..

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Volume 9 Number 2 $295

Y ‘

vv
OOOOOOOOOOOOOOOOOOOOO
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 c-
tion lm ever undertaken by the
Disneystudios. “lnsideTl-IE BLACK
HOLE" meticulously details this ve-
years-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 in-
ception 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!
.,,
OOOOOOO
ofthe Disney matte departmeni,_]oe
Hale, su ervisor of cel animation
special egects, matte painter David
Mattingly, Gordon Cooper, fortner
Mercury astronaut currently a vice-
president 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
IF-"
I IIIEFIITBTIIIIE. FIST OFFICE
: 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
'| D Four laauoa S10
d mu .................................................................................... ,.
":;;';;';'.""'""""
my
g. , s
' l
O
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
Ill Z10. llll "II, ILLIIIIS lllllll
D Eiqhi lune: $18 El Twelve Issues $25
":;,,,
Slate
"""""" ""';;:;;;;;;;;_";
Zip
- when the film premieres!
3..
‘~40:
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
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!
Mailed in December
 SENSE o.F WONDER
THE BLACK HOLE
lllllllillllllil by Paul M. Summon 4
A preview oi Walt Disneys Christmas science iiction iiirn spectacular, including interviews
by FT¢d'l¢'k s- C147‘! with executive producer and studio chiei Ron Miller, and director Gary Nelson.
It came as a little hit ofa disappointment
m -- SALEWS LOT W“ hm‘ d°“°
lam am - - - n-
sAL‘i’Etg§ eTull the- seen es st oryo I on nqnq
st ep h en K’inqsnov
I ' elt oeev ncu
t | lsigyn, aim l“3l'i'Z.§ 9
interviews with King,_producer Richard Kobritz, director Tobe Hoogrl, and others.
worse: Warner Bros could have decided to
CLASH OF THE TITANS
godthud lhénzauy 3; “T onuihplmned
-
by Mike Chiids and Alan Jones 22
Speciaieiiects grendmasterey Harryhausen, producercharies H Schneersnddirector
wi ° en T‘ I E elm’ at wen"
meaning but bungling self-styled nulmr of DesmondDavistaikeboutthetiimlngoiHurryheuaen'slatestspeciaieiiectstourdelorce.
horror who gave you IT'S ALIVE and THE
STAR TREK—THE MOTION PICTURE
“'
DEMON‘ The P°"“ "h" "my mak" °"
- -
by PTBSIO NQII JOIIOS 40
interviews with the actors and iiimmskers reveal some oi the new advance: in Stsriieet,
break! 3 P"°.I°" '5 II" "11"" ""'°|"d~ and coming our way December 7 in the moat expensive science iiction iilrn ever made.
when we leamed a little more about the
telelm and its producer Richard Kobritz,
who is ailing the shots in bringing King's I
vampire novel to the small screen, the ' I
I]
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 antip-
athy forTV, its tinypicrure, tinny sound and AMERICATHON
commercial interruptions, and work-up l7Y 7"" |~"¢" 23
some real enthusiasm for seeing what the THE AMITYVILLE HORROR by Steven Dimeo 30
advantages of the medium can brin_g_to the
luv vs
horror.
of stsvhl l§\ns'§ "Mon of ARABIAN ADVENTURE by Den n. Scapperotti 29
For starters, Kobrrtz hired genre
director
THE TEXASTobeCHAINSAW
Hooper, theMASSACRE.
perpetrator of LEGEND OF THE WOLF WOMAN by J0" Stl"Ol'd 25
insure against gettin a “TV look." Hooper
talks about the chaIlenges involved, and
how his work on the project promises to
THE MUPPET MOVIE hy U” J°"“" 3°
revitalize his sagging career. Hooper calls THE SHAPE OF THINGS TO COME W L06 R0"! 31
SALEM'S LOT “an epic, the GONE WITH
THE WIND" of its genre. TIME AFTER TIME by David Bartholomew 32
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, B
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 PUBLISHER AND EDITOR: Frederick S. Clarke. BUREAUS: New Vorit—David Bartholomew,
um.-rHE “ACT HOLE fumm N” Fm” Dan Fl. Scapperotti; Los Angeies—.iordan R. Fox; London: Mike Chiids, Alan Jones; Perle-—
lilhs \'°b°"- V"\¢¢l" Ind 914 5°b- "M11 Frederic Albert Levy. CONTRIBUTORS: Steven Dimeo, Lieu Jensen, Preston Neal Jones, em
oartoon characters to tuglat our heart strings. Kelley, Glenn Lovell, Tim Luoas, Ted Newsom, Lee Rolie, Paul M. Sainmon, Jeii Staiiord.
It remains to be seen ow damaging this
5"‘? '° '1" I'"",IY "“4_""°° “"“_ I" ‘° "W CINEFANTASTIOUE is published quarterly at P. o. Box 210. Oak Park IL sosoa. Single copies
lm’! lI\°l'¢ "I10"! fld Ind ll! !¢CI'¢l- when purchased from the publisher are $4. Subscriptions: Four issues $10, Eight issues SIB.

-=~m=~=~ ~=-=-M
surprise ending that is rumored to be as

9 °
robots we know n but its script does have
Twelve lseues$25. Foreign subscriotioneare no extracharoe. but please peyln USA iunds only.
W:".$":;r:-'=:~.:-'::':-a.".:*si1%:wi2;:f.;*z.°s%>-
Sl'ARTREl,ontheotherhand,hasnocute “W by ' 9 C 5 9' '3"2"'11'".%*0s°#r*:""":.'
~
' ' "M" '9'“ '
some disappointingly close and spedc par\- RETAIL DISTRIBUTION: in the United States and Canada by Bernard DeBoer inc., 186 High
‘ugh m mo of gm dd “I-in ePi,°¢|¢,_ My Street, Nutiey NJ 071 t0. Othercountries please applyiourouriiberaidiseountandtennsoisaie.
pessimism showing of course, as always,
andyetl still hold great hope to be amazed Front Coven The inhabitants oi SALEM S LOT, painted by Roper Stine.
wine Deccmben U Ben Maura (David Soul) stakes Barlow at the end oi SALEM'$ LOT: Background

lillllliil ..
‘.
t
| s ll ill lllllllrlllrz
 Producer _Ron Miller is ‘Walt USC and. later, spend a year with
“_ _in the past
Dtstte_v's sctn-tn-law; approprtately the Los Attg_e|t's Rants durtng the
weive been early and ttttd-50's. He also ts cor-
enough. l\I§ headquarters are lu-
ltmtted ll’! OI-ll‘ (‘.1tl'(l itt Disney's old oiec on the dial and willing to please. Vet one
ttever forgetstltat this_is.ttttatt who
appea|_ wetve studio Int itself. Satttlwiclted l>e-
ts one ttl the lust living. tttttntate
tween the stttdtu's two screetttttg
(‘t1lttpt)t|(‘|tlv of tltt- intricate Div
-
mls§ed the nmttts on the third llttttr til‘ tht-
ne_\' legend, ll mega-husittesstttatt
3UdlCI'lCC that Atttericatt Building. the Disnevl
;'un<;;.\tt‘tll\' t|;rett_t|tltg the Pow‘ of
saw and ]oyed ;\Iilltl'r olTtt‘e extttlt-s its histttry in
,§lL',',.ti3.‘tt$ltt.,'.ll' tlt't'l“,..-“§t..§t'.5.t'tft'-
STAR WARS l'f.§§ltI.n‘L‘t§tZ-“?§§l§tt§l§l"l§¥t§5§§.t.11.
seems lirttt and tlt-t'isi\'e, but with
and t';tst~s_ .t deep (rt-ant-ettlttretl rug,
pJn('llt‘ll walls the real thing, with ltttle of that glnrial itttlillerettu: sn
worked-tn |n0ltltt\g\ at ltasehttartl often exhtlnted bv kvv corporate
persttttttel.
OF THE anti ceiling) on which are hung the
V

THIRD KIND. ittnutttt-raltle citations and awards lt's that last qttatlity‘ perhaps,
ttne that Walt l\iltt$t‘lftrt';!suI('t‘l so,
Hopefully, with tltt- D_isttey orgattizatittn has gath-
that trtggers a ltttll-lttrguttett .tnec-
eretl ttt the past are all dnnttttated
dote in we begin tltsettsstttg THE
THE lt_\' the tnassive vrttttdett desk be-
autctt nous. ttttttttt» t~m_r\ttl1-
HOLE, we can ttttttt t-htttt Miller rutttrnls all tm
ntittttttte of the studio itself. The er wed Diane. Walt Dtsttt'_\"s eldest
nsach that V35; daughter. and lt\~ all .tccttuttts the
1 ‘ I9 ttverall elTect ts tme oi t|utet et-
audience’ tienn: of power tttatsked h)‘ gen» cert-ttt0n\'wasa ttmdest allitir, um-
tilit\'. ltttt ghosts linger, tun; here, siderittg the father ttf the bride's
Ru" M;||¢-,-_
".
v—' wltt-re the persutta ttf Disney hint- status. But not surprtsittglyt it ntatt-
[-'_x¢-("u|i\tf pmdm-¢-r
sellis so strmtglv felt, one begins to aged tu tnrurpnrate tme stnall
R,-';,,_. _4 --h,,,,,,,,,,,,~4-~,,,(,,,| hall-believe that Miller is |t\ertl_\' Disnev tnuch-- the gures tut their
mutt llu rtmlmlt mt Me keeping the chair warm until Walt wedding cake. detailed as anv stu~
1 tertut Obtmutlntjv and ttttttes striding in through lhedour. din drawing, showed Diane <lres\-
7""'" "L -45'1"‘-' nodding. waving. and we.-tring that ed itt Levis. while a ltarefotttrd
1-i'_"""“""'
'_"""""‘"'f"""""”‘f lamnus grin. Miller was revealed ttt Berntttda
shorts And wearin 3 his fuutball
"""”""'d 1'"""' "”'i""”" Qinre the earlv 70's Ron
'
d asdt h-e Dtsnt:\
Vliller
S ' d. ‘h | ‘
‘(IS ' stt_'\e nil tu
_

nnt'uI!I|rPt1Immnn.Attlllany e ntet.
.
,4
',"“m' MM, P-“Hm rm" . .

\||'m|n x_ "ll km,’ UXPCUIIVC PTO \ll'l'|' O" \‘ll1\|Z \' 3

ltns and telet-isintt segtttents re- In umlrrlnhtvtg n prtyerl ltke THF
Ilargtttitr. L/I.-nin:1ttt(;¢t-t»
leased lw the eottt P ;tn\‘—- on the lnt. Bl.4!.'K HOLE. tl a/'P mu Illa! I)Ltttr\ u
.\'r!tmt>1‘ r-‘P am [tn t1 tmtr
A

lte ts The Man. Pltvsirttllv. Miller making n ttutrrtutu r/[at-I In Itmadrtt ttt
""'"l""ll '"'_ 11'1""! 5"I"\' popular up/mil, and Iltrtrfurr Us mm-
"'2,/""' ' """"' ‘"4 cuts a cttttttttantling prestwtce lty
the latt ttf sheer hullt—at six [not mrmnl appml. Wuuld um agrrr trtlh
llm M "F". M’ "W" "/
"m”'"'G""'"'
mntmnrtdn/Prirrl.//nulltlw.
""4"," ve
‘
tanned ' h 3 udsotttt"
’ ‘
well aver
.
that? , .

Yes. I guess that ti s ntkett tne

100 pounds. lteappearstohettt the
-
,h,,,,,4“,,,-,,,, 46,-an well sttttte uther
sante impressive shapethat enabled awhile. as as
rrtpntttiblr/ttt lltr/ilttt't or R attizatittn. to re;t|-
mtuulirt-ittutl mt: tt. ’! him to P luv football as an etttl at
4
P en P le in the
ACK H
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 “stt-
plttsticated." 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
i‘.\[lrI|i|I‘t‘7
Oh veiih. even going hark live. six
vents ago when we lint started wotk-
ing 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. For-
tnnatel\'. 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\'.
I_"'.
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 con-
trol 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 Rich-
ard Lantliiii. caitte up with the orig-
iiial 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 quali-
lied 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
fignin and in mbiit ew.
ltiglit; I l|‘(lIf Ifllliililirill
u/ JUJIOII l.F.l(lI'F.\'
l'\'!I!Ii "IF SR4. ni Ihr
t‘!I1t' it Ilir P..1.».,.,"..
ii-ith (ii/train Itririlianti
and Irnmi Mr rraiun his
tliip ii minim! \lI Il!ID||lI\
elm Iti Illr Mari llnll (I/I'll
mlr. hi: Rlhl. IIM ltuli.
ll llldflt and /n!_|nIIrI|
[ImIul\]Ii' /II! tint nil /0|! ml
hi thr new 0/ 1!” !'.iI-"wit-.
"mm In [hr mm: HI I/Ir
miipitiil irqimiu. \lu\.
UM Halt umi I'|'nrritI arr
“'ll‘fYI1\, " in mllnl lit
rim rmigm tum,
\tit;i'mn'i. hlllllf tlirv
HUI rriltnlrmrl gmt'|'l\ DI
hoard Ilir I taunt and trmi
In /hm! ilimiigli the ittr. I
rhullmgiiig !”!lll ram-pt.
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'nlortun-
atel_\‘. 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 eiiter-
taining.
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 tal-
ented 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 retire-
nient |nst to do "another picture.“
Ir TIIF BL-l(.'K HOLE being mnr-
kelzdtn 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.ip-
pelted 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-er-
night 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 a-
gree 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’
diriri
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 equip-
petl 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 l
When Red Light ls On and Quiet! i
sigtis. But\‘<in‘reinintediatelydrawn I
to another. more unusual notice:
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 clus- 1
tered around a Movieola. going over
sortie dailies Ian idea olthe incredible
\'tiliinie nlthe usual sonnd stage can
I
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 di-
rector til THE BLACK HOLE, Gan‘
Nelson.
Nelson started his directorial ta-
reer iii tele\'ision. when an act|ti;itn-
i.ince he hail \tnick with ztetor Richard
BUUIII‘ t'\'l'l\I\l.|ll\‘ led to his diretting
 some segments of that actor's HAVE
GUN. WILL TRAVEL series. At the
time. Nelson was only in his mid-
twentirs. and unlike the current trend.
his relative youthfulness worked a-
gainst him— the chance offurthering
his craft after the series folded were
practically non-existent. and some
ean years followed. Eventually. Nel-
son again found himself working in
television, this time in comedy. di-
recting. among others, several epi-
sodes of GET SMART. His rst job
with Disney was a two-part episode of
that company's long-ntnning tele-
vision 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 featur-
ing_]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 con-
versation 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 produc-
er. 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 be-
cause 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?
..,;-Jr?‘ ’ story. characters atid effects that will
..4qt
~ 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 horren-
dons 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‘srender-
ings, 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 ob-
yiously 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
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 com-
pletely 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 origiii-
all_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, rame-
thing 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.
Yes there does. inflavor 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.
For "IS/tI7Ill'. you could equate .\1a.\'t-
mtltiin Sihellk Rrittltatdl iritlijatner .Ila-
rot1'S Citpltitn .\‘etno ~ thri both r/tarra tlt.t~
ttttrttrr mrgrilntntttitit
Tliey do. and yet it's not dt'lili-
erate. 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’(‘Il3-
lenis 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 charac-
ter 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

7
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 FILMING HORROR Behind-the-scenes of the
FOR TELEVISION production, interviews with
) I I producer Richard Kohritz,
article by Bill Kelley and director Tobe Hooper.

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1'n11hl1i11|1111|1i11g wilh
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King.
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0b\'i0uiI_\'.“ '
O1h1‘r changes were made Kohrilz,
A11111r' pninl. iii11|1ly I11-ca11sr Warllcrs was Sun-S1-mine], and a regular contributor.
b_\'
who 1ak1-s a s1ro11g creative inte-rc-s1 in 1hr

9

“CB5 wofed about; fcw things in
the screenphy They worried abou‘
. . ' .
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
. . b d . h
" Just a out eve‘), ay ‘n t left
e soap
0!"
0P9T35- sol“? things Wei?
because of time, some because it"§
te|evision_ My favorite scene in the
book is with Sandy M¢D<>usall- tbs
young m0the|'» Whe|"e 5he a"3mPi5
[0 f8€d ht?!‘ dead baby, and keeps
spooning the food into it; mouth ,,
, -
Tha‘ won I be on TV‘ obv|°usly'
slC|Jh€I‘l King, Author
lms he produces. His three major altera-
tinns 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. dra-
tnaticall_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 tele-
visioii restrictions against frightening vio-
lciice. 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 es-
sence of t-\'il.“ Kobritz had in iiiiiitl Reggie
Nalder—whom he reiiit-tiibcretl from Hitch-
t'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 PAL-
ACE] 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
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
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 FRANKEN-
STEIN: THE TRUE STORY was iioi iii-
tended for theatrical release].
Key stipportiiig roles went to Emmy
nominee Ed Flanders tBill Norton. a coin-
posite character who became hotli the hero-
iiie‘s father and the town tloctori, Lew Avres
(Jason Burke. the local teach:-rl atid Geoffrey
Lewis tMikt' Ryerson. the gravedi erl. Boii-
nic 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 undcr-
cuts 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 to-
getlier.
SALEM‘S LOT was budgeted at $4 mil-
lion—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
tv
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 pro-
dtiction personnel capable of providing the
right texture and depth iitider deadIinepre.s-
sure. _]u|es Bu-iiiicr, who had shot the int»
pressivc NBC miniseries HELTER SKEL-
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
I . " ..
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 direc-
tor. 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-PHAN-
TASM. 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 film-
niakcr 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 Slip-
posed to be set in a small, contt-inporarv
Contit-t"iicut town. Ft-rndalt-. a iionlierii Cali-
foriiia 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 SA-
LEM’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
T’ R

1Iisp.1l(‘l|('(l lo Frrmlal:- In lmild um‘. Th([\'

llmml an rollzlgc ml 2| llillsidr uvrrlnuking
Fl‘I’I1(lilIl‘ and Ill!‘ Salt Riv:-r \'z\lI<-_\'; it was dc-
ridml lu build ;| l'n||-s1'.il(- |II(I('l; up <\l_I\I;|r.su‘|1
Hnusv around thv 1-xisling cullzigr (‘(IIIIPll'X.
m|nplri<- willl 1| $lnll(' rrlzlinilig \\'nlI nml
\v\1-ral l\\'I.\I(‘(l~ (ll'il(I Irv:-s. Thr llimilv rr.sid-
ing in llI(‘ cnnaigu was paid SZOJNIO zunl
gu;|r;||m'1'(l all uli llI(' Iumlwr lirmn I\L1rsl<‘n
Huusv unrv slnmlillg was <'u|np|('|r<l.
Thv filming ul‘S.»\l.I'I.\I'S LOT l>1'g;|n on
]uI\' lU—in Fl'I'II(IA\Il‘. “ll umk 21) wurking
ilzirs in Imihl Mzlrslvn Hu\|s1'l'm|n .\L‘rau'l\."
R;iI|i|u>wil/ rvrnlls. “Wr llll llI(‘ last ll7lll'lll'§
un in \'1-r\' lane zu nighl In-Ilurc slimming was In
hrgin. I Tt'lIH‘II1I\l'l'. m_\' JSSISIAIIIIS and I won-
up lIIl‘|’(' paimillg. and smm-<im~ (lm\'v on l>_\'
lhr rmul ins! In-Inw us. All uf 1| sudxl:-n, hm‘
\IZllHllH‘ll un his I)l'Z\l;(‘§ uml IlilL'l2(‘(l up. gm
nlll ull his ralr and jun sumd |h<-n- siaring an
ihr limlsr. '.\I_\'G<>1l_ I'\1' |i\'<'<l In-rm‘ 25 }'1‘;|rs_‘
hv said, ‘and I |ll'\'l'l' llUlIt'('lI lll.|l lIU\l§('
ln~Il>r<*!' I pln_\'1-ml allnng and jusl said. ‘Ger, I
dun’! kimw—\\'i"ri'j\lsl lm|risls."‘
R.1l»inu\\'iu ('.\lIIll£Il('\ |ll(' (OS! of lhc tx-
u-rinr Mzlrsu-n Hnusr |Iim'I<~up as $100,000.
.-\nulhrr S7U_l)UO \\‘;lh spvnl L‘l)Il§lT\II.'IIll),Z lhr
inIrri0rul'lh(-Imu\1-~ l(ul)rIlZ's rolling cm-
hmli|m'|il OI-llI(' \';u1Ipir<~'s sm|I—h;|<'k .11 llu: _~
Burluuik Snnlius. The inn-rinr runms and
p.lssi|g(’s nl‘l\Inrsu-II Huusc posul [hr murv
lllllllfllll \'l1;|l|0i|gL' for R;|l1i|iuwit7 and his
stall. F(\l"I)l1(‘II\i|l),Z.IllL'l'l‘\\'ilhIl1l']7!'Ul)ll‘|IIUII
(rearing ;n|nu\pIn'n- willmm going n\'1-r-
lnmnl.
"It's .1 \'c'|'_\'diIIi1'\|I( lim-." .1(I|nil.s Ral1inn-
Will, “Bv llw Il;\IUl'L' uf lllt‘ writing. y<1\|'rr
going IHHI 1| IlI('2lll'il'Z|I ail>slr;u.'|inn. and \'n\|
must lilllt‘ il lilrlhor than normal, hul lml um
mm II lilrllwr. Il'\ lfiill and 4-rrnr. Whrn I
nlvsigilul llll' inu-riur, ll\l' lirsl SIIUIS \\‘L‘!'l' \\'a_\‘
nu-r. whirh I km-w llll'_\' would bu, and I hull
{U hr ram-l'\|I in hringing (hem dnwn nm I0
low all the gory dcsrripliun and so Inrlh.
\\‘hi-n it's lllill lino ;| linv. I'll il1l(‘|1lillI1nIl)'gn
m-1-rhunrd and llIl‘|l gradu;|l|_\' shzlvr ii Imck
and hark. I'd sa_\' II was mu we;-ks lirnm Il1l'
rst slill plmlus and Ivslilig ul the color
Iighnng in the llllill rrsulx.
"I uscd In! (ll-|IlZlSl(‘I'. sn I ruuld llIi!l1('
an

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:<|<l\', llR'
Imlrt uli ilk’ \';1|npir('. II rcllvrls his wlmlc
In-ing nmn-an llmn just a (lr<'a\'r(l Imulw. Sn
\\'<- dvcimlr.-(I In gu fur am ;1lL\ll'i|('l ilnzlgc.
“Th(‘n." Raliinowilz tumimws. "in (‘mm
uIllu- (‘sum-ra. wc muk rhv s;um- m.1u~ri;|| in
nu-nlimn .\lHIls and ('Il)_\l'llp$ and jnsl lmula-(I
il up so II \\'u\|l<I 0021- and pour righl in Imm
uI\'u\|_ Su|n<*|i|m-s i|‘\ \'cr§'4lL';1r:|ml ill ullwr
lII!l(‘\II'SI\(lINH)l)ll\'I(i\lS,‘Ill§I£llIIll('[1lI§Il'lIIll}{

Tiap: Klmrr drivn up la Manlrn Housr, a llrsrrlni man-

xiun will! an rvil Iiirlnlfy. whirl! Barlow rnnlrs Ilis bus! :2]
upmzliuns. T/||'1 nnglr. Il'l|I'fI|_)'0ll'//!lI1'!! m- in Mr/ilmi
xlluuu Imw dm'g1|n- Mar! Rabinuwilz rnrulmrlrd n/amdr
0/III!‘ Illmsramlmda Jmalln rxisling xlmrlurr an [oration
in Frmdnle, Cali/omia. Ballum: Nnl Trbbrli (Bunny
Hrfaddm) Imh an in lrnur as Harlow IRrgg|'r4\'uIdrr)
mwps inln hi:/ail rrll in S.1LE.lI'S LOT

“l (‘lCI'l€d Up my SPCECI1 pattem a
d |'k ‘t
|'n| b'[_I
' e ' 5°“ 'eaw“"’ama“
~
al homewlth words‘ STA KYAND
HUTCH W35 3lW3Y5 d|P'dlP‘dlP» 3
street jargon and repartee, sort of
halnished sent“-|Ce5_ This timel
- ' - - ' lI\D\\'l Z \Kl
Stuck wlth {he ‘mes. and dlsuplme
ofa welkwnuen 5CnPt~ There’5 also
3 ITIYSICTIOUS quality I0 BED MEHFS,
and | tried to workwkh than ] did‘-1';
Sudan“, a ‘OL It was a rough Pan’
, ,
and ln 3 sense I ‘ed to la all ofthe
neuroses that were building up in
David $011] because ofthe pressure
work for the charauenn
David SOUL ACID!‘
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, tnix-
ing itupwith other colors so thaiitwastftsolid
green.“
Two other important tltities for Rabino-
witz 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 Mis-
sion,"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 Holly-
wood," 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
dl
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;t-
l'IIlll|I(' 3\\'l'. [I |l\U\\’ll7
worked closelv iiith Hooper, and feels he
developed ati -understanding of his persoii-
ality. “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
he wanted.
“I believe he isagood actor's dircctorand
believe he will be even more-so." observes
I
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 Carpen-
tcrs, the john Badhams—people like that."
Sotil, who was cast two tnotiths before the
start of prodiictioti, was able to make sug-
gestinns that helped define his character a
little better, but he feels some inconsisten-
cies 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 every-
thing 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 nieet-
itig 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 Strak-
er. 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
kept away from him in the ht-ginning. Also,
the way Tobe staged otir scenes heightened
Th Q‘ SC ene wherl
I h (' (' I CHIP!“ O f §\lrPI'l§(‘.
' 1'
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
"IQ DU I C S D I\ -" OH
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 personal-
ityatid 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<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 Holly-
wood, 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. be-
fore 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 SA-
LEM'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 N-
SAW. 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 satisfy-
ing 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 itnbed-
ded 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, “work-
ing 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' sortie-
oue. Those are generally very boring. pre-
dictable scenes.

Tap; Mark Prlrir (Inna Krrwin) and But M ran illavid

Soul). haggard and ntnm/mm their nighlrnarith experi-
mrr 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 de-
prnrort, ihr vaporize: be/are their (wt.

"I studied what I had heen exposed to asa
lm 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 pro-
spctttye \‘|<utn.\;
"Well. I‘tn sorry they told _\-on so tttnrh
ahout that. Damn! That's the kind of tltittg
that should also tnake you guess. so you're
riveted to your seat. It's‘oneol"those devices
that ought to he re\'ealt'tl after you've seen
the picture. But since the_\"\'e told you. , ,
“The limitlessolhringing the kid into the
rootn on a hoom crane clintinates the usc of
wires. and iiyou keep the camera in a certain
position. keep the kid tttoyittg so you're
distracted lrotn guessing or trying to guess
hu“. H“. rm.“ Wm .|m“._“.hi;.h is u"|ik(.|).
.\n\'way— and you cut p\‘0p('rl_\', it's very
disturhing. It's just oltrious there are no
wires. I also had an ectoplasmic tnist sur-
rountlittg him, and issuing in a kind of
\';tcuutn from him to his victim and hack
again."
The leyitation clTect was also enrit"hed liy
shooting in reverse. which made the eeto-
plttstnic log swirl itt an eerie way.
But how will all oi‘ this look on a big
screen.’ With t-\-eryone involved with the
Prndm-m," sin.“-5,,“ ‘hm 5,\|_EM'§ LQT is .1
feature. ttotjust a television special. it seems
at logical question.
"This piece was not made with a lot oi
(m“_(.§_~i.,"§ ‘U-|-y_ |“.‘\.nm| Ii“.0h\.i.,m|imil_
ing oi‘ the use of violence." Hooper replies.
"There has licen some second unit shooting.
almut live days I think. lor some oithe speciztl
t'lleel\. These arc pltysicttl ellliccts. as you
called thettt ht-lore, not opticals~ there are
m,d“.;,p.,p|im|“|(.§ig,,..d,"|“.1\-§‘_ru.n_
The pliotogrziplty is yen‘ good. Mort Rahino-
wit7's art tlircction is inst remarkable; SA-
I.I-'.i\I'S LOT will look like a Ie;tturc."
S.-\LEl\l'5 LOT wrapped shooting on Au-
gust 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<ptt-ntl4\' tt'le\'i.\ed) or ;|
date soon alter.
.~\tttlw.1_\' up in Center Lovell. I\I;iinc. the
author of SAL!-I.\l'S LOT is .1\\';titit\g the
protlut'tio|t'\ tt'lt't';tst like the rcst of us.
"I thought TH E TEXAS CH.~\lNSA\\'
MASSACRE wasagrcat tnoyie. and I likethc
screenplziy tlte_\"\-eeotne up with lorthis. so
I'm looking lonvard to it.“ says‘ Stephen King.
"What I'd really like thctn to do is scntl
ntc a videotape olthe F.uropean version. I'd
I1l‘\‘(‘I'§‘iI||0ll\2ll." Cl
I4
DI
wrhe camemwork is almost always
. I . b
movlng‘ meal!‘ Incl-e I e
d°llY shots» @PlC /‘[135 -‘Polio moon
SIIOIS that SWCCP BWZIY VEI‘y qUiCkIy
-Om the interior ofN|a|-Stan House
to Show you the Scale of the Place.
, .
You won I belleve Your eY?5-
F““'ll l"§f‘lT""-‘I"l""""‘“‘“‘““"“""a'“
H"lll“'"°d l'l'"'“al“"- _T“l“’ lI"'_‘"m"'“""l
T““"l“"'l H‘ml“" “'""“"§ *1" ‘;""ll'l“‘- Th"
C°'l"““"§."r‘“'“"l l’."THl'-_TE\’\S(*l*l’\lN'
SAW MASSACRE ‘l974'- lm §“‘_°"‘l lf'i""“‘-
crflaulll all ‘""l""lZm““‘l (“ll “'l“"§""“ {"7
hm‘ "‘i"" l"Yl‘""~'_ ll“ 1'l“"“l"'“‘d l“-‘ "'*““:"
TFXa_§ l-"r_Cal'l_Qr"'a~ Tl“'*'““'l1f“"‘_‘l -*l’""‘“l“_
'll'“"l“"'“" ‘fl Ill" m'_“~ lhc l"l‘l'"g ‘ll Ill"
company ortgmally licensed to release II
lall" Ill" m"""_“"" "l I“ “m‘_"'5 "I Ill"
DEEP THROAT "l“""'_'_“Y "3_“'_l~ "ml ll‘?
“’“'l_l‘“““(l'§“l‘I"'fm"“"' "r""l_l'""$“f‘l“l'
la“ "I “"““l_ "“‘_"'l“_5' all "‘_‘_""'l“'“'d f‘"“'
"mmI"ll“'l"z""(‘l"5l‘"'l'"lll‘ ‘ll"“‘“'<Tl“'
"'l"1'*“' ‘ll H“"l“'r.$ llr“ H“ll.“"""_‘l '“‘“‘“‘-
5"“-EN ALIVE l“'h"'l' l“' _ha‘l I-'l"“"l ‘T5
D_F"\TH_TR_-‘\)Pl .""*“' l““"' ‘l_“l '““ "‘al“’ ll“
5'
‘:"“"“al"5““""‘,'ll"r"3‘“'§§'l’l“ lo ll“ l“'h'
ll“: ""9" 5“'“""l l"~‘ §““"“_l“'5l ‘l"f""‘l“'§ [ell
Il(l“"‘l"‘l"‘f""""*‘l‘i“l“"lll“"‘("§'*'i'll'l"‘l
I" THE TY-\_-"-5 Cl’l'\lN5'\w M~'\55ACRE<
Al ‘hf’ '""" ‘fl TEXAS CHAIN5-’\w_'~*
"'l"3§“~ " “'35 ‘llmcllll '~""'" I" ?|5("’n?||"
H""l"""$ ail“? l“' ‘"3’ "¢"'l""5l§' d¢'“'|'ll"‘(l 35 5|
tnan in his lalt‘ ‘Z05 to tnitl-fills. Hooper now
lIl“’~‘ hi’; all" ‘I533; H" "l“dl'~"l "l"""‘3l°Il'
“Pb? “ml "“'5"' '" T"x?“- ‘mil |"i"l" “V0
l“*“"""l'~’|‘ll‘l‘ lms’ 3‘ PBS ‘l"""""~‘"li"§' "'1
P'~'l"~ Piml “ml Mar.“ imd 3 If\\“'ll"lll‘ll‘: 5|"
lm \'illl"‘l ECCSHELI-5*l“'l""' 5' "3""'l"ll_\'
c;tlculate_d tnoyt‘ into tnodern. cotntnereial
l'"""" “'"l‘ TEXAS CHAINS-'\w4 5'lZ"|lll'~‘""'
l."- ‘hi’ I935‘ P"bll“l7-"ll *“I“‘c' "I H""P"l"5
l"1'~'kll"‘\""l' hi-* i'"l'"‘§l l" I3-*_\"5l“'l"l!§'_
$"PPll“5 lwrllillls [ho "‘°5| l‘"'“‘l“l “'\'"‘"' "I
THE TEXAS CHAINS/\w MASS-’\CRE~
Hooper is otte oI'se\‘eral _\'oun}:. t‘ontent-
Pol‘-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
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
with ‘ : " Il'\
|'u\t one scntentc .' the setotttl
' tttt‘ "
' S . " .
Yntt trerr tttttmtmml In ritrrr! I1II:' I).-IRK
and tt/ttr 11's rm! utttlrr_/nhtt Btu! (,‘ttnlu.t' Xtgttttlttn‘.
II‘lt1t/ Itttftprttrt
It was an unplt-asattt and totally impos-
- stltle s|tuatton.Tltcre was at consptraty where
oomst thc lirsl assistant director [Cardos|. who was a
lricnd. had shot a picture lit-lore Ior these
people and 2I(l\l;|II\' had ln~t~n promised this
one. But _Bill Deyatte wanted me. and so did
the associate prot‘lttcei' [Igo Kanter]. antl the
n ttttnal produter |Etlv\.trd L. Montoro], \\ ho
produced GRIZZLY. THE DAY OF THE
ANIMALS. and had re-edited atttl distrilntted
BEYOND THE DOOR. But this product-r
antl I hatl at tonllict that would oetur dail_\'.
He htttl a vision. and I had ti vision. and they
clashed. I found ttt)‘st'lI not wanting to he ti
traIIit' cop. .and t‘onseqttcntl\'. I was noL
.
So I shot ahout Iour days oll lht"pit‘ture alter
prepping it. In Iour days. I Ililll prohahly lice
ntajor arguments. The crew had licctt hand
selt-ctcd without tny consideration. and the_y
“Tn. H“. assisunn-_\ (“.“._ _,\|'“.H| whit“ I Sim.
the man [Cardos] studying the script. and
then l knew what his thinking was. I was
falling my agent e\'er\' [cw ntinutes. The
producer l'l\Iontoro| should ha\'etlirct'tedthe
moyie, He did not conne his interests to
story planning. He interrupted something
that-was a yen‘ personal, yen‘ speeilic. well
thought out. well learned through hardship
style. My vision ol‘ l'ilm is st\‘listic— which
does not exclude t’<i|tttttt'rci;ilistti. There's no
reason whyactnntnercial picture cannot also
he a dynatttite Iilnt. And the times we're in l
right now. it takes soutething to get thosc kids
into the local theatre. However, it's also a
matter oIha\‘ing_ once you get them in there.
3 dl-gr“. of (-n.dihi|i“-4'
T/n'n'tt‘:ts Inlk Ihttlyitlt hzulattd Inslrt I’/ttttrrml
hrlttmt rmtlntrl, ttml Ihett you tlrnp/ml/rmrt ugh!
ttttlil note and S.—ILE.\I'S LOT
You tna\' not know I had a history with
SAI.IiM'S LOT for Iouryears. I had an oppor~
umitymqmm-;||td \\'urk I'orWarner Brosona
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 some-
thing 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>
T ‘

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I6
Ir-
do 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 Carpen-
ter'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

problems of working a heavily unionized

1 major studio operation.
Wlrr is Ural?
Because I‘rn looking for somebody who is
visual, who isn't wasting his time worrying
I 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 conven-
tional 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 tr

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 improve-
ment 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
I r
Top: A sltolyou won ’l srr wlrrn SALEM ‘S LOTt's lrlrrast
by CBS 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.

,.
.1l
“WC didn't fly our vampires in on
“'l'°" "°°‘“"° °"°" I" "‘° b°" °'
lms you see them,‘ we wanted
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
' - - n
spooky‘ e.ene quahty .t° IL
Rlchard Kobntli Pr°duCeT
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 involve-
ment with the project. He made some en-
couraging 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 Mar-
sten House must never be clean and immac-
ulate 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, fromapointofsheerconstruc-
tion 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
I8
evil—God knows, Ben Mears talks aboutittill
. —
i',§i§,.§’lt'lT.I"it'L‘Iil“°§.I.-’iZ§§’ Ii.'§n',§'“'i"“.lTi
— u
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
changed that. ' g '
In what way doe: theiruide nfthehause resemble
a cesspool?
It is a house 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 mois-
ture, 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 improve-
ment, 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 rea-
sons 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 Hitch-
cock. By the same token, we were going for a
genre piece herethat was not always t'xplaiii-
able 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-xpres-
sioii 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?
Almost all physical effects, very few opti-
§,‘§'§;.<i"il'§’i.“.f’§ft§"l§t§il§§JZ°J§
' ' §§'l>§§I’-
production ironing out the details in the
opticals.
There’: a superimposition ofBarlaw's/are on the
moogtnéhellastpageg/thzenpt. . .'
ea , wrote t at. e re testin it an
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/Barlow-
willu-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 addi-
tiotial 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 half-
hearted IIIIIIGX. I)iilymt ire ll,
I did, and that was |I\_\' let-ling, too,
unfortunatt-ly. Again. I tliitik we have better
material going in. Nuinht-r tint-, the st'[een-
play 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
effect like the eves 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 thor-
oughly. 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 where-
by 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 four-
hour 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.

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<lihc harncis over which hr
wcars nonnal pajatnas. The harncss is on thc end of a
long, blach-draped ann which is cvontmllablczr pitch.
The ann itself is attached to a Chaptnan Apalta Cranc.
very rantnton on rnat-ic sets. which is ntashrdorn view by
a blarh bathing. The nancprotridcs the whole apparatus
with /onuard or bachward nnnlnrlcnt. whilc the arrn
provider yaw capabilities. panning I:/I or n‘ghL as well as
housing piper necessary In dcliucr the desired/ag eets.
 T‘

“My pl‘0bl€IIl IS ObVl0USly going to had made some money. I had heard Billy
belsmlldards and Pmcticest_what Frtedkin had liked it and had recommended
. Hooper, that he'd worked on a few subse»
theylre golng to allow us to 5h9w quent projects, some ofwhich were aborted
and what they're not. The script -—OI'IC, EATEN ALIVE. was made. That t
went by [hen-|_ Thgy approved i( never did see. Butoncel sawTEXA§CI*'IAlN-
But I know theysre going to come SAW. my mind was made up. I didn t even
know whether Tobe lived here. We foutid he
back and say they Want 3 horror hadanagent. andwecalled him up. Obviously
lm but they dOl'l’l want I0 SCZFC Ihad to havea meetingwith Tobe. to tellhim
people eithen I just donut want to how I worked. which was'probably totally
Stan cutting out the honon _why different than anything‘ he d been eitposed
. . to—even atamajorstudio. even atUni\ersal.
make the damned thlng ln the rst I said I work very closely. It's essentially tny
|Jl3C€?“ decision what the nal script is. Not to say
RlClI|"d K0bI‘lll, Pl"0dLlC‘ your voice woti't be heard. but—
But you're the lion.
Areyuii shooting it hard and a raft version, to Right. and this is what I want to make.
accamodate the foreign theatrical release? Last year I did this kind of picture. this year
Not in terms of nudity or anything like I'm doing this kind of picture. They're in the
that, hut in terms of intensity. same genre. but it's a dissimilar subject
You mean. in the Tl’ version. a stake will be matter. I like a very fluid camera. I want
driven through a vampire‘: heart and go out of incredible visual style on the picture and I
camera range. while in the European theatrical the also want to make sure it is cast impeccably
audience utill SI! the blood and ~ well. We naturally have to deal with some
Exactly. We're protecting ourselves. It's a television names to satisfy the network. but I
different niarket out there. one where you really want to make sure it's aclassy act we're
have to pay. not where you see it for free. But putting together.
in a horror picture done primarily for tele- 77tat'.tan unusuallLtL Iwnuld neiierexperta TI’
visioii. you've got to deal in scares instead of producer to my he wants ouid camera. he doesn't
blood. which is what we'retryingto do. What want zoom lenses. Was Hooper impressed?
we watit is to have the bogeymanjump out of I don't know. Well. yeah—I think any-
the closet at the audience every few ntinutes. body who hears that is very surprised. I know
If it works, we're successful. If we're not I can keep a pace going and there's certain
successful. . .we're not successful. And that's things I can change or modify as we go along.
the hard part—trying to lind someone who But Icarethatthethingends tip lookitiglikea
can pull that off. I've been lucky. In Carpen- feature. that itjust is not sotiiethingthat looks
ter‘s case. he's a guy we'll come to recognize. like every other television inoyie with a
notjust because ofthe success ofHALI.OW- modernjazz score behind it. Then again. it's
EEN. but in the next few years through a subject matter that I've always liked and
universal recognition. as a major talent. And want to see dramatized well. I'tii not into
the same is true ofTobe. Becausel happened that. I don't collect stills or atiytliitig. I just
to like THE TEXAS CHAINSAW MASSA- feel I want to make ati interesting horror
CRE, which I think is hrilliatit. I saw it a few tnovie— one with class. with belieyahility.
titttes—atid I know they did it for $100,000 Afterl tnetTobe.Idet'ided hewasthettian to
in 20 days with a student crew. and all those direct SALEM'S LOT. So I went to the
things that don't help to itiake a picture network. they said okay—I don't mean they
good—atid stilltherewas anincredible visual were overly enthusiastic. They didn't even
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 vain-
pires 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.
a 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
l9~l0's. . .

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
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 screen-
plays 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 screen-
play with a bratid-iiew writer and see if wi-
could lick the problem. We got Paul Monasli
and structured some things very tnuch dif-
ferent 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.
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 blood-
hath 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". . .

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
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
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 deter-
mined 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

20
-_

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
mm 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—
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
v tlte t'lI\l' lil \\'httt t\'nultln't trttnslate t"inetnati-
t';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
t
CB3‘ mtnlt I/tr trmtttr mt tn .\.'m't'mln'r. !.'ttn yntt do
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
gr! mt m .\'utwnhrr ts Ilttjv tlmt'I mm! 11 ttamptrz
t1
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 impor-
tant tntt\'ie.s cntnittg out, itt particular Ku-
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 ol-
tltetn. l \\'ottl<l think tll;tt'> 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 <tb\'ittttsl_\' going to

he Stantlartls and Pructit"t's~ what they're
going to all<t\\‘ tts tn show and what they're
not. The script went h_\' thetn. They approved
it. But I kttnw they're going to mine hack and
say tht-_\' want a horror lihn hut tltey don't
want tn scare people either. l have no doubt
that's going to be the battle. I wouldn't mind
a disclainter at the beginning, “Viewer Dis-
‘ er:-tiott Ad\‘ised"*il' attythittg, tltat usually
lilts the rating points up. [just dun‘t want to
start cutting out the horror olthe picture. To
ntalte a horror picture and then start Cutting
out the horror. .why make the damned
.

thing itt the rst place? El

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 Har1yhait-
sen'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. pro-
ducer Charles H. Schneer ought to
be justified in his optimism. Little
word has leaked from the produc-
tion 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 to-
gethera flimsy foundation. which has
“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
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
so 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 ofAndrom-
eda(]udi Bowker). Hamlin. an Amer-
ican actor. was last featured in Stan-
ley Donen's MOVIE MOVIE [I979].
and played the lead in the TV mini-
series 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
22
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 shnot-
iitg 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 hed-
room was beittg draped in black
velvet for double-exposures to he
sttpered-iti later. we spoke to direc-
tor 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 cred-
its include A TASTE OF HONEY.
-' _ 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 ver-
sion ofWilliam Shakespeare's“Mea-
sure 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 chatacteriza-
tion. lwon‘t bestressing the roman-
tic element so much as making it
complement the special effects. The
lmsofthisgenre.inthepasbiflmay
review them. have relied solely on set
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 hitdg-
et 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’
I 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 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 unim-
pressed 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-
.inct-s. will oiil\ etili.iiu't- the Ulletls
and in.tkt- tht-ni ;ill the niore believ-
able. 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-
nient .tI>nnt ghtiitg nothiitg. The
whole thing Itt-mines very l7l73fI’t'.
pltotograpltiitg thein with six-foot '4
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
l
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
tho latest
Harryhauson
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 PER-
SI-'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 re-
search 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
 N
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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
§t.tte\. .ttttl .t ltttle e.tt'her_ .trutttttl
E.t~tt~t_ htr (;t"e.tt llrtt.t|tt Kt-\ \tuttt-
ttum \\tll |tl.t\- tlte le.ttttre ttt 7lltttttt
tttttl l\ttllt\' \terett
The rt'.t~tttt (‘l.:\§H OI" THE
TITANS t\ ltrttt); ttttttle lot \lCl\lt1|\(l
ttttt tinltttttltttt. wtth tvltttttt Sthtteer
.ttttl ll.trt\lt.ttt\ett \ttl] ttvtttr.ttttt.tll\'
tt.ttt- lttttr lllttt\ tt. ttttttplete. tt tttttte
>tttt|tle> the\ \\'t-re \e.|ttttt)1 lnr .t tle—
ttuutt tttt tlte ltlttt \\'h|le the l).|\'itl
Begelttnttt \t.ttttl.|l \\-.|\ .tt in peak.
.\le.ttt\\h|lt'. .\I(;.\1 ~tt-ppetl ttt tttttl
ttt.|tle thettt .ttt ttller trlttt h tltev e\'ett-
ttt.tll\ tlttl nut reltt~e. (Ih.ttle~ H,
Sthtteer tletttt-\ .ttt\’ tt|t|tltt.ttttttt now
th.tt tht- lllttt'\ lttttlget t\ |ttttrt' tlt.ttt
they wuttltl lt.t\e h.ttl .tt (Iulttttthi.t.
"\\'hether hut‘ (Ittltttttltnt ttr .\let'
nt." ~.t\'~ St hm-er. "tt mm wltttt it
\t>\t\. t1mt~ ttttltw .tn- ttttt whttt thet-
were live \e.tr\ .tgtt_ tvr evett t\\'u Venn
ttgtt. It t\ .t \<‘n' t'\|tt'tt\t\t* ptttttre
ht-t.ttt~ettl tltt'tlt'|tt.|tttl\ttl tr.t\el.1ttd
set mmtrtttttt-tt. whtth \'ttt|'\'e set-tt
here ttttl.t\ " Sthtteet n~ler~ to the
ttlttltmtttttt ttl the "htttttl" ~t.tge. the
lnrgt-\t wtttttl ~t.tt;e ttt tlte world.
wltere the ttttettor ttl tltt- Temple nl
Thetn. the p.tl.tte tvl tI.\\\ttt|tt-tt.
Mttttttt l')l\ttt]ttt\ .ttttl the ~et tut the
lhmtltttg ttl .'\T;1tt\ h.tt e .tll lteett htttlt.
"Thu h.t~ t.tkett ttt ttttte tttultllts ttt
put tugetltet.“ he tttt\t|t\ttt'\, "-tml
th.|t'\ \\h\ \\’t"'re .tt I-‘tttetmtttl lttr
twehe \\'eek~ tn tgtte tt~ .| tltttttte to
tt-.tr tltttttt lltr ~t-t~ we ~ht»t ttt the rst
tttuttth .ttttl lttttltl the \et\ lur the l.|>t
ttmttth "

Ind ttm tn/ttrt mm mu t/mt rt tr Ihr

ptrnm-P
l>'_\'t*r\'lttttl\' tu-w.ttttetl lurtlte lthtt
we gut wttltuttt e\tepttutt. H.tll tt
tlttlett \e.tr~ ttgo, ~t.tr\ wttttltl h.1\'e
thttttght twtte .th<-ttt <l\|tt|tt'l|ttg wtth
Cttrgoth. .\lenltt~.|\ .|tttl Kr.tkett\. httt
we're ltvttt); ttt .t wttrltl ttl ~plentll<l
\'tstt.tl ellet t~ ptt tttrt'\ th.tt h.t\e t‘ap—
tttretl the tttt.t)1|t\.ltlt\1t ttl the tttt>\'te~
gout); wtttlnl Ilte .tttnr\ rettlt/e tt'\
the \tttr\ th.tt tttttttt~ It \\'.t~ ttt-vet tt
tune <>l_ tl the\ tnttItltt't tltt tt, the
pittttre \\-ttttltltft h.t\'e lteett ttt.td<-. A

Rtynt, Mr Iltm .\:\;-mt ttttttnrt, all blind but

/ur lltr ttrlglr rt! Mn thurr bmtmt Illnn might
hum. I11! Imll .\'r|/rnt an /mzrn in their
rm.-it tmtdr lhr \ln1um‘> Inn. Iuntrdtntlorte
M a glurtrr [mm rm» mltnlngiml rvmfurr, our
0/Rut IInmhn||tm‘t tlnp-mnlinn r/[rrLt wt In
M/Fluted Rrlmtr it tt-1 for Stullnl mat.

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 Fhe sake of
ll. l[ IS 3 CYIIICISITI l€V€lCd
'
at our ‘lms’ "in" I think
T105‘ 0 our PICWTES lend
[ emsglvgs [Q [his
of inte {ion ii
g '
R3)’ H3" Yh3~ll5@n
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 iump-
edat it with alacrityi-—and nobody in
this picture was paid two or three
million dollars. if you get my mean-
ing.
luiee you returned la lhe Greek
Wltgv
legends’ I! seem; like a throwback In
JASON AND THE .4RGONAUTS.
The story is a natural develop-
ment from JASON. There are many
Greek legends—this is a different
Greek le end. It so ha ens that
Wk‘
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 -
"V'
u I ar name in ictonan times. Idpp on't
think we would call any hero today,
American, English. German. Italian,
any bov, Perseus‘ We needed a title
baa
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,
I: lltere more Il0P~7I|l|07|7llIIldlIl77Il7l
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
I111; urlnl Mmdilh, in Olvllliart garb. an Ioealiall utllll
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, su-
perbly 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
uill appeal only la your cult
TITANS
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
‘h
ll IS I Hg til‘
I C PDWP U lflgff d‘ll'l\l§
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 hand-
ling 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
picture,
' 'h'
that “"104 When we came to this
I was given is name y is
agent‘ So I said that's the fellow we'd
bh'
like to have direct if the material
eals to him. and itturtied out that
a
"Plan
it I . ‘b
e's a one a super _|o .
FIRST MEN IN THE MOON Ito:
been your only lm in Panatition Year:
ago, lltal tau.ted complications. Hat lhu
changed? It there roam in your lm:
recent tmioeationt in lhe e eclr ell!’
Oh! There's room alright. but it
presents optical complications to
stop-inotion photography that. in
all honesty, Ray doesn't really want
dinrlin Dnntalll Dtntit. Righl: lord Intlrmrr Olittln a.t lun.
“W see.-a.iaciQ
to rope with |C_LASH OF THE TI-
TANS ts being filmed Ilat]. I renieitt-
her 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 eit-
plained 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 cani-
era because he'd have to shoot all
night long to nish the sequenres
before the temperature changed
from day to night. He's been sIeep-
inga 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 butt-
next. To iehal doyau allnltuteyoursurcen
l!Itn7
DR!
Two things. First of all, we have
enormous respect for one another.
Secondly. we're diametrically op-
posed on everything and we agree
about very little. The one arrange-
ment 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
b'
often saitlthat familiarity breeds t'on-
'l'
tempt, 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
n 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
Charles H.
.-- ~ -
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-
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 Cali-
fornia. 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 7I!ll'l£'lX_\'S
Ilmdlhe[I7
U Hf!
In Pt’! P
One of my
]('ll)S is to remind Ray
during story meetings whether he's
used ideas before in a picture. I've
got a long memory in that respect-
hethinks 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
fJbI"
will 'osh him about it, it's all ood
h'kIg
un, iii insist we t in o some-
thing 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 rec-
days later he'll conie back with it all
worked oiit. This is how our partner-
ship works— it's very productive for
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
an llte trl.
Srlllllrl. and Ila)‘ llarvyhautm relax
-

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
them three times to most people's
once. and with very few exceptions.
don't forget anything. Although I‘ll
tell you Illlsi ifl
see one olotir lms
on television. from fteen or even
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 ma-
chine so he can nan his old pictures.
We hnaat ane a/yam /at-ante ie-
quencei tn any 0/your/ilmi u the rkeletan
ght in "IE SEVENTH VOYAGE OF
SI.'\'B.4D, mainly because af Bernard
Hemnann': ntusie. Ila you have a ram~
/rater tn mind 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
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 Dxford-
trained. 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 edu-
cation 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
his 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
was a beautifully-crafted one of
Pegasus. the winged horse. 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
' 1 '
I
— ~
* A '
,
‘ __
t
...-
" "
. .
_
Ifrrllilg llle iplnidat a/it
formative stages of a film's pro-
duction. Neyenheless. he was more
than willing to talk generally about
CLASH OF THE TITANS.
Why were yau an the ret thilt manttng
/in tehat was a simple super-im/>o.ttttan7
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 count-
ed 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.
'
’
pelt rity in an ancient tmrlil an example 0/ l‘Itl!7_\"||IIl.t!Il't
What other e[?tt.t dayau hatteplanned
Ia appear in 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 aninta-
tion 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 in-
tegration.
Haw rlasely are you working with
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 posi-
tion ofgetting spectacular elfects for
far less than other companies would
have done. Sometimes that's not al-
ways appreciated. just because you
spendalotofmoneydoesn‘tmeanto
say the ellects will be better.
Are utilizing any of the neuter
_vau
techniques in
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
av"-.' X t
_ .
-
"O".
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 or-
tanre 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
 reiniiids its olithestngle street itst-tl adds iitiiiit-iiselv to the nveritll lilni
the nal view is a grittil\' ell't-ctive .iiid grants it gt-tire niiporuinu-. Its
shot of the silent. mistv street. .i repeatetllvthruiiglioiittht-IIolitit-~/
l\ItNI(l\ .irt- l7flllI.|l\ll\' rellt-tied in
I
U i Rippert>pti\ML‘RDERB\'I)E(IREF
I
' ' '?CC°mPllsheS the stream oililood working itsw;i\'niit JIlt>\l!l'fllII('\tlItl'lt\'hlIkltI\Rt>I\..I
thoroughly tttttlistittglllsltetl .l|ItI!'l
rare, if often attempted, tn-in the .tii@\-- tt1alttglt\'i('lt\tiatt
lrotnthewittviiiterpl.tvitignl l‘liint~ ttlthoiigh lI\\ work l\L'fl‘l\l\lIl tip to
feat of mixing romance, dining rootn and a tliniier partv the l"(t[II|\II(‘l\' ni;istt-rliil level oi
H hosted liv none other than H. C. iner and .\l;isutt\, This tinie period
is wt-ttv pm-~it~.tl ';\lIl\‘, .itt|it»ti,;tt PRO\‘II)I-'.\l(II~‘.i.
C°m?dY and h°'T°|'- Wt-llsiMalt"olin ittt-[Jim-I-ti». tiitltke The Ii|ni‘s \t'l\\l' (ll llI.|f.\A'lI'f l\
hv teiiiperaiiieiit and as at hiidding
rim: Ar>‘g'|'|M|: Aw..."-, 5,.“ 1|-1,,” the other Ripper movies. vrliirli are strong. [mt ht-tore Stevt-ttsoii'\ t'tt-
llllttiltules In Plnavisltill and'rmt» designed IY\\'\I('!'ll'\. there l\ no
as liitiirologist he feels toiilitied antl
in/19
lII\pill|l’l\l with it. \\'el|~. ltmks lor, tr.inte to the dinner ptirtv in ItW'<I.
"“n"""
"""l"'nit-not ""‘"" ""‘l“""l """"l‘ dtnibt in TIMF. as to the identitv of . .
\\t-lls lliltl lIl'l'l| pl.tvliil|\ dist iissing
,
Jam’ ht N|\’hIillsMrVt‘! Srrrenplav
Mn." [mm I mm. M Km the cttlprit. as David Wariier soon
. .
ward tn using his new ttizieliine to
M Nwtmh,
enters. late. atnid nntrh inention of tr.ivel Iorwtirtl to the liitiire. to (lI\— lii\ ttewest t .tt|\t' .tiid ptedit tioii
Alexander and Steve Haves Annriatr PYIP
cover his predirtt-tl“ittttpiit/' What “free liivt-" .itid the eiiit-rgetit"t- oi
‘l"""» 5""‘"'c*‘"|" Jim» M‘“"~ M'““‘ his ttitnic. John Stevenson. -I re~ . . _

the lilit~r.ttt-tl ivoitian. llI‘ItIlII("s tip

.

Rnlsz. o-mt.» '|t|\l|Il1[I'Ip|\V. tutti Ln|\~ C“

.

spectedphysnian. Wells snort heads he ltntls iti\tead is dying-7ll s San

mm,‘ udulnn d"|m,,_h|,_.,,dc sniaek .ig.iiii~t her in l‘I7Q in ,-\tiiv
his guests into the lItl§('I\It'l\I, where Fl'Ill\l'l§k'l). The eitv is a ('\lH(I\l\l\'
rapt.» rdttt»t,nm-tamhrm Sprfialeerts,
good ('l\l\\tl' of ltIt’t|l(‘ hv .\‘lever in ll‘ the iiiisiiplii~tii.itt-il :\lH\'. who
t rI\'|lII'
"I‘""| "7""
14'" F""""- .l{"' ll'"""-S0uI\d,jrr1'\‘_|nst. his latest creation. it time machine. . . - .

V\l\l(h to place his LllI\(lIlI\-lJI‘I\llI.|f

-
has no lmtIk\ in her .ip.irtint-tit.
detit, lirhardrdnn‘
. .

J“ Wm‘ Md Cum‘ sits rather lorlnriils, looking like 4

.

5mm“ ("rm ht-miiit~~ the ('II\ltt\llI|I\t‘l\l til .i 7lI‘\

sqiiashed-together 60's Caddy. The Ripper, with its green parks. divt-rse
wnia. Elprnn" ,,..m....,,._ 1,..." w,,._ tntile view oi .i lIlIl‘l't\lt'(l woinan.
guests scolT. httt when the police populationattdttittiltvrtttlilelet-ling,
114- W" Mlrlil 5M"! KI"! of all the large Ainericaii (‘ill(‘\_ til pi\t'lIl'\ll-lfl\'lI\ her ~t~xii.il;igrt-ssitiii.
it e, w.||. M,i,.,|m mp.,..,,i| arrive and find Stevensoirshiig with as \lie lititigt-rs .tltt-r the p.i\\i\'e
Q stnnnmi Dav-A Warner its hloodv gloves, the |lItlCl\ItI(' is open spat'e\. ltalsn hasaiiotiirititis_
t'.tr(‘l\ill\' prti§t‘t'iht'd sleal.t-area, in inttle \\'t-llt. \lIl' h.trtll\ ('X]!!'('\\l'\.
f"";Mh_" "="rf_"'l"";'I;;' It‘§ll liv (l\(‘ Ripper, who ilI'l'l\'l'5, or t\ allttwetl to evpre“, the rigtittts
acrortlitig Ill the time indicator. in North Beach. as easv for the Ripper
,,,,,“,,,,_
to slide into and out of as his old l'l'\plIII'sllIllIll('.\ l\l)t‘fi\IItIII l’I\ltlll\.
tuimns Sati Fr.iiicist'o on Nov. 5th I970.
Mn. Tuntrr Andunta
She tells liitii. "Mi" work i\' niv life."
§h"l"
t-ttwtmi
""']aIIiesC1rrrt|
n"“l"""‘“' Feeling responsible for unleashing Sohn hatittts. .

If all inovit-s, even dociinit-n- vet the evitleiit e til the iilin hardlv
. . -

apsvchotic tniirderer on theftittire.

.
.

taries. are itnreal, ollering only a siiggeststhat. And slit-'\ttititewilliitg

TIME .-\l>'l'F.R TIME opens like
the kind ol sehlock shock inovies
that have detailedtht-sorditIadven-
titres 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'og-
nizes h\' the "line clothes" a poten-
tial cttstonier. accepts a gold coin.
and leads the pointed-out way into
Wells follows hint to try atid luring
him back tntusticein his owntinie.
Writer and. with this lm. lirst-
tiitie director Nicholas Meyer has
niade a healthy living usitig histori-
cal 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 elitlio-
nttelv at'cniitttetl-lor “resurrected.
iinpiibltshed ntanttscripts" h\'Wat-
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. traf-
lic lights. Hari Khrishttas. McDou-
alds. 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 wnin-
i
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.tiiintelli-
gent 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

son which Me_ver tlaims to have ati he lallsin love with,t‘hideshiin,

it dark allev. She -tsks the naint'.the
liettertopers<niali1ethepiirrhased
passion. A voice savs, “My nante is
_|ohii" Ipun intended], theti con-
tinites 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 at-
teinpted. feat of mixing rornant'e.
cntnedy and horror.
Thetime is“L.1te IIW3.“ and we
cut lroni the altennath 0lIII\lH‘ll‘f—
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: storv-
wise. 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 re-
alities in the liltn. with the rst the
resplendetitlv rerreated late \'ictn-
rian era. designed lav Edward C.
Carfagno. Fora lime. the opening
street set [the weakest ol the lilnii
“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
a sex
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 stitr-
dv 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 slap-
sticky phvsiral grace to his role. He
ret‘ngni7.es that tititil he gets his
bearings in 1979, for stirvival‘s sake
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 sover-
eigns for dollars, In a cross-cut
llit'keritigol't-ves. ititowhirh know»

if
by D3Vld B3l'tllOlOITl8W he ittttst imitate the hehaviur ol
others. and in the film's brightest
n. mitt 1.\|aI(nIM ,M(DOIt'rIII prepares In lrnvrtll .lIll_\'1.\|tIr_v Slllhgll Int, [11
1;.
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 roman-
tic 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 Rip-
per‘s deeds. Thus. TIME carries a
genuine shock value. at the risk of
ollending a general audience. that
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 stir-
prisingly 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. (ԤpC('I3ll_V violent ones.
to participate in evil‘s motives and
forms for entenainment‘s‘sake. In
the lm's rst thematiecrux. Steven-
son explains ttiWells, asthrywatrli
-Q’?
;i hint-I rimtifs T1‘ iimtitzigv tll ini-
agvs that mngc 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." Wi-
liait-st1~n hini pli\'\|i.1ll\' .ii'i'littt.1tc
lastcr. .t|\pt-.iriiig in \iiiigl.ts\t'.\ illlll
timlt'ti:'i‘l: .tn<l inm-iiig with t-ast-
thnnigli iht' t|t\'. than Wvlls. who
dnggt-illvtuiitiiiiiv» I|I\\‘l’ill' his 189$
iuit. inrlniliiig spins. .-\l\<l. Wells‘
lll'\ ilirutigli lilIIt' iwlnrh wr also
ih.ii<- iii thnnigh .t point til vii-w
l'Jll\l‘Ll. niiiig ~i.ii—g.iti- iipiicals
tltat .ii ll|I\l'§ limk liku ;i 00'» rink
l'lIlL‘fl light shim‘, with .iii .nit.il
truck ll\'l'T tho iiliitmtt iinagrs miti-
puwtl nl |nmtl\- nrgativc l'\'l'lIl\ iti
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 show-
ing 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!|{
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!
llIl't(‘\\l\ll)\A'.ll\'ll)\Ill\'ll('lllK\ll-“I'll
thrtnigli her .ip.|itiiit~nt ll\' Sl('\'<'n-
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.
. into it. il ll|\l\' iittt nl tiiriiisity. and
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
l.it"t.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 pm-
poiiinlnig llh ll\('\lfllԤ 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¢--
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‘ipa-
tions. wntti-n iii 1'-ll.
Thclilnt liintsthiit l\i\ I979 \'l§ll
tii.iii iiimitislzitiuryl'iiturt-iiia\-li.i\'t-
lii't"tt rt-spuiisililr l'<i_r the dci-p pt~\-
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<Ik§.t_\ Mind 3| the
End nf Its Toihrr. P\ll]l|§l\(‘ll Ill
l‘l-I5, tllll‘ year lii-lutv lII\ death.
lluwt-\'t-r. lhc lilin‘s tiniv til I899;
prt-tl.itt~\ hispvriiiilnlittt<'tisrtipti-
II\l\lII illlll ln-lii~l' itt innit, ilIl'l('l\'
.inil tltt' fiitiiic. which l\('\llIl\'('fl(’(l
tn liliii lint Alt-x.intli~r Knrila in the
lilttltms THINGS TO coma. It l\
itiililivlv that givt-ii his lll‘l3 visit iii
W79 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\
:lns si-ciitiil V\‘ll('\ in llllll
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\
i tug“-1' tht'Aralii.|it Nights a titrii iti
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
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'\lIIIl-
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 ex-
l\ll>ll\. lndet-d, lll('_\' wen-; itt an
.ini.i1ing lectindity til thniight and
i|iini_ Wt-lls prodi|c<~iL among mli-
<-rs. 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 i princt-ss Ziileira. the wtzaitfs sltp
And, til unirsc tine, The
his rst
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
Al lnrluiln 1-/W4 .4
, ,
- ~ -just another T0‘-"In?
ma[in@e feat“;-e_"
n,,,,,,,“",,, R,,,,,,. ",1, |M;‘,1,,,,,,,|D"|_
lI\' Slrrrn Pllllllllrtl lI\ Jnhll Dark Duritrtl
""K"'" r"""'" *""'"I‘l“-l""" “"""‘
"""‘"""""““"""”"'- """ "‘""' '""
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‘:’:"'
rmm Hlil (‘l|\‘r'I TII|I|\
"11"" P""'f' ‘"1
"""'“' ~ J""" “‘"""
Fl_\'|ng 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
.1 llIlIIl_\' \'(‘ll(’ll \'(‘l'\lUl1 til THF.
THIEF OF BAGDAD. i'nl<irti|n-
at:-Iv, tht' lIlI\(' wurn plot <loc\'ii't
llJ\'t' lllt‘ spt-t'l.ii'ular ipccial clli-i'ts
whirh gt-iit'r;illv¢'nhani't'tlit'Harr§'-
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
hv iiiagiral whirlwind. Altniazar
.1
lrarns lmnt his tttagic mirror. J('lll-
till)‘ 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
i Rtiw nl Elil. whirh will inakv him
the most powerful wizard in thr
world. Hasan mvcts the beautiful
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
by Dan R. SCEPPCFOIII
U
rur nun or s.u;mn
nltlii-priiiivsstti in.trri;igt*tl hi-i.iii
liriiiigliztrktlii-i-iiili.ititt-tltmc-.H;i\—
.tn .|i:it-rs .iiiil. .i<tutiip.niii-tl l)\'
.-\lt|i|.i/.|i"\ \|i\- Kh.i\|iii. \(‘l\ all tni
hn l|\ll'\lt
(._liri\tupl|i-r l.<~i~_ inn t~ ttgttin tin
tln- \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. thi-
km-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'
/;ir'\ l2l\'l' l\ rtigtillcil iii llantr;
whi'n Hasan ainl Khitsiin H(‘iIf thi-
islaiiilulthrrust-th<-\'.|rt-iittilm|it-
t-il l)\' thrt-0 httgr int-t.il tniitistt-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\('\'.
El
Tltr llving taipcl §l'l|\ll‘II('l'\.
wh|t'l_i nniltl lhl\(’ l)L'('II iht~ high-
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 thi-
carpet. In DIN‘ \C(‘ll(‘, asthr rarpet is
about tti lt'a\'t- the p.|lu<t'. the tear
st rt-cit acturi st-i-in in lllH'(‘I their
dialog and visiiiii to several fcrt iii
front ol llIl' l'JI’P(‘l and nut at thi-
two acints titling tho oating plai—
luriii. E\'t-n thc siiiiill ;initniiii of
lllll‘Y(‘\l that is li-l't lot thr niiiltiplt-»
rarpet l>;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
 _ THE AMlTYvILLE
E52] HORROR
“An incxplicable chain
°f "ems ‘hm "miss
fUl'lOllSlY, bill Sigl'llCS
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"'“"
...-......--...._]IIIleI lrolnt
C(t‘|rgP Lutl
"“"l"" L‘“"'~' "‘“'l‘" “M”
-......lOd§lri[Il
FaIherDehney...... _____|,,,,, Sm,“
Fm," |.,|m________
.. .....Nstai|u lylll
Amy.
. . .
Q »-~--~-"i‘|""'5"\'
hm" lY“""""""M"my ""'"l'°"
Despite its attempt to |'1i§¢ dra-
matic suspense out ofthe "facts" in
the case ofeorge and Kathy |__utz_
as opularized in_]ay Anson's best-
sellkr, THE AM|1YV||__|_E HOR-
ROR founder; from the greatest
risk oftoo much reality: there is no
point.
By hinting at the character life
changes that may have rontributed
to the bizarre manifestations in the
colonial house on Long Island, di-
rector Stuart Rosenberg [COOL
HAND LUKE] and scriptwriter
Sandor Stem (the ex-medical doc-
tor who penned the underrated
nuclear TV thriller RED ALERT)
couch the growing horror in hu-
man terms that. howeveradrnii-able
the intent. actually distanceus from
characters we are too tempted to
pass olias merely mad. Beset by the
strainsofa newmaniage. areligious
conversion. hostile stepchildren,
and the sudden nancial burden of
an 880.000 house so soon after all
this. a bearded james Brolin. as
George.graduallydeterioratesfrom
contented smiles to the crazed look
ofa potential killer. We would need
little more than this to nd an
equally convincing Margot Kidder
as his wife. shifting from her erotic
little-girl innocence to suspicion
and evetual wide-eyed terror.
Clearly. Rosenberg knows the
responsibilities of a good director.
by SICVCII DIIIICO
KUIH ilttnps tn. at» Nun a/ln ut-4 /mt-.1 by mt,
> <
IL
But the_realism ‘here is strangely
disaffecting. Brolin seems too sus-
ceptible to the suggestiveness of a
topse whge. mp: thangayezr
2: ‘1l°§lt.i°‘i§I,'I.s|.§'§‘.'i-..> ‘Li
pelled by "voices." slaughtered his
parents and all four of his siblings.
Lutz‘s stepdaughter Amy, played
by Natasha Ryan from the soaper
DaysofOurLives.seemstooobvi-
ously taking out repressed hostility
towards her new father with her in-
visible pig-like companion Jody.
Even when Kidder nds a grizzled
neighbor at her door, eager to wel-
come 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 intrud-
er better explains the ‘problems
Brolin has keepinglatche the door
to the boat moorage and that inci-
dent 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
more from a backed-up septic tank
than from the Devil.
For openers. Rosenberg begins
the movie with an effectively long
cut of the face of the house itself
in Toms
(actually a similar home
to
River. Newgersey. made up
replica oft e original). The skull-
night shows
like side against the
only the ashes of light from the
gun through the windows as DeFeo
makes his way from one story to
another. A nice touch. Even during
what would otherwise be the audi-
recovery
ence‘s slow emotional
and Kathy are taken
when George
the realtor.
through the house by
Rosenberg cleverly intercuts the
mundane with rapid-re shots in
each respective room as seen
through the eyes of the killer. It
may be a little heavy-handed. but
the message is clear.
Attempting to transcend
ofthe original
episodic limitations
story, Rosenberg and Stem also
Contrive suspense that. even if the
characters cannot, pique our curi-
osity enough to carry us from one
scene to the neitt. With the help of
rig.
O T]-[E Muppgf MQVIE
cinem_atogra'pher Fred _|. Koene-
kamp s care ully contposed shots,
for instance. the axe George wields
to split more and more irewood
ili.°l'.l’i§t’.§§'§§lfj1iF£.§§i§f.'§i§Z
Michael Sacks, not seen since
SLAUGHTERHOUSE-FIVE) stops
by to persuade George to get back
to his contracting work. Similarly.
early scenes of the family dog's
scratching at the base of the brick
wall in the basement keeps us won-
denng what lurks on the other side
until. spurred on by _|eWs psychic
wife Carolyn, George breaks it
down. This becomes hackworkofa
different nature than Stemintends '
though. for they both prove red
herrings. lt‘s true we may still be
afraid of what George might do
with axe in hand while, on the last
night. he bounds up the stairs to the
attic where his family cowers. But
even after we know the house was
erected where lndians once im-
mured the insane, George disap-
pointingly exposes behind that
brick wall nothing more than a
visionary alter-ego (played, inci-
dentally. by Brolin‘sreal-life broth-
er). These instances only bring to
light just how desperate the lilm-
makers are to add artificial life to a
flagging screenplay.
The degeneration ofFather De-
laney {Rod Steiger) perhaps epito-
mizes the film's weakness. It is
be a
heen-
properlydisconcertingwhen
only to be
us ters to bless the house.
attacked by an inexplicable swarm
of flies {this despite the twenty-
degree December temperatures
outdoors), when that room's door
shuts by itself, and when a disem-
bodied voice moans, "Get out!"
For those who don't already know
that Beelzebub means “lord of the
flies," though. this scene, however
spinetinglin , suggests an adver-
sary in the ies that never again
appear as anything close to a direct
threat. From that point on, Delan-
ey's efforts to contact Kathy be-
the come a relentlessly tedious cata-
logue of strange happenings: bro-
ken phone connections, stigmata
on Delaney‘s hands where he
touches the receiver. a steering
wheel that locks when he is driven
to the Lutz house by Father Bolen
“- -3 Cl-"C lit‘-lC VCl'llCl€
-
(hat ghould hay; bgen 3
°l=~*>=i°- - ty"§,‘L'."§5.'lZ°-7'§l.".'iI-Z"i§.§"T§'..".'I.§'Z§£I
E‘;.‘..-t‘.“.-7.Z‘I.."..‘3.Y'Z¢,".
by _]irn mm». Di-
Techlttenlnr. Produced
reedbyjlmel Fr‘l\vlley.S'Ienpl|y
.I"_'*l_I"4J""""\l-"\"i'II\¢|Y'i<‘I§YPIIIl
W‘"“"" "“ ‘€""Y *"""- "°"""°" '*"
IIIIIII, joel strait".
km
..... ‘Piggy
the omi C-oitln
. . . . . .
3“.i.'Yf’.'1'?'.f .°.“.t.."..‘1t.it:::
. . . , .
This is a cute little vehicle that
should have been a classic. Jim
Henson's bizarre felt menagerie of
animals, birds, street characters.
and furry, indescribable "things,"
have the potential for a kind of
by L183 JCIISCII
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 P
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<lI\
anywhere that he even has enough
power to warrant Kathy's calling on
him in the rst place. So those
supernatiirallv thwanetl attempts
to reach the faitiily liecmtie siiper-
fluous—itiere tricks to thrill. that
do tiothiti K hut.lz‘'ve S ‘ ei 3" o '"'
more opportunity to overact.
Nonetheless. even with its lloiir~
ish of horror cliches like a raging
thunderstomt as a backdrop. the
family‘s clintactic night in the house
is well-orchestrated. The strokes
are broad but appropriately omitt-
ous as visions of Brolin doing a
hatchet job on the children justify
Kidderhustling her kidstothe attic.
And when Brolin breaks down the
door with his axe, the windstorm
just happens at that moment to
shatter the window in slow motion
[though sadly it's intact again in
subsequent shots]. The horrors truly
prove incremental here so that we
fear for Brolin when he has to
return to the house one last time to
retrieve the lost dog.
But just as the family makes
good its escape in the van. titles
abniptly flash on the screen, assur-
ing us unnecessarily that the Lutzt-s
never did return. Worst of all. this
epilogue obliterates the mood that
has been so well developed. As ifto
apologize for funher documentary
lapses, the lmmakers end the
credits with adeclaration that. “Cer-
tain characters and events have been
changed to heighten dramatic ef-
fect." But the problem is that. un-
like THE EXORCIST, to which this
movie becomesjust another blood-
less clone. they have not ctionaliz-
ed enough. THE AMITYVILLE
HORROR defuses the horror by
diffusing the source. |sitthehaunt-
ed house, the site with its history of
murders, witches and madmen
(and if so, why and howl? Or is it
just troubled George Lutl? His
vvétaitwihs remedy-fantasy that
or inarv at-footed humans could
never aitlemptz their ability to pro-
yide (as the ads teasinglly promise)
"rm -g='
5,1,",
‘"“
.~'=~;"
'5
=37,
P’ "“"°“- °'_“‘
burdened screenplay with its tired
_° “F
jokeshpuns and kiddie-level senti-
ment itv. to the roster
,_
of superu-
ous “guest stars assembled for
»
Dave 0.
can
M
ducer
<»mm=-ct»
Sir Lew Grade.
apt-=-1 by pm-
' _
rl
m,,T{',§;";;gf',';1.‘j_§ ";;; =,;'g“f;,;
. . . . i
, . . . , . .
swamp origins to fame and fortune
in Hollywood. accompanied by
newfound friends Fozzie Bear and
the legendary Miss Piggy, and pur-
sued by the evil Doc Hopper, who
wantsto sign upthetalentedfrogto
advertise his chain of french-fried
frog legs franchises. On the road.
-g
',~
must Slltll 2| um llllll‘ scraps Dfllippb
"'
'-7*" mi‘
“ATHE MAFU CAGE
hm and l|\‘l‘ and Sllllerartd 13!. mat-
A ' ienng no ntore—ihan all liiti: animals ‘S ' 3 'n ‘ye U
‘g '
-’
dn—orha\r'dnne |Pointingtothestars| vl ually "n gl an
' ltitthat—alltheunivt-rseotnuthing...
slltfalll butdisappotnttngly
-~.'
"
ll be, Passw0|1l\\‘? Which muddled conception)‘
,»r/ i . ; .

‘ ~" . THE MAFU CAGE An A General

Th" b"“l h"_°fd'3l°K"4'- "10"
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ln order to gldiscuss the I979 || M b x lu-
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Canadian-made THE SHAPE OF
THINGS TO COME. it is nerl‘S- _~-j-~---~~c'_f§,‘i§',j'j
$37?’ "1 "'""l°" ll"
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classic Menzies/Wells effort. Where
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David .. . . . . .
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James 0110"
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“'3 "ai"“'- THE SHAPE OF In its thematic studv of the line
THINGS To COME i‘ "“'"|?' line between madness and normal-

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naive. even amateurish. And to give
this recent production some cre-
i“, [he “(Rd and Pm‘-am. ‘he
Cg§¢[‘.un"iclo(THEMAFu CXGE C63
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deuce. Wells‘ name has been fool-
ism? Plactd b"f°“' lb‘ dd" This
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mm '5 "N 5° "‘"‘h “_"'"'ak' as a mesmerizing manner in which it is
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g. E ti-(F " of a famed naturalist who devoted
— '1 - Wars. Manlund lives in avolumin- his me lo ‘ht mid‘, of wild p_
‘.7 —£'.n',.'s§_""'~»_{": _,_/ -.".“’_tT :‘Nd°:id“'1¥tc:' l:lal;'?i§Al:nS mates. Ellen [Lee Grant). a prac-
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T‘. 1- ‘- tical. well-dressed and responsible
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Kane), an irrational child-woman
mi.» Bllan. ,\’i'rItnlu Campbell "4 Sparhi. 11» rttll. u.um-mam mkl. 5P/“IE1 1999-_""d* a w"§'a_"l WP
»

who w(3|’$ the btidi and ftlhf or

E;
Pl!" °l 5Pm"h"‘F call‘? R3‘l'c'Q‘2'
the antidote for radiation sickness
her African childhood. share a de-
| n‘ |' i d h| 9 A caying o Id junge | mansion
1
' _
- -
cram a

:llitlfiJthl;dinia‘g‘in:;l)Fgh(o'si !13I:i.'ad Tl_1l-gqEG§l-.:..AoP€gar; E Add 0“; °"l-‘L 5°?" f°";',h' "'35:"! rned with relics of their late father's
Judyl The spirit til‘ [hp mad |'n\_||'- '“'"'"' mm” mm 3 mm‘ P 3'“ life. Within this intenor riot oftrop~
deter? The flies? The rebelling l0i- “, slur to the good
, .3 "' .D""“ "L '”hh"" ‘ "“"";"N“" ital foliage and weird artifacts is the
lets? lt‘s probably supposed to be name of H G wells I9 $““':'_ °m‘{ ' C P'°gg§ 0 . ht‘; enormous "Main" cage where Cis-
the Devil alone. but in opting for
pseudo-journalisticrealities. the di-
' ' ' _

“ f"“'
gslmgilon s mes! mg'g|\“s|J.
as '°:'" ""1 5
5Y- 3“ "'5'
moments. keeps a wreessttt of
1" ll" '55 d'"_“'"9d
retwt has also vpted for chaos Easlmanrolor. i-ilia-imt by Wllllllll t>.§,i.i- f,",""L":,‘;'|"' ",7? h'-Mn‘ mall“ IP" a"d "'°"\¢_Y= fl" ‘l°§= ""4!-
Rosenbetg has recognized the lll. Elrrulivrpmdurer.Narn/AllnTnwrr!. Fl“ "5" “:1 a‘““ “" b
need for structure in ordering the
emotional r0 ession of the lead
'r':::L‘n°l daifgvgsng ‘5 and where she inevitably tortures
Epdgills thetn in her periodic ts of
‘ '_ . ‘ . in itry,
characters. hv iliiiroducingadegree %X;;‘:(:'h:'§?;‘l?'(.:II§l:.P:;y\ll?l"ly mo" R?d'c'Q'2' A“ ‘he Wh'k' The manner in which the tenta-
ol suspenscland by visuallv rein-
(Dyeing; mood of“-"on Buiin m».
P='"| "°""L Dd“ “I 5 P"'"y “'l"'ad‘:" Rlalied cles of Cissy‘s psychosis reach out
omul . ‘V ..............]=<k Ialanre bl: 3 bland cam] L-""lq_- ""5 m to engulf Ellen and the sane. sensi-
ing ‘O suck m Anson-S "mo" bf
. . . . .

Senator 5medlry......,. ....]ehii ti-elsiid win back her governorship. bk. wud she dings ‘O is ‘ht. mm-5
realitv. he ends u with little more D"Jn,h" cm‘ hm Mum To ‘ll’ “Sn” _"'°"'“ D".-l°h" most chilling aspect. There's some-
||'|;n~wl\i| real Iii’; ilrcidy Ql-rs C151’. mm!h'?'?'a':;':“25;°r thingmasochistic in Ellen'smartyr-
most ofus: an inexplicable-chain of 59".’-"" "~"~'"""'"G"" 5""““" an awn 5" hm l la 3' d°"" ll"
l"~"P"'S C55)’ if h°""
events that rattles furiously. but pl-rha iv; ; ¢|'¢|u-_ bu; 3 ma.
5 any ("Sta OPE‘ pmP'.' -"rap
"i“Y 5l8"m¢§ "°lhi"8~ El joritv of gcience fiition lms see M-wand mi“-tmed cxP"m°n' bu‘ by I-|53_Iensen
man~‘s view ofthe future and his re rd‘
ere ‘he e tot‘:1?v anylrul
wouallélgldc
K¢"m" ind C°"‘P"“’ "I"! "P Will’! use

Ehgfu Elmo“ fo OI m mémion ess.

- » .. . .
lationship with machtnerv as large- .
[ht cum Cent Kilt in the "Mei
. __
rage.
::s':“:Og;'§:L’:":,:":::.‘:{i'iT:K'::' blabber-mouth robot (what's a sci.
Theeiiectofihisismoredistracting THINGS TO C'OMlZll9S6).direct- ;g;:,"<;';g 31;; ;f,;;j;‘;>,;‘;;'j;;$§
M. r‘
selves talte over. the II1O!lCIl'lIlrVC5 5:-i[;|a:,::p|!|||;ld t'.,;|i, ¢‘,;|}T,,;;;-5,3, “N‘_’- 5Pi"l“~" SPY’ ll" 5l"‘P'l)'
the errasivvtal heights of absurd.
inspired lunacy we have come to
for what the future held. It had a My “'""'“‘ “'“"'"5 h"'“F‘.' “'
gripping’ ;hi|d.|ik¢ aw, whifh 9". _"'“'|§"P'°g'3"‘"“'d m“h'"'-
"'-'5“ for Della "L
1'1?!" f|’°"\ |"f¢"§°"'5 P0P"l-if TV veloped and lifted the viewer. lts we rt 33°“; Io
serie .Character uchasD .Teeth ' 1 d d h" |>, 1 _ WW" 5 Y
and liis Electric lizyhem rozlt band ;:i’:1i§?i;cn‘:>t:¢ on l ls I Dug H "Wither thou gtleit. l guest." it
are wildly funny. and scenes ofthe MSSWORTHY §lEl‘5- “"dd“"H ill°"S b"ld¢‘ l"-"'-
normally-stationaiy Kermit ped- - At this point. “oh-no's" were
dling a biqrcle down a busy street. ;:‘}],:§}1'_f_'lf'.1§".§j"_,.'_’"°' M fairly audible in the audience-
or the Great Gonzo borne through ' perhaps _it‘s expecting too much
the slty by a clutch of helium bal- L I I] h, tom scnptwriier Martin lager to
""m"“ '
.

loons, are as lvrical as thev are " ' attain the spirit and intelligence of
technically amazing. It's a shame PASSWORTHV Wells. especially when borrowing
this movie is tailored for kids (right L'"|" *“"“'l‘- his name as well as the story's title. i

down to the bland Paul Williams CABAL But certainly director George Mc-
son l—another example of lilm-
i

lfwe are nn more than lllllrllllmlls. we Cowan could rise above something
lanfmogtils ignoring the hu e as infantile as a carbon-copy BAT-
adultaudienceforgenrefilms. El by LCC R0“-C TLESTAR GALRCTICA. El

and otit ofan instityition, that goes
be_votid the sisters rather grattii-
mus sexual reltttinltship. And the
shifting tide of possessiveness. ele-
ittetitia. rage and revenge between
the two women is tht- core of the
filiu. Their relationship is fnmied
by two male characters who reprt--
sent the outside worltl: Zoiii, 2|
paternal aninial iraitter who keeps
Cissy supplied with primates. and
David, Ellt-it's co-worker and lover.
tti whotn she is afraid to romniit
l\l‘f\t‘lf.
At times, David is meant to be
the romantic hero who can save
Ellen from Cissv\ stmngleholtl.hut
heis often portraved as an object of
derisioti. A humorless. passionless
lover. he iovlesslv makes love to
Q Ellen, on acold staircase inside the
observatory, in stark contrast to the
moody, moonlit eroticism of the
Mu“ 50"!‘ "ml "ml
LEGEND OF THE
WOLF WOMAN
“ f
' ' '_ 3-‘ 5 to meet even
(l‘lC SHTlpl€ dCIl’l3!‘ldS Of
it
' '
anexplonauon feature'
mcznn or THE wotr woman A 05-
3'31f;f;";f_§u§1'§§}{Q°Z;1 ‘;f;1j;
M |t_ |,_ §,|',,,,_ sum‘, tn by “HQ,” |,,,,_
D-Ireurnfphnrognplrv,brftrtillllll.Mllltr
:?:'I5"|"*I"‘Ni'":!:*’f\P|:gY':'d°“:'"l;"";"li_‘r'?'
‘,3, ,,,,"l',';,h:F'"m_ Dilnly n:
di§ilvr1trn.Musie by Crtriolanct Gori.
CHEM“, ‘MIL pm, sum,‘ -Hm, Ca,“
El|lt7I1JII\lJl|a.l?||lir itryttalautiiamsristi.
"*'“" "1' "-""'l'» *'""* l*"'l- F“'4'"'\
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“mm
Timc 'E“ubmum' W D
Thetitle isacheat. The paleand
haggard "wolf woman" Daniella
by JCH Stafford
32
L
sisters’ sevxual encounters. And in
the story s (‘llrlIilt'll(' cetiterpiece.
when he makes the fatal niistake of
visiting Cissy in Elll'l\'§d!l)§l‘l\l'(‘. he
comes across as a littflotin, salivatt
ing aftertheprettypsyt'hotit“scrafty
flattery and, with leering cheerful-
ness, allowing hintself to be chain-
t-d up in Cissy's cagt-.
Catight in a limbo between
horror and conventional inelo-
drama. THE MAFU CAGE IS a
near-triuniph of tnood over con»
tent. The one reliable constant is
Carol Kant-'s absorbing perfor-
inance. As Cissy. everv inch of her
being qitivers with the burden of
her madness, attd with her extra-
ordinary features, titidiscipliiied
hair, and sitigsong voice. she gives
the eerie impression of a creature
not oiil_v front another culture, but
possiblyfrotnattotherworltl. El
mmtilt Bnteli jg not in tht- tht»nt~§ of
lycatuhropy. Instead, 5hr‘ 35; ht)|“l-
eidal ttt;tti;¢ til-let-tt to t-in];-m~¢~ by
tht» tt1a]t- test, $ht- ha; 3 ttastv habit
of biting mt-n on the [h|'Q3| urittg
foreplav. and pitlling out a bloody
"youthful of mt-at wi|h ht-r thtll
canines. Whyis shcbehavingin this
mde and outrageous manner? You
5)\n\|]d|\'[ ask, Bt-t-at|§t» tht- lth‘;
pt-ndttet-rs haven't 3 elttt-_ t-itht-t-_ A
lot of explanations are given for
Daniella‘s peculiar behavior, lint
gnp of tht-m h;t-t- fl()§(‘ get-tttiny-_
were D3ni('ll3'§an("e§|(1|'§i|\rt-3|it\~
p|'3(‘[i|in||’§ nfwi[("h(r3ftP [5 they}
my tt-ttth rt, the |-ttt-rim; of; fantily
(tn-5;-? one gt-r5 the ft-pling [ha]
thtsse |‘(‘§PQ|\§lb|(‘ for this film art»
praying desperately for the audience
tn tit- it all up itnt, §t,tttt- ltittd nf
coherence.
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 thrill-
ers. 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 evi-
detice 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 complet-
ists keep subjecting themselves to
these atrocious ltalian honors? El
AMERICATHON
“ . . .
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sgrg in need of 3
[eethin n n
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J,,||,v_ gdgml M-J,.,y,,,
Producer,Ed\1‘lrdlt7lr|t.M|ult'bythrIfl(h
“‘Y’- 7"“ c"’""“~""" ""°"“'"-
Monty ltushmnr-.... ...Harvey lnrman
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1"“ ""'R'n"'d mm‘
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 ls-
tael's AM ERICATHON, in which
the President stages a telethon to
hoist his country out ofdebt. It is a
supercially htimurous film, suc-
cessful 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 allfutur-
ism to the 1980s or thereabouts.
Music hasn't evolved tnuch past
punk rock (the score is pretty good
y contemporary standards]; fash-
ions are something like today's,
with the exception of gym shoes.
now added to every ensemble. But
AMERICATHON is not out to cor-
ner the science fiction market.
For reasons of drantatic thrust.
Presidential advisor Vincent Van-
derhoff (Fred Willard] is hired by
the United Hebrab Republic (fol-
lowing 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 rock-
ers. 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 Rie-
gen) 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- high-
est bidder. It wouldn t he rt-vealitig
,
asecret to SL\\'ll1LIIllIt' Ainerieathon
raises the S40 hillinii despite Van-
t‘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 tell-
ing to say that Rushmore has to
literally hleetl to put tlietn over the
top, because that's a stale idea.
Aesthettcally speaking. AMERI-
CATHON is ultimatelydefeated h_v
its uncanny knack for tlepthless
insights ittto the greed and trickery
DfAIIll'Il('ill| ideals. With its screeii-
sized 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 AMERICA-
THON 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 feel-
ing, 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 empty-
headed lover and ends up on the
wayside with Mt‘Merltiii. as she uti-
dergoes 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 recit-
itig 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 Buz-
hv'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. last-
ly, 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
 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.sh-
buckling adventurer jnhn Caner.
Cl)ll|IIIl)i3 also has rst passuti Rav
. -
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 Har-
rs-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 connec-
tttin 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
‘ we asked ltir an ttpiiiicin of the
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
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 Rt-
tum. 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.
S t
. ._
.‘._g ‘-7__
-.t.
i risks is stiittt-thing he relishes rathcr
as
continued from page 37
licate olthc oating city niotlel, ati
etieniv air-base in the desert being
shot, and artists working tin paint-
iiigs for BUCK ran Escher-lilte reil-
ingl 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
when a bacltlit shot .
is rallt-tl lot,
. .
tiecessitattng st-raping awav stiine
sections of the painting.
Miiiiattireasteroitls covered most
tilatititlter sotiiitlstage_ hanging frtiin
a lratnewnrk itt front til a lilack
barking which itself was covered
with smaller lirtiwti nicks. The var_v-
itig §llt's1lII(l _illtision oldepth give ti
good ld(‘3‘ (ll a plaiiettiitl Sargasso
Sea. eveti iii tlit- iinllattt-ring llores-
cent light tif the stiitliti. Beside the
asteritid ht-Ii, an eneniv l'ightt-r-
rocket 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
treatinentnlCHlLDHOOD'SEND
Phil Dt'Ctierrt-, and even in the
l)_\‘
3l)l)l’l‘\’i3Il'(l, short-ltand stvle t\'pt-
cal ola screen aclaptaii<iti_ tltt- pltlt
and t‘lI3I'il('I(‘l'llilI|I\§ rt-ina_tn_ re-
tnarlt.1hl\'t‘l<isetnCl;irltesiirigtiial.
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
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
was tint picttire tti
an_\- east‘
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
w is 'i ht 1 lirt-alt liir._"its "
‘ ' vl"
Reevt was tiiitia t .ittraitit to
. _l
the proteet ftir rt-astiiis that went
liet-tititl his liking the niaterial or
his career-t>rit'tttt-tl tlt-sire tn estab-
lish stinte qtiick distance between
hiitisell 2ll\(l SUPERMAN. Taking
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
. .
sltetch 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
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<irI!l'CK
ROGERS. When I piilled out a pan
ofthe show from the L. A. Times it
prtivokt-d rtiars of laughter, prn
.tiitl con. The designers, nitidel-
nialters. and painters at Hartland
are among the best presentls: wtirlt-
ttig in town. litit they reahze._ as
does \t\';l_\‘Il('SlIlllll, thatatelevtsttiit
show iiir leattirel caiiiitit relv on its
el'l'ecis. "I caught Gil Gerard tin a
late-tiiglit talk show," reiiieinhered
(IIIl'tTl’W mt-itilier, “and he said the
show is Sllppt)-SE(“l to he ‘Burt Rey
nnlds in Spat e. And taken that
W;|_\', it wtirlts."
That evetiiiig, htiiirs later atid
ittiles away, we happened tn l’\III
llll <IllI' of the siippnniitg players
lrtnti BUCK ROGERS in a cticlttail
lotiiigt-tiiiVenriira Btitilt'vard.Wltt-it
shtiw. the at'tt_>r shotiklits/her head,
giving its an indulgent smile and
thtimbs-dtiwti gesture.
Wayne Smith, when aslted his
npiiiion til BUCK ROGERS coni-
tiieitted clipItittiatit'all_\'. "I haven't
seeit the slinw. l]
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_\’<l\‘(’I'1 fashion. Remarks
lht' tlirecttir. “I have never liked
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 ctin-
vincinglv on filni.
Richard Matheson. also the ait-
Z1 thor of the script. was present UII
Mackitiarlslaittl locations alldtiritig
liiiiti 7' Siich I4ati event(Iis extrt-tiielv
rate_ltir_ Hol twond ilinitia tng.
k.
htit iitdicatn-e ol the way Szwart"
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
take a sitiall role himself. l]
rmitilwrd from Page 36
I-""l\' ‘l""\"" 1l'}"' l'i"' ‘I 1" *'""' "'35-
“"“' l_'“" '““|vtuii|'g_'l""
t~iiilt~.itiirs. as
“l"l"' "'.h"' mm
to .illn-wt-il Iiiiit ll) do
“mm AL" N FAFTQR [W Nb]
hm ',|;“_ ,,-mi im ,'“.“.n.‘.,.,,,,,n
;tt_|pN y,\r;1-QR_ m tn. ,u|,,,,t. H, ._,||
Il\ .|ii.i|itt- “itifi-ntir." He alsti states that
we wiild ti-it nd a distrilititnr. which is
""1 "\"‘- W‘ ""4 M" ll""'|""'"‘ "'1"
“"'“_l‘l ‘l"*"" l“ff'|"|" "'l"'_‘_'l"' mm" l“"
ihe\ \1AlIIl'tl All right! 1... . mere
“mm” d_
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
\'~"'r|¢‘l-\~'"‘l1"l1PIIfil_?l| "i!l\I\»=I"|=l'l\'*\'2l\
" l"‘"" 'f'“'l"_"l "' “"" “"5"” ‘l“‘|>~
"_“'"'_ ‘f 5"" “ l""i“"""‘_‘l""| ["' ""l"‘l‘
...- i..t.- t ..,.....i ..........
TM m kuhm Fnt; mm" “Huh.
PM. r “Hug A bid ‘.,m,,p|(. [mm ""-
r-,,,|d Km. pub“, and m.,",,¥ H _“
ttttriigtt |I'\2t\'pI(Jl represt-iiiatitin. Wliv
didn'tlit-ptiitittiiittliattitherlttiiitithr
l"*|"i!"~ '"‘*"l"‘ M-"'1" FACTQK 5"‘
‘|“‘lf', “"'l' “l"'"""""l"l“"l"""| ""l"
itrt
§1:AR_
us Fretl talls thenii as DARK
H“
FAm,l}Ol,5 WORLD OF
Im l_-SVFRN-F HRSTSPACESHIPON
‘\rF_;§i.§_J"d |N'\-ADER5 FROM MARS;
Fr.-.|\|t-"¢r|";|..-t.| pr»;-rt‘-apwrr-rtt
tli.itlieistaltiiigihea|i\tttitsatiisliet-atise
B‘ M-|F-N FACTOR W1! I t" l(‘¥"""‘
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f"'“""‘* "1" littilfiz -lttd ti-
ll\ ~...irrt..r (|lIi\lll\ AIIFN
FACTORI‘Pmm|'|\_l“_m_nh'a"IIHNUI
It", qmn.‘ “|,|""_m"" |—,|"" I,-mt ha‘
a P", u,K)“., H, --7 ".,,\-- M i|_ en.“
tlitiiigti Fri-tI‘\ pitttiret have p[l)ll3lIl\'
hail livetiittes the liiidget we lt.itl
DON DOHI FR
5_|h'm“,,,. _\ri) 2"“,
§);{{;;|;;; 1?;,[§"'{__';,,'§_:§{;;§j;"“;_f;;;
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IHF STARS [9 I] Tlit ptete isBEYQND
sti lilled
mm‘;,m,m"",“_""1,,,m|m,"m"|m‘N
mm.‘ (|‘,“,n.| H, W‘. "H. “Km Ur pm,|_
latts are that atit-namiie ellerts
Tht~
tram has lieeii asst-iithled and wutlting
it the past live ntiittths creating what
tin"---‘H I" hr W-tr "III" 'w"1‘<""w
iittiilel witrlt tti he set-it dtin
0' st teenSi Thek
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Milli ».t..i... "mu", “"1”
me‘I ..... q.....- .i....~ ma
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lieett t||I'(‘\'Il\' Jp|I!|l..\llIl'd relative iiitlie
tlirt-t-titiii tit this lilni, It-t altiiie tiirti it
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39
.,,,,.. .
 “Paramount felt
‘ -
that the ending
WP V\»'P|"(’ S0
4 entranced with
might not be
commerrially

\
viahle. It can be
interpreted any
way you wish.
We persevered,
M 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
f.
-<4 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 @r?»E;;>@&@w

WALTER
|<o|:|u|s
"~12 in _>n;n~1»@

LEE cou:
u~~ M Y-+1

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 cotip-
It- 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 impor-
iaiit 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 Eitter-
prise 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
Dimtiu lobar Wu: and tt‘i'lIi'itni Shanta Ml llte t-tiurpnir Indy. bfhfl
"
7
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 datigh-
ter 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
, l - d h
we Ye on "nprove t
onginal tn [CUBS Of [l‘|C
' at
look and of the dung’
R0lJCI‘I WlS€
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 betlirect-
ing. 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'veonlyimprov-
ed 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?
Yes. we rehot a scene we call the
space walk. involving Spock and Kirk
outside the Enterprise. We had al-
ready 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 Tnim-
8 hull 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 eec-
tive and visually excitingthantheone
we had.
That's what we've done. Weelim-
tnated the original space walk and re-
shot 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 CHAR-
LEYI. 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.
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 Anteri-
can voluitteers in the Israeli air force
in I9~IIIi.
As producernftheill-fated STAR
TREK revival series. Liviiigstonwork-
ed 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 “Ro-
bot‘s Revenge" desigitetl for Gene
Roddenherry‘s short-lived GENESIS
II. Elcttwnts frnitt STAR TREK epi-
sotles “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 ex-
pcriertce. 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 audi-
ence. and it was on a level of mental-
irv that didn't panicularly appeal to
me. I wanted to dimensionalize the
characters more. I wanted to give
Kirk flaws. weaknesses. human char-
acteristics. 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 a-
greed with me. After all. a decade
later. our society has changed. and
Gene will now have a more sophisti-
cated 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 god-
damned big. Ifan_vbod_vsays."Thisis
niypicture." that'spatentlyuntnie. It
was a hundred percent collabora-
tion. more than any show I've ever
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 writ-
ten 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 ambi-
guity. we had to setup situations and
characterizations all thewa_vthrough
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» 5('*
times. like a dream.
The fans. ofcourse. had an enor-
mous 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 stageattheAmeri-
cana 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

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
one he put in.
That's what we had tn bridge. yes.
And the studio displayed some ner-
voiisness nowand then over the end-
itig because they wanted it diIIereiitl_\~.
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
. And Il0Il' that shooting is rnryleled,
happens. but the meaning is ambig-
uous. 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 MO-
Tl()N P|(jTURE fgmgmbgfi the P|'|_)-
ject when itmight havemoreproper-
ly been ealled "§|3t-Tygk_ThgC|'a1y
Idea" Recalls DeForest Kelley, "lt
was in the second year ofour series. I
W35 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.
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
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 experi-
ence for all of us. unlike any experi~
ence. I believe. that any actor or
actress has ever gone through.
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 bede-
veloped. I feltjust as I had when we
rst started the senes and I'd had to
ght for every moirient oIcharacteri-
zation. even if it was onlya look. a re-
action. 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 say-
ing. "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
Drfnmt Kelley to Dr. utinerd
nd], Leonard and myself;
h h i d STARTREK settings. a task he inher-
we I °"8 ts My ?'° we
gOl [0 gt! [ht I‘ClZ[lOnShlPS
oin we kept
v tam thaati-igal ft-awn-_
g ‘ . .
ea(_:h others when 13
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. . seeing it got me kind ofexcited. Now.
Production designer Harold Mi-
chelsun came to the eld ofart direc-
tion alter having been a storyboard
artist. His work as a production illus-
trator includes THE BIRDS and
MARNIE. and he credits Alfred
Hitchcock with having taught him a
valuable lesson in telling a story on
lm. "I brought him a storyboard,"
saysMichels0n.“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
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
4,
MeCay, rhi'4audieaI aeev ajtlie rnteipnte.
|§ responsible fut the lihal ltmlthfthe
1 ited when Robert Wise undertook to
transform theTV pilot into an impor-
ll 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 piggy-
back. 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
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'some-
thing inside them. But now I could
take out the walls. twist them and

43
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 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 every-
body.
dmwiam is, $2.114 wliyyauluwayi an
rtnienl u you on a ‘ rs
magnilude. Pm“ of
That's my thought. They're full of
talented pm le. why not use them?
Take Lee Colt. for instance. She was
invaluable in laying out the instrti-
ments and the graphics. which was
‘avnluunbelieglalblg feat, and nobody
' ever re now. I mean. ev
instrument onythat ship meant soniz
thing. and did something, because
aoddenberry is a fpir hdiat.
werenotust inn
the?all workerf. and they \§er§mar-
velous.
At the conclusion of ; dam; in
the recent NBc.1‘\/;m}m|°syw|~|AT
REALLY HAPPENED To THE
CLASS OF '65?. a Vieuiam war vet-
eran who has deserted his wife and
;;i‘ui;:tigt;_tiasR_:‘i;l:‘ef‘l'plht‘li!ass:-ll.
the boy a toy model of the starship
Enterprise. The space vessel used to
be navigated by the man who wrote
l
own series. FAMILY.
In fact. writing is but one of the
new directions in which Koenig has
blossomed since$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
this to Koenig. who. as Pavel Chekhov,
created a character noted for his
impulsiveness and youthful swagger.
The Clielliov cltarader was onginally
bvvughl inln Ihe series to represent the
")nrl4lIlelemenL"He's now tenyrars older.
gs! llle /ilzrinrnilled you in age his
meter at ngly?
It's almostati academic question.
as there wasn't enough character stull
;hi2:tt:ry lg make;ny
ts— aconster-
. o er
rd lhil possibility, whatwouldldo to
Cllillgeglll Qllirltler slipgdlhe 0p-
portunityanse 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
C:
‘
.
I m {lo longer navlgatol-'
l Ill DOW (l'lC htld Of
' perhaps/ell le out hadnbinedlliit
wefponryl so lnstead of
a sober. 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 some-
what 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.
Certainly it's true that Nichelle[Nieh-
ols. 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 get sele somle footage th;
awie was ooin.an
there wagone moment thatphag been
retained, and. I must say so myself.
it’: rather amusin . We're bein in-
vaded. somethingitsapproadiinggme.
and somebody says. “Chekhov. don't
move!" And I'm sitting there, abso-
lutelyterried. and I say. “Absolute
ly. I won't move!" And it works very
labput cllpse ttzi a til}ar-
in een re i m.
Wlqv do you wouUn't have
primed iii; qppmumy) Would you have
ing and restaurant interiors. this
youngwoman has designed electron-
ic schematics for a nuclear sub-
marine. wired some onboard com-
puters that went to the moon. and.
just prior to her involvement with
STAR TREK—THE MOTION PIC-
TURE. 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. spe-
gializing 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 apati-
em ta e as enwi te
gTAR TREK project since before it
was a motion picture. working close-
I with artist Mike Minor. Her con-
tiibutions 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

‘ theepisode Walter Koenig Hisscript mmimi a/the STAR 11tEKfamily7
soimpressed actress Meredith Baxter 8371113, 'W3IP factot fours I think you could probably start
Bimry. Who Pliyed the young rI'l0lh- I gay "fol-pedoes away!" with that as one reason and go u to
er. that she was instrumental in Koe- , twenty more. I've written a book. a
nig/s being assigtied to write for her walk!‘ KOCnlg daily joumal of the making, of the
lm, which is going to be pu lished.
Waller lutiig at Eiuipi Panel Cldhw. pmiiudiii mil. btu still in tlie bulpstutd 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 consider-
able 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
that ection. that warmth. which is
part of what being an actor is all
about I don't think the fans would be
all that disappointed if I wasn't on-
board 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
CHIC I I y In ‘Hula
Wllllidll llifkmund in advertik
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 En-
terprise 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
auxill._iary moi? would actually roll
onto the . A Itlie buttons actual-
ly tumed on little gadgets that work-
ed. Everything was electronically
wired "P. ind WE hid elwllgh ill-
struments so that I think i they
hooked it up to some engines. they
actually would have what they need-
ed to fly. They had pitch. roll and yaw
indicagors and everything.
D‘ yausiniplyevntitiuecrealirigirilliis
when them-ies became a feature, or
' promotion la theatrical status pose
new problems!
Y; jukst kept right on. but we
wou 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 budg-
et 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 En-
terprise seu. but we really couldn't
brill! ill I $6! df¢$$¢\’. because she
(°llld"'l $0 0"! ind bu)’ fulllllff»
ll-0d<l"lb‘l'Y "ll-Ylllilld "TY earlyin
the preproduction planning that we
couldn't use anything already e1tisl-
ing. Ifit existed. it was automatically
Out 50. Olll‘ challenge was to make
every single thing that was on the set.
One thing I did love about Gene
lloddenbeny is lllll. whatever we
would bring him. he W0\Ild say.
“Well, that's very nice but—do you
think you could push a little farther
into the future?" He alwa s stretched
our imaginations a little dirther than
4 we thought they could go. If I would
design a sign for the corridor that
had a totally funtristic letteringwhich
had never been seen before. he'd say.
“Do you think in the future that
graphics would be so well designed
that they wouldn't even need words,
r
and they would be very inte|plane-
i lary?" later, I'd bringhim asignwith
nothing but an arrow on it, and he'd
i say, "Do you think in the future they
will streamline that arrow even
|'||u|'Q?" sq, rd dgsign a new at-row, |
did it because I enjoy it. but one of
the publishers saw it and said, “You
should do a book ofjust these signs
and trademark; and thingy‘ $0, 5i.
mon and Schuster will be ublishing
the "star Trek Peel-OPCraphies
Book,"
I amtm: that Raddmbmy stretched
your creative muscle: in olhernrens as well
Oh yes, I can't begin to mention
them all. Ican onl say that it's in
to be hell for ariv science gclfiog
t lmmakers who follow our show,
because they're going to have to trot
out and learn things like ber optics.
neon,ed lit plastic, and electronics
‘"1 beyond ti:-irwildest imaginings. and
9* animation and explosion clfcets that
just have never been done before.
Alom1er' Misslndia. andasuc
cessful model and actress in her na-
live land, Persis Khambatta sought a
E-3 more international recognition by
m0\‘lI1gl Lvndn. There. She ied
t with Sidney Poitier in THE WILBY
CONSPIRACY, and with Michael
31
York in CONDUCT UNBECOM-
INC. Now she is on thethreshold ofa
fame that could prove to be inter-
planetary, having won the unique
rolc ollliatpronnunced E-lie-uhl, the
spiritual. sensual— and hairless— Del-
tan navigator of the starship Enter
prise. It is a part for which over a
hundred otheractresses were cor\sid-
ered, and, ifMs. Khambana outshone
the other actresses, it might he be-
,r.
v causc. 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 beauti-
ful. 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 compli-
rated 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 takeaclose-
up 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 neces- Pmii Klteltbolla ll-I Ilia. ll mini-i lt‘i(lll't' ulicrr an board rm himpm».
sary. because Deltans are supposed
to be nattiaally lyairieslskand my ILald- “when I went in for the preparation, which was also deemed
I185! C0\-I n'l 00 i e srnet ing - - - - "unsatisfactory." Says Wise, “It was
that had been shaved. And then. it mtervlew “nth the Casung very pedestrian and uninteresting.
was the rainy season, and I couldn't PBOPIC, (I18 QCITCSSCS with nothing visually excitingin it so
weirl hi! lilfiust Olllle mlllp. $0 had beautiful wi or hair we cut a little out, and then got
lW3$ constantly Cilllig l'0ld.Wl\iClI d d fa - Trumbull involved with it. He's put
ususally never happens to me. I em C lo W3 In an in some bits and pieces of film with
An‘-1¢,‘rrm1I-rpnimrulowklvlwtll-= wear a bald cap I bought miniatures, which should really help.
part. lww dill you prrpnrew the ml: of for 3 dollar 1» Even though the feature itself is
Ilia? ’_ not yet in it's nal cut. composer
In the beginning, I didn't know PCTSIS Khambatta Jerry Goldsmith is already working
too much a out the character. I on scenes and dramatic ideas. For
thou ht they wanted a contrast to 1),4_yW mm, up ml}, a,,_y;;,|',,g ya" inspimrgom ht has visilcd 1-mm[,u||
Spock. who's logical; my part is very it-“(ad 10 mldyquml/) and Dykstra's workshops to see the
emotional.Ireallydidn‘tknowabout Ithink my personality comes out miniatures, and has been viewing
Dflll lhf Plll Of Origin. I didn't in the film. I couldn't make her a what Wise describes as “fairly loose
know what Ilia was going to be. I super-heroic person or anything like stuff» sequences without certain key
discussed herwith Gene Roddenber- that, even though she was Deltan and scenes. As fast as Goldsmith can get
ry the rst week of shooting, and he superior in some ways. All I thought the timing set, he's putting his score
wrote me a four-page synopsis ofthe was that this person was human. she together. lt'sall piecemeal. We'll have
woman and her ackground. Ithink felt for people more than other to do the picture maybe not even in
hedid that forSpockand everyonein people felt. It shows on the screen reels but in modules: sequences in
the beginning of the original series. that she feels for her one-time love, time as far as the dubbing is con-
Deltans are very spiritual persons. layed by Stephen Collins. I feel for cemed."
They go beyond technology and the liim, and for other people. That is And so, while actors and actresses
materiaIworld.Theycare forpeople, something that is real in me. and I loop their lines, while sound tech-
they read people's minds: they are wanted that to come out. nicians labor to produce innovative
much more attuned, because they effects, while composer _]erty Cold-
are so caring. He made it sound so Director Wise has not only re- smith is screening rough cut se-
wonderful and beautiful that I was shot the spacewalk scene. he has also quences, while Douglas Tmmbull
really falling in love with this person ordered a STAR TREK trailer to be and his associates are adding on lm
—except for one thing I personally redone, to be narrated by Orson the wonders to which Leonard Ni-
did not agree with. On that planet, Welles. It had been Paramount's in- moy had already reacted on a Para-
sex was beyond anything. An Earth tention togetateaser trailer forSTAll mount sound stage, we must wait
person who made love to a Deltan TREK-THE MOTION PICTURE until December 7 to nd out ifWise.
would becomea Deltan slave because on theatre screens by late September. Roddenberry, and company have
they are sooo fantastic [laughs]. I InashakeupoftheParamountpubli- safelv tread a path more erilous
think that's right for me. but I didn't city department in early September, than any spa“ walk; the Iilne line
feel diat sex was something one had the teaser trailer was scrapped and a betweenillmse who sav. “Please'don‘t
to do with everybody. That's wherel crash program was instituted to re- mess with it," and those who sav,
had to do my acting. vamp the full length trailer then in "Please, do it right at last." El
47
 —>:—'\\_- 1 \__»1s
-<~‘~—:~~--~\~_
‘\<,7$ :“
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~.\_,.~. ‘ ..,\
H“-,.:.-._, -1-1
0 . __
—\- -f\-.- -i-i»-‘- —---
.‘_~\_‘\ - __.
"‘ ._
737.33 /_.
Above Leit: The crew oi
thePaIomrrio runicrtheir
lives lrom a destructive
meteor rolling down the
-1 main corridor oi the
Cygnus. Background
‘Is 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
'1 Daintingand rear-screen
elements with live action.