

helpful.

Everybodywas tired; thishappenson a picture. He came in and was a breath of fresh air. He had notions. concepts. ideas. he really bolstered everybody up. Nimoy would come over to my house after shooting at niitrt>'clot"k everynight. I'd giye him a drink. he'd sit in a chair, I would tvpe a scene and we'd talk it out. Because. we'd really gotten into sttnte serious problems of concept and approach. We had almost written ourselves into a corner at one point: we knew what the ending was. and we had iii direct the story toward that ending. To reach that ending. with what I call its clarity of ambiguity. we had to setup situations and characterizations all thewa_vthrough the story. Withthegrowth ofthe story

asitwas being lmed. everythingwas in cniistantsrateofux. Ntiancesand ideas changed and had to be shoved in with each sequence. But at the end. there was a gigantic gap. Like the farmer whiz builds a [mt-e around his property In culling each pale ta malt/I the one be/are it. and then disrtiuers

thatthelaitpolei.ia/oottallerlhanthe/irit put in. That's what we had tn bridge. yes. And the studio displayed some nervoiisness nowand then over the enditig because they wanted it diIIereiitl_\~. one he

Why’

well. they felt that theending we were so entranced with might not he commercially viable. What wewanred was an ending that would send people out of the theater saying. "Gee. I know what theymeant." Or. "Do you think they meant. .9" It's clearwhat happens. but the meaning is ambiguous. You can inte ret it anv way _vou wish. There arrt? three or four levels ofapproach. ofperception. to that ending. So. we persevered. and fought. and insisted. and we got to keep the ending. And. we still don't know who was right. We'll nd out in December. .

The than who aha"; glaf billing with William shjjgf and Leohat-d Nimoy in STAR TREK—THE MOTl()N P|(jTURE fgmgmbgfi the P|'|_)ject when itmight havemoreproperly been ealled "§|3t-Tygk_ThgC|'a1y

Idea" Recalls DeForest Kelley,

"lt

was in the second year ofour series. I

having ltineh in the old RKQ mmmisgatywith Gene Roddenbgrt-y and Gregg Peters. our roduetiott manager. IIldll'Iflhl’cQO|§(j]I1Q|.|p with the idea of dqin a motign picture version of the sitow during the hiatus. That far back we thought. what a terric thing that would be. W35

Had we done it. God knows what might have been the result ofit. ltwas much later that 200] and STAR WARS came along. We were all a-

headofourtirneinthethinking. even then."

i

Whatpretrentedtheidea/riirn becoming

tr

reality moan?

We kicked the idea about oiand on and then it was kicked out the window: “Who would evt-r think of making a tnotion picture out of a television show?" But all we've done is talk about it Ior years. and years. And, as a result. naturally. it's had a strong inuence on all oiir lives. Now, l look back and think. "Cod. a year has gone by since we started working on this lm." And it seems to me impossible that it's done and completed. It seems to me. some» times. like a dream. The fans. ofcourse. had an enormous amount tn do with it. They never let go of it. as you know. Itjust grew and grew. I remember going to New York for a personal appearance at what was only the second or third "Star Trek" convention. and when I walked out on the stageattheAmericana Hotel, I had no idea ol what I was going to face. Well. their were eight or nine thousand peoplethere. lstood waiting tospeakwhilethe re department was trying to clear the aisles. They were saying. "Look. if you don't clear the aisles. there will be no convention." Nobody was moving. so I nally said to them. "Look I want to talk to you. that's Wl1)‘l'"1 h‘!- and ifyou d0n'l ibide by these rules. we won't be able to communicate." And. boy. like little angels. they started clearing the aisles. It was astounding to see that many people. including those that were turned away because they couldn't let them all in. You could feel the love bouncing off of these people. It was marvelous. That's when I came back to California and thought. "I don't know when. or how. but something is going to harppen with this show. I just had this eeltng. And eventually. ofcourse. it did. It's been an experience for all of us. unlike any experi~ ence. I believe. that any actor or actress has ever gone through. And Il0Il' that shooting is rnryleled, icreententer

Ham Lntingston ere iliyntl

tzndtheatherarltiri tutlhlm murehel than any other rail he hai lit‘-orhed tutlollw

This script wassoinvolved. asI'm sure Harold has told you. there was no time Iorcharacterization to bedeveloped. I feltjust as I had when we rst started the senes and I'd had to ght for every moirient oIcharacterization. even if it was onlya look. a reaction. Bill. Leonard and myself. we thought. "My God. we've got to get the relationships going." We kept asking each other. "When is it going to happen?"And it wasn‘t happening. It just meant conversations with Harold and Gene and Bob. and saying. "Well. look I don't think McCoy would do or say this particularthing

at thisparticulartime."Haroldwould say. "Well, what do you think he would say?" I would tell him what I

would think and he'd say."ByGod.I think you're right. Let me write some~ thing. and I'll send it over to the set. and you see what you thinkabout it." So. he'd knockout something. sendit over to the set.Iwould read itand call him back on the phone and tell him whetherlthought it was right on the nose. or. "Almost. but it still needs this. . ." Which he would comply with. Because sometimes he would give me a line and it would be what

5('*

4,

Drfnmt

Kelley to Dr.

utinerd

MeCay, rhi'4audieaI aeev

nd], Leonard and myself; h h i d we I °"8 ts My ?'° we gOl [0 gt! [ht I‘ClZ[lOnShlPS oin we kept g ‘ . . 1

v

ea(_:h

others when

13

ll

going I0 happen?’ And It i ' it wasn t happening’ DEFOTCSI KCllCy

Bones would say. but perhaps notthe way he would say it. I'd have to tell him. "Harold. it's just not the real McCoy. .

Production designer Harold Michelsun came to the eld ofart direction alter having been a storyboard artist. His work as a production illustrator includes THE BIRDS and MARNIE. and he credits Alfred Hitchcock with having taught him a valuable lesson in telling a story on

"I brought him a storyboard," Michels0n.“and he said.‘That‘s beautiful. but I can't use it. It's too dramatic for this pan ofthe picture.'I was upset. At thetime. ljust thought he was dead wrong. but it turned out he was dead right. A lm is like a lm.

says

symphony. and you've got to have high points and lowpoints. Ifyou put in nothing but high points. you'lljust tiretheaudience. You needthose low points to make your high points stand out."

Alongwith artdirector Leon Har-

ns. aitd an art departmentofabout a dozen talentedindividuals, Michelson

ajtlie rnteipnte.

|§ responsible fut the lihal ltmlthfthe STARTREK settings. a task he inherited when Robert Wise undertook to transform theTV pilot into an impor-

tam thaati-igal ft-awn-_

What giitynu int/oluedtm the/ealure? I was in Huntsville. Alabama. workin on a icture called THE RAVA(§ERS. arlld a 747 ew over

with the Enterprise riding piggyback. I ran out of my motel. and it was kind of a thrill to see the space shuttle ying overhead. I've never been into science fiction. but actually seeing it got me kind ofexcited. Now. when you are on a movie company, you get invited to places.Theyinvited us to see the space shuttle. so I went on board the Enterprise and it was really a thrill. I took a lot of pictures and reallygot interested. Then. about a week later. I got back to the motel from work and I got a call saying. "How would you like to do STAR TREK?“ I had just been on a real

shuttle. and now I was into it. so I immediately said yes. Andyuu designed all the sell? When I got to Paramount. the Enterprise interiors had all been built Ior the new TV series. But I met with Bob Wise. and he said that he would like the ship to be a very special thing. which meant that I could rip out the walls and really chan e it. Before that. I had held to the -elirig that the walls went a certain way and I had to do'something inside them. But now I could take out the walls. twist them and

43

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Thr ll0;|li|\g plalfurms were pm

one idea of many that we used. and they didn‘tall come from me. A lot of times. Leon Harris. the art director, liad very good ideas—which I just took. lt’s a communi elfort. and you an pick up ideas gum all over, from theset designers, and thesketch artists. . .I take them from everybody. dmwiam is, $2.114 wliyyauluwayi an rtnienl u

you on a

‘

rs

this

Pm“ of That's my thought. They're full of talented pm le. why not use them? Take Lee Colt. for instance. She was invaluable in laying out the instrtiments and the graphics. which was ‘avnluunbelieglalblg feat, and nobody magnilude.

' ever re now. I mean. ev instrument onythat ship meant soniz thing. and did something, because aoddenberry is a fpir hdiat.

werenotust

inn

ts—

the?all workerf. and they \§er§marvelous.

At the conclusion of ; dam; in the recent NBc.1‘\/;m}m|°syw|~|AT REALLY HAPPENED To THE CLASS OF '65?. a Vieuiam war veteran who has deserted his wife and

C:

;;i‘ui;:tigt;_tiasR_:‘i;l:‘ef‘l'plht‘li!ass:-ll. . the boy a toy model of the starship Enterprise. The space vessel used to l

‘

be navigated by the man who wrote

theepisode Walter Koenig Hisscript soimpressed actress Meredith Baxter Bimry. Who Pliyed the young rI'l0lher. that she was instrumental in Koenig/s being assigtied to write for her Waller

own series. FAMILY.

In fact. writing is but one of the new directions in which Koenig has blossomed since$TARTREKleft the network. He has also directed and produced forthe stage. and heteaches at California School of Professional

Psychology. UCIA and at Sherwood Oaks Experimental College. All this brain work must seem a little ironic to Koenig. who. as Pavel Chekhov, created a character noted for his impulsiveness and youthful swagger. Clielliov cltarader was onginally bvvughl inln Ihe series to represent the ")nrl4lIlelemenL"He's now tenyrars older. gs! llle /ilzrinrnilled you in age his ngly? meter at The

as

It's almostati academic question. there wasn't enough character stull

;hi2:tt:ry lg make;ny aconster.

rd lhil possibility, whatwouldldo to

Cllillgeglll Qllirltler slipgdlhe 0pportunityanse in termso i ogue.I opted for keeping him fairly much the way he was. simply because that was the only way we had established Chtkhoin brash. cocky. full of life.

ind $0 0Il-

Ill Were Iwwto makellim ‘

I m {lo longer navlgatol-' l Ill DOW (l'lC htld Of ' wefponryl so lnstead of 8371113, 'W3IP factot fours I gay "fol-pedoes away!" , walk!‘ KOCnlg

lutiig at Eiuipi Panel Cldhw. pmiiudiii mil.

btu

still in tlie bulpstutd

military type who‘s married to his job. then we'd be going from something to nothing. Ifthe oppor» tunity had been there. I would have continued to play him along somewhat the same lines, Bul llie npportunity warn’! there! No. it wasn't. That isn't to say. I hastily add, that I did not enjoy myself. or that I'm disappointed in my artici ation—well. I am a little diss§point:d—but I would not have missed the opportunity. regardless. a sober.

Certainly it's true that Nichelle[Niehols. Uhura|. Ge0rge|Takei. Sulul and I were there just to lead the story along. I had a different function on the ship in the series; I'm no longer navi tor. I'm now the head ofwea onty?So instead of saying. --wail; Factor Four." I say. “Torpedosaway." ml dad sele somle footage th; o er was ooin.an there wagone moment thatphag been retained, and. I must say so myself.

get awie

it’: rather amusin

.

We're bein in-

vaded. somethingitsapproadiinggme. and somebody says. “Chekhov. don't move!" And I'm sitting there, absolutelyterried. and I say. “Absolute

ly. I won't move!" And it works very labput cllpse ttzi a til}arin een re i m. Wlqv do you

primed

iii; qppmumy)

wouUn't have Would you have

hadnbinedlliit perhaps/ell le out mmimi a/the STAR 11tEKfamily7

I think you could probably start with that as one reason and go u to twenty more. I've written a book. a daily joumal of the making, of the lm, which is going to be pu lished. but someday I'm going to write an article regarding the pull this show has had on me. from every aspect: not only the creative. but also the emotional. the psychological, the neurotic. It would be about the fact that I do not have the strength of character to tum my back on it and say. "Well. that's a pan of my life that's over. and now. let me go onto something else." I do go on to other things. I write, I teach. I direct. but l'vealwayslelt room for STARTREK in my life. And. although I think some of the reasons are positive, some of them are less than positive. STAR TREK has been easy. You go on the set. ypu make a considerable amount o money doing very little. But for me, it has not been an enormously creative op ortunity, even less so in the movie than on the TVseries becauseefpfmy limited par~ ticipation as a p oriner. Du you Iltivik Ilia! one a/your man positive motivations ntiglll lea desire not la disappoint

tlieirur

I'm not sure that my feelings are all that altruistic. I really enjoy the ftllllgfff being recognized. I enjoy ection. that warmth. which is that part of what being an actor is all about I don't think the fans would be all that disappointed if I wasn't onboard the Enterprise. I think that they could get over it very quickly. Don't tell Gene lloddenberry! If. astheAcademy!puts it. motion picturesll:OII’lr;:Cb€i Arts and Sc|i— ences, en Co e is supretne y qual.i'l‘ie:'ilct:>inds of the I y In ‘Hula CHIC Wllllidll llifkmund in advertik

I

ing and restaurant interiors. this youngwoman has designed electronic schematics for a nuclear submarine. wired some onboard computers that went to the moon. and. just prior to her involvement with STAR TREK—THE MOTION PICTURE. spent four years at Rockwell Intentational. drawing presentations Enod technical illustration; forthe B-I mbenaswellascontri utingsome work to the Space Shuttle. “STAR TREK." says Cole. “for the rst time combined a lot of my interests. I had been a premed student at one time. and l'm on the board of directors for a genetic research foundation. spegializing it} pghaviorlpl genetics, a rand new ie .So.w en we ot into designing the Enterprise's I€1CdlCil labs. I could offer all kinds of input ll'I':0 l'\£klfl.?!l;hlBCl'l;lIlOll?eBy

apatite

e as enwi em ta gTAR TREK project since before it was a motion picture. working closeI with artist Mike Minor. Her contiibutions to the look of the Enter prise have been essential throu hout its many stages of metamorphosis. “They wanted me both as an ardst and as_an aerospace consultant. to add a little authenucity.“

Your badgmund seems more suited taward building a real Enterprise lllan a pmp onefn a movie

We decided to go all out and do somediing that’s almost never done in the in ustry: we would make all the buttons and gadgets on the Enterprise bridge reallywork, sothat we wouldn't have to have special elfects people behind the walls. doing stuff manually. Since we were [planning the set foraTVseries. we ought it wouldbecheaper. in the long mn. to have all these uttons actually work. We installed hydraulic machinery so that when Spock would press one of the buttons on his conso e. these two would actually roll auxill._iary . A Itlie buttons actualonto the ly tumed on little gadgets that worked. Everything was electronically wired "P. ind WE hid elwllgh illstruments so that I think i they hooked it up to some engines. they actually would have what they needed to fly. They had pitch. roll and yaw indicagors and everything. D‘ yausiniplyevntitiuecrealirigirilliis

moi?

when them-ies became a feature, or promotion la theatrical status pose new problems! '

Y;

wou

jukst kept right on. but we as Paramount all the time.

“Whatisour budget?"Tobecreative.

you need some paiameters. you have to set yourself a problem. and then you can ligure out what solutions are possible. But they kept saying. “Well. whatever you need. whatever you want. you've got it." and they would nevergi;eusagure.['I‘helinal budget has n rumored to be in excess of 840 million.]This madeitalittlehard for us to design things without a budget. which usually helps you make decisions. WeJust didn't know when to cut oil. An Special Elfects didn't know when to stop wiring things. I wouldGdegign something not to be ptacti utjust a dumm . and S Elfecuwouldo get

In

WIIC ll

ll

.

IICC,

WCIII

OWII

on the set latepin the afternoon to

check something, accidentallypressed some buttons that reallyworked, and one of those hydraulic things rolled

tight out and nearly smashed me. You designed noltmly lhesemrttolzr bu!

aha some decorator gr?ltits! Yes. we had to ecorate

the Enterprise seu. but we really couldn't

brill! ill

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t 31

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more international recognition by m0\‘lI1gl Lvndn. There. She ied with Sidney Poitier in THE WILBY CONSPIRACY, and with Michael York in CONDUCT UNBECOMINC. Now she is on thethreshold ofa fame that could prove to be interplanetary, having won the unique rolc ollliatpronnunced E-lie-uhl, the spiritual. sensual— and hairless— Deltan navigator of the starship Enter prise. It is a part for which over a hundred otheractresses were cor\sidered, and, ifMs. Khambana outshone the other actresses, it might he becausc. in a sense, she has desired the role for nearly a decade. “Ten years ago in bondon." shesays, “my favorite television shows were STAR TREK and MISSION: IMPOSSIBLE. It was said, at the time, thatlwas ‘exoticf In a way. it was a threat. Because exotic women didn't getmuch work, except injames Bond films, looking beautiful. I asked my agent. ‘Look why can't I work for STAR TREK. They always use exotic women.‘ He said.

‘Because it is a rerun. They have stopped making it.’ I was a little bit disappointed about it. "But when I came to LA. I found that they were doing a STAR TREK series again, because my agent said, ‘They've asked to see you.‘ So I though; That‘; wand;-rf\_||_' w)“-n | went in for the interview with the casting people, all the actresses had beautiful wigs or hair. I decided to walk in and wt-ar a bald rap | bought for a dollar, so they would have a rough i|'np[g~§§i()y\ 5|‘ hqw I would look without hair. As I walked in, they were quiet. I told them I was a lousy cold reader—some people are good cold readers. but when they comeon camera, they're notas good -50 I jgkgd them m test me, They did and I got the part.

“~

Ofmurse. nnre STAR TREK bmrmz a feature and was actually shooting, your datlyprepamlrbn u/ma Iillle mm complirated than ‘jut! pulling an n bald mp. lwou dn‘t weara bald cap, even if they'd say to do it, because, as an actress, I think it looks articial. So. they shaved my head every day. But even so, there wasa lotofmakeup on my head in some shots. because by lunch time. my hair would be grow-

ing out and they couldn't takeacloseup of me. They put three coals of maker; on my head. It was so thick lllil. cl‘ shooting. ll "Wk "If l0I1)'ve minutes to take the makeup off my Mid il0I‘\¢- And. all" llivillg my head shaved for awhile, my scalp was S0 Soft that l Slarttd getting pimplcs like men get. So they sent me to a demtatologist. who gave me a lot of injections in my head. It was necessary. because Deltans are supposed to be nattiaally lyairieslskand my ILaldI185! C0\-I n'l 00 i e srnet ing that had been shaved. And then. it was the rainy season, and I couldn't

weirl hi! lilfiust Olllle mlllp.

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lW3$ constantly Cilllig l'0ld.Wl\iClI ususally never happens to me. An‘-1¢,‘rrm1I-rpnimrulowklvlwtll-= part. lww dill you prrpnrew the ml: of Ilia? In the beginning, I didn't know too much a out the character. I thou ht they wanted a contrast to Spock. who's logical; my part is very

emotional.Ireallydidn‘tknowabout Dflll lhf Plll Of Origin. I didn't

know what Ilia was going to be. I discussed herwith Gene Roddenberry the rst week of shooting, and he wrote me a four-page synopsis ofthe woman and her ackground. Ithink hedid that forSpockand everyonein the beginning of the original series. Deltans are very spiritual persons. They go beyond technology and the

materiaIworld.Theycare forpeople, they read people's minds: they are much more attuned, because they are so caring. He made it sound so wonderful and beautiful that I was really falling in love with this person —except for one thing I personally did not agree with. On that planet, sex was beyond anything. An Earth person who made love to a Deltan would becomea Deltan slave because they are sooo fantastic [laughs]. I think that's right for me. but I didn't feel diat sex was something one had to do with everybody. That's wherel had to do my acting.

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Ithink my personality comes out in the film. I couldn't make her a super-heroic person or anything like that, even though she was Deltan and superior in some ways. All I thought was that this person was human. she felt for people more than other people felt. It shows on the screen that she feels for her one-time love, layed by Stephen Collins. I feel for liim, and for other people. That is something that is real in me. and I wanted that to come out. Director Wise has not only reshot the spacewalk scene. he has also ordered a STAR TREK trailer to be redone, to be narrated by Orson Welles. It had been Paramount's intention togetateaser trailer forSTAll

TREK-THE MOTION PICTURE on theatre screens by late September.

InashakeupoftheParamountpubli-

city department in early September, the teaser trailer was scrapped and a crash program was instituted to revamp the full length trailer then in

preparation, which was also deemed "unsatisfactory." Says Wise, “It was very pedestrian and uninteresting. with nothing visually excitingin it so we cut a little out, and then got Trumbull involved with it. He's put in some bits and pieces of film with miniatures, which should really help. Even though the feature itself is not yet in it's nal cut. composer Jerry Goldsmith is already working on scenes and dramatic ideas. For inspimrgom ht has visilcd 1-mm[,u|| and Dykstra's workshops to see the miniatures, and has been viewing what Wise describes as “fairly loose stuff» sequences without certain key scenes. As fast as Goldsmith can get the timing set, he's putting his score together. lt'sall piecemeal. We'll have to do the picture maybe not even in reels but in modules: sequences in time as far as the dubbing is con-

cemed." And so, while actors and actresses loop their lines, while sound technicians labor to produce innovative effects, while composer _]erty Coldsmith is screening rough cut sequences, while Douglas Tmmbull and his associates are adding on lm the wonders to which Leonard Nimoy had already reacted on a Paramount sound stage, we must wait until December 7 to nd out ifWise. Roddenberry, and company have safelv tread a path more erilous than any spa“ walk; the Iilne line betweenillmse who sav. “Please'don‘t mess with it," and those who sav, El "Please, do it right at last."

47

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Top: The Cygnus. a huge

derelict spacecrait commanded by Max Reinhardt (Maximilian Schelll. the only human on board. and run by a robot crew oi his own creation. Bottom: The Palomino nestles down onto the lore landing dock oi the Cygnus. Its crew oi iour—Anth0ny Perkins, Robert Forster, Yvette Mimieux, and Ernest Borgnine—have come to investigate why the ship is so near to a powerful black hole. -i~.\_,.~.

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Above Leit: The crew oi thePaIomrrio runicrtheir lives lrom a destructive meteor rolling down the main corridor oi the Cygnus. Background elements oi the shot are miniatures by Danny Lee and Terry Saunders, expertly combined with the ioreground actors.

Below Leit: Robot driver Vincent takes the crew oi the Palomino tor a breathtaking ride on a Cygnus aircardown one oi the huge ship‘s many corridors which seem to stretch to iniinity The scene combines matte Daintingand rear-screen elements with live action.